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Jim Gleason’s GUITAR ENCYCLOPEDIA
BEGINNINGGUITAR
Version 1.2 July, 2001©1998-2001 Jim Gleason
All Rights Reserved
www.guitarencyclopedia.com
2
© 2000-2001 Jim Gleason. All Rights Reserved.
3
© 2000-2001 Jim Gleason. All Rights Reserved.
IMPORTANT!READ THIS INTRODUCTION
Six Subjects
This book follows the traditional convention of step-by-step lessons. It is a carefully arranged series of 219 lessons, in progressive order by subject.
The six subjects covered in this book are indicated in the upper corners of the pages. Here is a list of them in order:
THEORY TECHNIQUE FINGERING RHYTHM CHORD PROGRESSION MELODY
Progressive LevelsAll of the lessons are rated by level. The book progresses from level 1 to level 2. The levels are rated with
decimal points, similar to the Dewey decimal system found in libraries. Level 1.235 comes before level 1.236, for example. Every lesson has a unique level number.
Keep Current In Each SubjectBegin in whichever subject you like. However, you need to keep current in all of the subjects. As you
progress page-by-page through one subject, be aware of the level number shown at the top of the page. Before you get more than .1 ahead in one subject, catch up with the others.
Do I Have To Study Every Page?No. Study most of the book. Where there are multiple examples for the same subject matter, you may
skip some of them. If you are sure that you know something covered in one of the lessons, skip it. Keep in mind that it is very important to cover the fundamentals thoroughly. If you are considering skipping a lesson, you should still look it over to be sure.
READING THE CONTENTS SECTION THAT FOLLOWS THIS INTRODUCTION
The contents pages are set up in columns. The far left column indicates the progressive lesson level, as described above. The “general” column lists which of the six main subjects (shown above) is covered in the lesson. The “specifi c” column gives more information regarding the topic of the lesson. The “content” column gives even more specifi c detail of the nature of the lesson. “CD/track”, identifi es which CD and track for the example pertaining to a particular level. For example, level 1.010 shows “1-1” in the CD track column, with “1” below it. This indicates that there is a recording on track number 1 (as shown in your CD players display panel) of the CD titled “CD 1-1” (shown on the lower portion of the CD label).
Contentsan explanation of the columns below is given in the Introductiion
Specif icLevel ContentGeneralCD /t rackPage
Pitch Notation1.000 THEORY intro to reading notation: chord diagrams, tablature, chord symbols,slur symbols, full fretboard note names
13
Pitch Notation1.039 THEORY first position natural notes23
Pitch Notation1.041 THEORY note names up and down the sixth string25
Pitch Notation1.042 THEORY note names up and down the fifth string26
Pitch Notation1.043 THEORY note names up and down the fourth string27
Pitch Notation1.044 THEORY octaves of notes in first position and related major chords28
Pitch Notation1.045 THEORY note names on the staff; memorize FACE, EGBDF; GFEDCBA29
Pitch Notation1.0471 THEORY memorize first position note names32
Pitch Notation1.048 THEORY memorize the tertian cycle: FACEGBD37
Pitch Notation1.049 THEORY first position C major & A Aeolian scales38
Pitch Notation1.090 THEORY word games39
Pitch Notation1.091 THEORY word games answers40
Pitch Notation1.102 THEORY word games with ledger lines41
Pitch Notation1.104 THEORY answers for word games with ledger lines43
Scales and Keys1.250 THEORY introduction to tone centers, chord roots, chord progression and key45
Scales and Keys1.252 THEORY1-13
key and chord progression47
Pitch Ear Training1.255 THEORY1-14
intervals: 8va, P5; chords: major, minor49
Pitch Notation1.290 THEORY first position G major and E Aeolian scales53
Pitch Notation1.345 THEORY linear note names on each string54
Pitch Notation1.420 THEORY first position F major and D Aeolian scales57
Pitch Notation1.527 THEORY first position D major and B Aeolian scales58
Pitch Ear Training1.535 THEORY1-15
intervals: M3, m3; chord: dim.59
Pitch Notation1.590 THEORY first position Bb major and G Aeolian scales64
Pitch Notation1.636 THEORY first position A major and F# Aeolian scales65
Pitch Notation1.680 THEORY first position E major and C# Aeolian scales66
Scales and Keys1.710 THEORY major scale intervals67
©1998 Jim Gleason. All Rights Reserved.
BEGINNING GUITAR CONTENTS
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© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
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Pitch Notation1.760 THEORY first position B major and G# Aeolian scales70
Pitch Ear Training1.830 THEORY1-16
intervals: M2, m2; chord: sus. 4.71
Formulas1.846 THEORY preparation for constructing MS fingering: three ways to finger m2& M2; do re me = 1,2,3,etc; half steps are 3 to 4 & 7 to 1
75
Formulas1.850 THEORY constructing major scale fingerings79
Guitar Care1.010 TECHNIQUE1-11
tuning87
Guitar Care1.011 TECHNIQUE1-12
tuning notes on CD88
Guitar Care1.014 TECHNIQUE intonating the bridge; changing strings91
Hand Coordination1.020 TECHNIQUE relaxation, massage and stretching; carpel tunnel and other stresssyndromes; posture; playing and practicing attitude
92
Picking Hand1.050 TECHNIQUE1-17
general picking technique; all down picking, all up picking95
Fretting Hand1.054 TECHNIQUE general fretting technique99
Fretting Hand1.056 TECHNIQUE fretting techniques; first hovering exercise101
Fretting Hand1.057 TECHNIQUE closeness and clearing exercise on two strings.102
Fretting Hand1.120 TECHNIQUE fretting pressure exercise105
Fretting Hand1.125 TECHNIQUE chord cancellation exercise106
Fretting Hand1.126 TECHNIQUE simultaneous touchdown exercise107
Picking Hand1.220 TECHNIQUE strummming technique109
Fretting Hand1.235 TECHNIQUE fretting hand muting; rolling technique111
Fretting Hand1.237 TECHNIQUE1-18
combined fretting and muting113
Fretting Hand1.300 TECHNIQUE1-19
introduction to slide, sliding perfect fifths114
Fretting Hand1.310 TECHNIQUE1-110
“recoil” technique: pivoting on the ball of the fretting hand thumb.Keep the thumb only slightly bent at the tip joint during the pivot.
115
Fretting Hand1.350 TECHNIQUE barreíng technique116
Hand Coordination1.381 TECHNIQUE open position chromatic scale exercises117
Hand Coordination1.390 TECHNIQUE1-111
twelfth fret artificial harmonics120
Picking Hand1.425 TECHNIQUE picking hand heel-of-hand muting122
Picking Hand1.426 TECHNIQUE1-112
picking hand heel-of-hand muting exercise: In The Hall Of theMountain King
123
Picking Hand1.470 TECHNIQUE alternate picking; intro to rhythmic picking; economy picking; tiltingthe pick
124
Picking Hand1.475 TECHNIQUE1-113
tilting the pick129
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© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
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Picking Hand1.480 TECHNIQUE1-114
alternate picking exercise: Cantata #147130
Picking Hand1.485 TECHNIQUE economy picking exercise: Cantata #147134
Picking Hand1.550 TECHNIQUE picking hand side-of-hand muting138
Picking Hand1.551 TECHNIQUE1-115
Reggae side-of-hand muting139
Fretting Hand1.610 TECHNIQUE1-116
introduction to blue note140
Fretting Hand1.640 TECHNIQUE1-117
diagonal thirds stretching exercise141
Hand Coordination1.690 TECHNIQUE principles142
Hand Coordination1.691 TECHNIQUE1-118
Moto Perpetuo On the First and Second Strings143
Hand Coordination1.694 TECHNIQUE1-119
speed exercises on one string: the 123 pattern146
Fretting Hand1.730 TECHNIQUE posture exercise for the index and little fingers147
Fretting Hand1.732 TECHNIQUE closeness and clearing on six strings149
Fretting Hand1.810 TECHNIQUE introduction to hammer and pull off151
Fretting Hand1.811 TECHNIQUE1-120
open position pentatonic slur exercise152
Fretting Hand1.812 TECHNIQUE1-121
open string slur exercise153
Fretting Hand1.813 TECHNIQUE1-122
pentatonic scale slur exercise154
Hand Coordination1.841 TECHNIQUE sixth position chromatic scale exercises156
Fretting Hand1.844 TECHNIQUE more rolling technique exercises159
Fretting Hand1.869 TECHNIQUE1-123
Pentatonic Slur Blues161
Picking Hand1.880 TECHNIQUE fingerpicking quarter notes in 4/4 with eighth notes per bar162
Picking Hand1.881 TECHNIQUE1-124
preparation for Travis Fingerpicking Exercise 1163
Picking Hand1.882 TECHNIQUE1-125
preparation for Travis Fingerpicking Exercise 2164
Picking Hand1.885 TECHNIQUE1-126
Travis Fingerpicking Exercise 1 167
Picking Hand1.887 TECHNIQUE1-127
Travis Fingerpicking Exercise 2169
Fretting Hand1.930 TECHNIQUE general characteristics171
Picking Hand1.935 TECHNIQUE general characteristics173
Picking Hand1.940 TECHNIQUE right hand technique of popular guitarists175
Picking Hand1.955 TECHNIQUE1-128
“thumb pluck, index strum”180
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© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
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Picking Hand1.956 TECHNIQUE1-129
“thumb pluck, index strum”181
Picking Hand1.960 TECHNIQUE1-130
“pick bass, finger pluck” technique182
Picking Hand1.961 TECHNIQUE1-131
“pick bass, finger pluck” Blues #1183
Picking Hand1.962 TECHNIQUE1-132
“pick bass, finger pluck” Blues #2184
Picking Hand1.965 TECHNIQUE1-133
“thumb strum, finger(s) pluck” technique185
Picking Hand1.970 TECHNIQUE1-134
“thumb strum, index strum” technique186
Picking Hand1.975 TECHNIQUE1-135
Travis fingerpick minor progression with descending bass, version 1187
Picking Hand1.976 TECHNIQUE1-136
Travis fingerpick minor progression with descending bass, version 2188
Concept1.030 FINGERING intro. to notes & fingering; note names at frets 0, 5, 10 & 12189
Chords1.061 FINGERING1-21
one finger chords192
Chords1.062 FINGERING1-22
one finger blues193
Pentatonic Scales1.064 FINGERING1-23
open position E minor 7/11 and G major 6/9194
Chords1.110 FINGERING1-24
Two Finger Blues. Two finger chords for two to four beats each:picked version
195
Chords1.111 FINGERING1-25
Two Finger Blues. Two finger chords for two to four beats each:plucked version
196
Concept1.260 FINGERING octave shapes; open position CGDAE, first eight three-finger chords197
Arpeggios1.320 FINGERING1-26
defined, open-position one note-per-string arpeggio songs202
Arpeggios1.322 FINGERING1-2204
Chords1.351 FINGERING1-27
Three String Barre Blues with Bass207
Intervals1.380 FINGERING half steps, open-position chromatic scale208
Intervals1.385 FINGERING whole steps, open-position whole-tone scales209
Pentatonic Scales1.430 FINGERING1-28
open position A minor 7/11 and C major 6/9210
Intervals1.445 FINGERING all-fretted chromatic scale211
Arpeggios1.521 FINGERING1-29
open-position major and minor arpeggios213
Arpeggios1.522 FINGERING1-210
open-position one note-per-string arpeggio songs with patterns andbass: minor blues (track 11)
214
Arpeggios1.523 FINGERING1-211
open-position one note-per-string arpeggio songs with patterns andbass: Sixties Folk Song (track 12)
215
Arpeggios1.525 FINGERING1-212
open-position one note-per-string arpeggio songs with patterns andbass: Major Classic Rock (track 13), Minor Classic Rock (track 14)-13
217
Chords1.603 FINGERING first nineteen chord fingerings219
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© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
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Chords1.630 FINGERING1-214
quick-changing two finger chords for one or two beats each,including two string barré chords
220
Chords1.635 FINGERING first 35 chord fingerings224
Pentatonic Scales1.700 FINGERING1-215
twelfth position E minor 7/11 and G major 6/9225
Chords1.716 FINGERING1-216
major scale-tone thirds with pedal tones226
Chords1.723 FINGERING1-217
three string barré examples227
Intervals1.725 FINGERING augmented fourth = diminished fifth, all intervals up to a perfect fifth228
Intervals1.735 FINGERING1-218
perfect fourth song examples231
Intervals1.736 FINGERING1-219
Parallel Fourths Blues232
Intervals1.740 FINGERING1-220
perfect fifth song examples233
Concept1.835 FINGERING fundamentals, strict vertical position234
Heptatonic Scales1.890 FINGERING major scale fingering 3; major scale and arpeggio exercise 5-4240
Pentatonic Scales1.925 FINGERING twelfth position A minor 7/11 and C major 6/9241
Pentatonic Scales1.9461 FINGERING linear Gm7/11 pentatonic scale exercises242
Pentatonic Scales1.9462 FINGERING243
Reference1.993 FINGERING pentatonic scale fingering, pentatonic lines; intro to relative majorand minor pentatonic
244
Reference1.9971 FINGERING common scales, chords and arpeggios249
Rhythm Notation1.070 RHYTHM1-221
intro to reading rhythm: beats, meter, top number in timesignatures, metric accent, tempo in BPM
252
Concepts1.080 RHYTHM1-222
subdivision of the beat: duple and triple subdivision255
Rhythm Notation1.100 RHYTHM left and right repeat signs, repeated beats, repeated bars , numberedendings, double barline ending
256
Rhythm Notation1.200 RHYTHM intro to time signatures, halving values, whole, half and quarter notes258
Rhythm Notation1.205 RHYTHM1-223
intro to rhythmic words; first four four-pulse words in whole beats;first three three-pulse rhythmic words in whole beats
261
Concepts1.319 RHYTHM1-224
intro to Swing Eighths263
Rhythm Notation1.325 RHYTHM dotted notes; dotted half notes264
Rhythm Notation1.326 RHYTHM1-225
dotted notes exercise265
Rhythm Notation1.400 RHYTHM time signatures266
Rhythm Notation1.410 RHYTHM whole, half, dotted half and quarter rests; "performing" a rest toaccurately end the previous note
268
Rhythm Notation1.411 RHYTHM1-226
whole beat rests269
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© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
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Rhythm Notation1.500 RHYTHM ties; intro to sustain and rest syncopation270
Rhythm Notation1.501 RHYTHM1-227
quarter and half notes with sustain syncopation and rest syncopation271
Rhythm Notation1.510 RHYTHM1-228
first seven four-pulse rhythmic words in full beats; first ninethree-pulse rhythmic words in full beats
272
Rhythm Notation1.520 RHYTHM1-229
sustain-syncopated quarter, half, dotted half and whole notes273
Rhythm Notation1.530 RHYTHM1-230
rest -syncopated quarter, half, dotted half and whole notes274
Rhythm Notation1.600 RHYTHM1-231
eighth notes in pairs; "all four", "gallop" and "Jingle Bells" rhythmicwords in eighth notes
275
Rhythm Notation1.750 RHYTHM complete eighth note triplets276
Rhythm Notation1.751 RHYTHM1-232
eighth note triplet exercises277
Rhythm Notation1.755 RHYTHM compound time signatures: 6/8, 9/8, 12/8278
Rhythm Notation1.800 RHYTHM1-233
Rhythmic Word Exercises279
Rhythm Notation1.801 RHYTHM three eighth notes compared to an eighth triplet280
Rhythm Notation1.802 RHYTHM1-234
eighth note groups of three compared to eighth note triplets281
Rhythm Notation1.805 RHYTHM1-235
first four three pulse words in eighth note groups of three282
Rhythm Notation1.900 RHYTHM Rhythmic Word Exercises283
Rhythm Notation1.905 RHYTHM1-236
dotted quarter notes.284
Concepts1.910 RHYTHM1-237
introduction to four pulse rhythmic words in eighth notes (the firsteight four pulse words)
285
Rhythm Notation1.911 RHYTHM1-238
all combinations of all eight four pulse rhythmic words in eighthnotes with no rests
286
Principles1.225 CHORD Prog1-31
Reading Strummed Rhythms; Counting Rhythm293
Song1.230 CHORD Prog1-32
Rock Song #1, Rock Song #2, Rock Song #3-4
295
Song1.231 CHORD Prog1-35
Folkrock #1a 296
Song1.232 CHORD Prog1-36
Folk Song #1297
Song1.240 CHORD Prog1-37
Folkrock #1b 298
Song1.241 CHORD Prog1-38
Folkrock #2299
Song1.270 CHORD Prog1-39
Old English Folk Song301
Song1.327 CHORD Prog1-310
Rock Song with mutes303
Song1.328 CHORD Prog1-311
R&B Song #1304
Song1.336 CHORD Prog1-312
Folkrock #3305
10
© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
t rackPage
Song1.338 CHORD Prog1-313
Chicago Blues #1 in A306
Song1.352 CHORD Prog1-314
Mojo / Voodoo Blues #2 in A 307
Song1.455 CHORD Prog1-315
House of the Rising Sun308
Song1.456 CHORD Prog1-316
Modern Rock Song #1 309
Song1.460 CHORD Prog1-317
Modern Rock Song #2 312
Song1.545 CHORD Prog1-318
Chuck Berry Style rhythm313
Song1.575 CHORD Prog1-319
Bo Diddley style rhythm314
Song1.580 CHORD Prog1-320
Ornament Open chords 1316
Song1.581 CHORD Prog1-321
Ornament Open chords 2317
Song1.6041 CHORD Prog1-322
barre chord songs-36
318
Song1.622 CHORD Prog1-337
Mississippi Blues #1 in E326
Song1.741 CHORD Prog1-338
Albert King Style #1327
Song1.770 CHORD Prog1-339
Chicago Blues #1 in E328
Song1.820 CHORD Prog1-340
Mississippi Blues #2 in A330
Song1.823 CHORD Prog1-341
Albert King Style #2 333
Song1.865 CHORD Prog1-342
Swing Blues #1 In C334
Song1.867 CHORD Prog1-343
Swing Blues #2335
Song1.870 CHORD Prog1-344
B.B. King Style336
Song1.897 CHORD Prog1-345
Page, Who, AC/DC Style rhythm337
Song1.060 MELODY1-41
Ode To Joy In C339
Melodic Examples1.065 MELODY1-42
open position 641 Em minor 7/11 licks without slurs340
Song1.130 MELODY1-43
Happy Birthday344
Song1.131 MELODY1-44
Minuet in G, no bass345
Song1.280 MELODY1-45
Romanza347
Melodic Examples1.311 MELODY1-46
open position 641 Em minor 7/11 licks with slides; on CD: examplesof licks over Albert King Style #1 & Mississippi Blues #1
348
Song1.315 MELODY1-47
Mojo / Voodoo Blues 1 in E349
Song1.329 MELODY Greensleeves, bass only: try to figure out melody351
11
© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
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Song1.330 MELODY1-48
Greensleeves, easy version in Am with bass352
Melodic Examples1.331 MELODY1-49
open position G major 6/9 licks with slides353
Song1.335 MELODY1-410
Amazing Grace, easy version in G with bass355
Melodic Examples1.435 MELODY1-411
open position 53 A minor 7/11 licks with slides356
Melodic Examples1.440 MELODY1-412
open position C major 6/9 licks with slides359
Song1.546 MELODY1-413
Chuck Berry Style #1360
Melodic Examples1.615 MELODY1-414
E minor 7/11 licks with b3 and b7 blue notes361
Song1.620 MELODY1-415
Surf's Up362
Melodic Examples1.650 MELODY1-416
A minor 7/11 licks with b3 and b7 blue notes364
Melodic Examples1.705 MELODY1-417
twelfth position 641 E minor 7/11 licks with slides365
Song1.717 MELODY1-418
Ode To Joy melody367
Song1.718 MELODY1-419
Ode To Joy arrangement with thirds368
Song1.728 MELODY1-420
Estudio V by Fernando Sor371
Song1.742 MELODY1-421
Albert King Style #1373
Melodic Examples1.745 MELODY1-422
twelfth position G major 6/9 licks with slides374
Melodic Examples1.780 MELODY1-423
minor 7/11 solo in C #1375
Melodic Examples1.781 MELODY1-424
minor 7/11 solo in C #2376
Melodic Examples1.815 MELODY1-425
open and twelfth position E minor 7/11 licks with slides, hammersand pull-offs
377
Song1.824 MELODY1-426
Albert King Style #2 381
Song1.825 MELODY1-427
Acoustic Shuffle in E, no bass382
Melodic Examples1.860 MELODY1-428
open and twelfth position G major 6/9 licks with slides, hammers andpull-offs
385
Song1.866 MELODY1-429
Swing Blues #1 In C387
Song1.868 MELODY1-430
Swing Blues #2388
Song1.871 MELODY1-431
B.B. King Style389
Song1.895 MELODY1-432
Chuck Berry Style #2390
Melodic Examples1.926 MELODY1-433
open and twelfth position A minor 7/11 licks with slides, hammersand pull-offs
391
Melodic Examples1.929 MELODY1-434
Jeff Beck and Albert King solo study394
12
© 2000-2001 Jim Gleason. All Rights Reserved.
CONTENTS
Specif icLevel ContentGeneralCD /
t rackPage
Melodic Examples1.945 MELODY1-435
open and twelfth position C major 6/9 licks with slides, hammers andpull-offs
395
Song1.947 MELODY1-436
Hendrix Style Double Stops 397
Song1.950 MELODY1-437
Mojo / Voodoo Blues 3 in E400
Song1.980 MELODY1-438
Minor Blues #1405
Song1.983 MELODY1-439
Flight of the Bumblebee408
Song1.985 MELODY1-440
Acoustic Shuffle in E410
13
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
AN INTRODUCTION TOREADING MUSIC NOTATION
Does music exist in nature or does it imitate nature? It could be said that music exists in nature becauseit is in the songs of birds, the splashing of waves, the dripping of rain, the stepping of feet, the pecking of awoodpecker and so on. Or, does it imitate nature. Being a romantic, I prefer to think that it exists in nature.
What came first in music, rhythm or pitch? One can‘t exist without the other, but systems of rhythmdeveloped in cultures faster than systems of pitch. Music has a pulse or rhythm, which is usually regular. Innature, there is a regularity to the splashing of waves, dripping of rain and stepping of feet. We imitate wavesbeating on the shore, dripping rain and walking feet beat ing on the ground with beats in our music. Beats arecommonly played in reguar groups.
For guitarists, there are three common types of music notation: standard music notation, tablature andchord grid diagrams. Chord grid diagrams are usually the easiest to read.
Theory 1.000
14
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
TABLATUREThis system of notation is a graph of the guitar strings from the perspective of looking down on the guitar
as you’re playing it. The tablature indicates where each note is fretted. Numbers on the strings indicate frets andare written from left to right in the sequence they are to be played. In this book, tablature is written below allmusic notation.
The numbers that indicate the fingers of each hand are shown below. They are typically placed belowthe standard music notation, between the music notation and the tablature.
fretting hand plucking hand
Symbols above each tablature number indicate the suggested fretting finger. Right hand symbols areshown above or below notes in the standard music notation. The right hand finger symbols are “p” (pulgar =thumb in Spanish), “i” (indice = index finger in Spanish), “m” (medio = middle finger in Spanish) and “a” (anular= ring finger in Spanish).
In reading the tablature, remember that the top string on the tablature is the smallest, first string.
Theory 1.001
15
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY THEORY 15 15
Theory 1.002 Theory 1.002 ©1998 Jim Gleason. All Rights Reserved.
this row of numbers represents the fretting fingers
this top line represents the first string (smallest)
this bottom line represents the sixth string (largest)
fret numbersthis row of arrows
shows the downwardand upward picking strokes
these are the symbols used torepresent the fretting fingers
57
1↓
3↑
8
4↑
7
3↓
5
1↓
5
1↓
5
1↓
7
3↑
5
1↓
7
3↑
9
4↓
1↓
5
57
1
3
8
4
7
3
5
1
5
1
5
1
7
3
5
1
7
3
9
4
1
5
The grid diagrams shown above the music notation in the diagram below are aids in reading the tablature.Instruction on reading these grid diagrams is on the following pages. The gird diagrams are used in this coursewhere the fretting hand mainly retains a particular chord fingering. You still should read the guitar part in thetablature, since it shows the exact sequence of notes.
plucking hand1
Am I
32
this top line represents the first string
this bottom line represents the sixth stringthis row of arrows
shows plucking fingers,(the symbols "p, i, m and a"
were defined earlier)
these chord diagramsare defined in the
material that follows
fret numbers
plucking:pa
3
3
p
2
i
0
p
3
m
1
p
2
i
0
pa
0
0
p
2
i
2
p
0
m
1
p
2
i
2
plucking:pa
3
3
p
2
i
0
p
3
m
1
p
2
i
0
pa
0
0
p
2
i
2
p
0
m
1
p
2
i
2
4
2
1
C I
3first string(smallest)
4
2
1
C I
3
sixth string(largest)
theo 1.002 theo 1.002
16
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
FRETBOARD DIAGRAMS
this diagram......
represents this viewof the fretboard
The vertical lines represent strings. The horizontal spaces are frets (numbered alongside the diagram).The actual metal fret is indicated by the horizontal line at the bottom of each space on the diagram.
vertical lines are strings(numbered above diagram)
horizontal spaces are frets(numbered alongside the diagram)
6 5 4 3 2 1
1
2
3
4
Theory 1.003
17
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.004
Dots in these diagrams indicate fingered notes. Chord tones are fingered simultaneously. Scale orarpeggio tones (chords played one note at a time) are fingered individually.
unmarked stringsare not sounded
“T ” indicates anote fretted withthe left thumb.
a circle above a stringindicates it is playedopen (not fretted)
The barré is a group of notes all on the same fret of two or more strings fingered with a straight portionof one finger. It uses the classical wrist position. Finger (fret) the barré with the harder edge of your finger whenyou can. Avoid the creases opposite your knuckles, since they can mute notes.
In the “F” chord shown below with finger numbers, you need to interpret that the first finger is placedacross all six strings (as shown in the diagram to its right).
2
1
F I
4
11
3
barreF I
barre
3
Bb I
3
1
3barre
Bb I
barre
Left-handed guitarists. Interpret references to the right hand as left hand and vice versa. All diagramsmust be imagined in “mirror image”:
as shown mirror image
18
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Roman Numerals and Chord NamesA roman numeral above the top right of the diagram indicates the number of the top fret on the diagram.
A plain letter name, such as “D” indicates a major chord. A small “m” after a letter name indicates aminor chord. “D” means “D major”, while “Dm” means “D minor”. A few more common chord symbolabbreviations are shown a couple of pages later.
A II
Roots and Tone CentersA chord root is the note after which a chord is named (“D” is the root of a D major chord). A tone center
is the note after which a scale is named (“C” is the tone center of a C Lydian scale).
D maj. chord II C Lydian scale VII
Theory 1.005
19
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.006
Movable DiagramsMovable diagrams have no roman numeral on their upper right and therefore have no specified top fret
number. They may be placed anywhere on the fretboard according to their chord root(s) or tone center(s). Ifnotes on a diagram are indicated by dots, a circled or enlarged dot indicates the chord root or tone center.
movablemovable
named after named after
The numbers 1, 2, 3 and 4 within diagrams indicate left hand fingers. The finger number on the chordroot or tone center may be circled.
When numbers higher than 4 are used in a diagram, all of the numbers indicate scale, chord or arpeggiotones.
Proceedure Of Reading Chord DiagramsYou read the previous pages and are anxious to play songs. How complicated can it be? True, chord
diagrams are a simple graphic representation of fingers on the fretboard, but be careful not to make an error inreading them. It is quite common that someone new to reading chord diagrams “thinks” they have read a diagramcorrectly, and doesn't find out until much later (if at all) that they have made an error.
20
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.007
Take Your Time And Read Chord Diagrams Right The First Time.(1) Read the header (Gm III) with the chord name and roman numeral for position.
(2) Read across the frets one string at a time from the sixth (largest) string to the first string. Allow threeto five seconds for each string. The strings are numbered from sixth to first as you scan across thediagram from left to right.
A few things to be careful to recognize:
• whether notes are on the same fret or different frets
• when there is an “empty” fret.
• when notes are on adjacent strings
• when a string is skipped.
CHORD ABBREVIATIONS & SYMBOLS7 = seventh chord (dominant) 9 = ninth chord7#5 = seventh sharp five chord (dominant) 9#5 = ninth sharp five chord (dominant)7b5 = flat five chord (dominant) 9b5 = ninth flat five chord (dominant)7#9 = seventh sharp nine chord (dominant) °7 = diminished seventh chordC = C major chord Cm = C minor chord6 = sixth chord (major sixth chord) m6 = minor sixth chord6/9 = sixth add nine chord m6/9 = minor sixth add nine chord∆7 = major seventh chord m7 = minor seventh chord∆9 = major ninth chord m9 = minor ninth chord/9 = major add nine chord m/9 = minor add nine chordm7b5 = minor seventh flat five chord sus. 4 = suspended fourth chord
m( 7) = minor, natural 7 chord (minor, major 7) sus. 2 = suspended second chord
n3 = no thirdn5 = no fifth
SLUR SYMBOLS(shown above or below notes in music notation)
H = hammer on.
P = pull off.
S = slide.
B1 = bend an interval of one fret (a half step or one semitone).
B2 = bend an interval of two frets (a whole step or two semitones. B3 for three frets, B4 for four frets, etc.
R = release bent note (all bends have a silent release unless “R” is indicated).
(B1) = silently bend one fret before picking.
(B2) = silently bend two frets before picking. (B3) for three frets, (B4) for four frets, etc.
+ or = blue note. A slight bend (less than one fret) for expression.
GR = gradual release. Gradually release a previously bent note.
TD1 = tremolo drop one fret. Press the tremolo bar toward the guitar to lower the pitch an interval of one fret.
TD2 = tremolo drop two frets. Press the tremolo bar toward the guitar to lower the pitch an interval of two frets.
TB1 = tremolo bend one fret. Pull the tremolo bar away from the guitar to raise the pitch an interval of one fret.
21
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.008
TR = tremolo release. Release pressure on the tremolo bar and allow it to return to its resting point.
(TD1) = silent one-fret tremolo drop. Before playing the current note, press the tremolo bar toward the guitar to drop the pitchan interval of one fret.
(TD2) = silent two-fret tremolo bend. Before playing the current note, press the tremolo bar toward the guitar to drop the pitchan interval of two frets. (TD3) for three frets, (TD4) for four frets.
(TB1) = silent one-fret tremolo bend. Before playing the current note, pull the tremolo bar away from the guitar to raise the pitchan interval of 1 fret.
(TB2) = tremolo bent 2 frets before picking. Before playing the current note, pull the tremolo bar away from the guitar to raisethe pitch an interval of 2 frets. (TB3) for 3 frets, (TB4) for 4 frets.
rake = play all the notes within the bracket labeled “rake” in one stroke, muting each note with the left hand as soon as it isplayed. The last note may sustain.
= harmonics are indicated by open diamond note heads in place of the usual oval notehead.
X = percussive muted notes are indicated by an “X” notehead in place of the usual oval notehead.
22
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
FULL FRETBOARD NOTE NAMES AND STAFF LOCATIONS
* Guitar sounds one octave lower than written.
A D G B EE
FA# D# G#
C F
B E AC# F#F#
C FA#
D GG
C# F#B
D# G#G#
D G C E AA
Eb Ab DbF
BbBb
E A DF#
BB
FA# D#
G CC
B E
G C F A DD
G# C# F# A# D#D#
A D G B EE
Ab Db Gb Bb EbEb
F# G# C#C#
Gb Ab DbDb
Bb Eb
Gb
D# G# C# A#A#
Db Gb Eb AbAb
Db GbGb
Bb Eb Ab
6
FA# D# G#
C
B E AC#F#
C F Bb DG
C# F#B
D#G#
D G C EA
Db Gb EbAb
DbGb
Bb Eb Ab
5 4 3 2 1
Bb
F
F#
G
G#
A
Ab
Gb
Theory 1.009
23
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.039
Ä 44â 44 E
0
tF
1
tG
3
tA
0
tB
2
tC
3
tD
0
tE
2
tF
3
tG
0
tA
2
tB
0
tC
1
tD
3
tE0
tF1
t
Äâ G
3
tA
5
tG
3
tF
1
tE
0
tD
t3
C
t1
B
t0
A
t2
G
t0
F
t3
E
t2
D
t0
C
t3
B
t2
Äâ
æææ
A
t0
G
t3
F
t1
E
t0
First Position Natural Notestheo 1.039 theo 1.039
Play the notes below and speak the letter names. Notice that "E" to "F" and "B" to "C" are one fret apart, as circled below. All of the other alphabetical pairs of notes (AB, CD, DE, FG and GA) are two frets apart.
24
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY 25
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
A
5
A
0
D
5
D
0
G
5
G
0
B
4
B
0
E
5
E
0
0
E
1
F
3
G
5
A
0
A
2
B
3
C
5
D
0
D
2
E
3
F
5
G
0
G
2
A
4
B
B
0
C
1
D
3
E
5
0
E
1
F
3
G
5
A
5
A
3
G
1
F
0
E
5
E
3
D
1
C
0
B
4
B
2
A
0
G
5
G
3
F
2
E
0
D
5
D
3
C
2
B
0
A
5
A
3
G
1
F
0
E
© 1998 Jim Gleason. All Rights Reserved.
The example below shows the locations of fretted notes which are the same pitch and note name as the next smaller string open. Except for the third string, this occurs at the fifth fret.
theo 1.040 theo 1.040
Play the notes below and speak the letter names. On each string, you will play a note which is the same as the next smaller string open. This is indended to show you where the notes duplicate.
Notice that "E" to "F" and "B" to "C" are one fret apart, as circled below. All of the other alphabetical pairs of notes (AB, CD, DE, FG and GA) are two frets apart.
First Position Natural Notesincluding duplications at the fourth and fifth frets
Theory 1.040
24
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY 25
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.041
26
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY 27
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.042
27
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.043
Ä 44â 44 do
0
tre
2
tme
4
!tfa
5
t7
tsol
9
tla
11
!tti
12
tdo
12
tdo
11
!tla
9
tti
7
tsol
æææ
fa
5
tme
4
!tre
2
tdo
0
t
Ä 44â 44 1
0
t2
2
t3
4
!t4
5
t5
7
t6
9
t7
11
!t1
12
t1
12
t7
11
!t6
9
t5
7
t æææ5
t4
4
!t3
2
t2
0
t1
Ä 44â 44 D
0
tE
2
tF
3
tG
5
t7
tA
9
tB
10
tC
12
tD
12
tD
10
tC
9
tB
7
tA
æææ5
tG
3
tF
2
tE
0
tD
Ä 44â 44 10
tC
12
tD
12
tE
15
tF
17
tG
19
tA
21
tB
22
tC
22
tC
21
tB
19
tA
17
tG
æææ15
tF
14
tE
12
tD
10
tC
This is a D major scale, named after "D", the note on which it begins and ends. One traditional set of names for the notes of a major scale is "do, re, me, fa, sol, la, ti, do." The eighth note has the same name as the first one and is called an octave Speak these names as you play the notes.
Another set of names for the notes of a major scale is numbering them "1, 2, 3, 4, 5, 6, 7, 1." Again, the eighth note has the same name as the first one and is called an octave. When a note in the music notation has the symbol "#" before it, its name has the word "sharp" after it, such as "F sharp" for the second note below. Speak the numbers as you play the notes. Notice that major scale tones "3" to "4" and "7" to "1" are 1 fret apart and all the other pairs are 2 frets apart.
This is not a major scale. It is the set of all natural notes. Natural notes have no sharps or flats after their name. A version of a note with a sharp in its name (such as "C sharp") is played one fret higher (toward the bridge). A version of a note with a flat in its name (such as "B flat") is played one fret lower in pitch (toward the head of the guitar).
The example above is not a major scale, as you may have heard when you played it. To play a major scale with these notes, they must be played from "C" to "C", as shown below. This is the "C" major scale. All other major scales require one or more sharps or flats. Your guitar may not have enough frets to play this example.
Note Names Up And Down Each String (continued)theo 1.043 theo 1.043
28
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.044
Ä 44â 44
E
0
tE
2
tE
0
t
022100
ttt!ttt
1
tF
3
tF
1
|F G
3
tG
0
tG
3
t
320033
tttttt
0
tA
2
tA
02220
|||!||
Äâ
B
2
|B
0
|3
tC
1
tC
32010
||||| æææ0
tD
3
tD
0232
|||!|
1
E I
32
2
1
G I
3 4
4
A I
32
3
2
1
C I
2
D I
3
1
Octaves Of First Position Natural Notes(and related major chords)
theo 1.044theo 1.044
When you fret single notes within the first four frets, you are playing in first position. In first position, the index finger frets the first fret, the middle finger frets the second fret, the ring finger frets the third fret, and the little finger frets the fourth fret.
In first position, there are three"E's", three "F''s" and three "G's". "A", "B", "C" and "D" occur in two placeseach. For each of the letter-named notes, the lowest note is written below the staff. The highest of each letter-named note occurs near the middle or top of the staff. For the notes that occur in three places ("E", "F'" and "G"), the middle note is written near the bottom of the staff.
29
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.045
NOTE NAMES ON THE STAFF
The staff is a group of 5 horizontal lines on which music is written. The plural is usually “staves”, butmay be “staffs”.
Bar lines (above) are vertical lines written across the staff to divide it into groups of beats. Each groupof beats is called a bar. Time signatures (see Chapter 22, section B) indicate the number of beats in the bars thatfollow it.
Ledger lines are short lines placed above or below the staff to add to its range.
The parts of notes are the head, stem, flag, beam and dot.
The head of a note is an oval. It is centered vertically on or between the lines of the staff. Thewhole note’s only part is its head.
The stem of a note is a vertical line connected to the head. It connects to the left if it goes downfrom the head and to the right if it goes up. Stems on note heads above the middle of the staffare usually written down. Stems on heads below the middle of the staff are usually written up.Stems on the center line of the staff can be written up or down.
When two voices (two instrument or voice parts) are written on the same staff, the upper part isusually written with all stems up and the lower part with all stems down:
30
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
A clef is a sign placed on the staff at the beginning of a piece of music to indicate the placement of the letters.The letters used in music include “A, B, C, D, E, F, and G.”
The treble clef or “G” clef assigns the letter “G” to the second line from the bottom of the staff.Guitar music is written on the treble clef. Notes on the treble clef are completely above those onthe bass clef in pitch.
The bass clef or “F” clef assigns the letter “F” to the second line from the top of the staff. Noteson the bass clef are completely below those on the treble clef in pitch.
Middle C is the C nearest the middle of the piano keyboard. It is the “dividing line” between the trebleand bass clefs. It is on the first ledger line below a staff using the treble clef and the first ledger line above a staffusing the bass clef.
The treble and bass clefs were originally part of the great staff, which had eleven lines. The top five lineswere extracted to make the treble clef, and the bottom five lines were extracted to make the bass clef. The centerline of the great staff was middle C.
The notes on the staves are in alphabetical order:
Theory 1.046
31
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.047
Guitar is usually written on the treble clef, transposed down one octave.
The letter names on the treble clef are easy to memorize with the use of a few associations. From bottomto top, the notes on the lines of the staff are the first letters of the words in this sentence: Every Good Boy DoesFine. From bottom to top, the notes on the spaces of the staff spell the word “FACE.”
The notes on the lines (including ledger lines) are in an alternate alphabetical pattern: A, C, E, G, B,D, F, A, C, etc. Likewise, the notes on the spaces are in the same alternate alphabetical pattern: A, C, E, G, B,D, F, A, C, etc. Memorize the alternate alphabetical cycle shown at the right below:
Note Names In Reverse Order (GFEDCBA or “gee-fed-cee-bah”)Most of us were not taught to think the alphabet backward, as well as forward. In music, whenever notes
descend (go down) a seven tone scale such as the major scale, you will need to think the letters backward. Asa memory device, think of the reverse series of letters as a middle eastern-sounding word, pronounced: “gee-fed-cee-bah”. Of course, the notes continue down the scale after “A”, forming the cycle “GFEDCBAGFED,etc.”
================Ä tmmmmG
tmmmmF
tmmmmE
tmmmmD
tmmmmC
tmmmmB
tmmmmA G
tmmmmF
tmmmmE
tmmmmD
tmmmmC
tmmmmB
tmmmmAtmmmmm
AB
CDE
F
GG
F
EDC
B
A
Clockwise, thisshows note namesascending a scale
Clockwise, thisshows note namesdescending a scale
32
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.0471
• the open strings, from sixth to fi rst string are Eat A Darn Good Breakfast Early (E A D G B E).
• E to F is one fret. B to C is one fret.• AB, CD, DE, FG and GA are each two frets apart.• There are three each of the notes E, F and G.• The note name at any fret on the sixth string is the same at that fret on the
fi rst string.• Octaves “skip” one or two strings, depending on their angle. Octaves are
notes which have the same name, but are eight letter names apart (counting the starting and ending notes). See the diagrams at the left below.
• Octaves of A, B, D, E and G each include an open string.• The fi ngering pattern on strings 1, 2 and 6 is open, 1, 3.• The fi ngering pattern on strings 5 and 4 is open, 2, 3.• The fi ngering pattern on string 3 is open, 2.• Memorize the locations of the notes after which each chord is named below
Memorizing First Position Note Names
Note Names On The Guitar
The top fret on all of the diagrams below is the fi rst fret. The tiny circles above the chord diagrams indicate open strings (not fretted). Notes enclosed in the large circles below have letter names after which the chord is named. In each diagram, the notes enclosed in the large circles are octaves (eight letter names apart)`. Letter names for notes above the diagrams indicate open strings.
skip 2 strings
skip 1 string
E A
1
E I
32 2
1
3 43
2
1
2
3
12
1
4
11
3 2
1
3 4432
32
1
32
1
2
3
E
E
EF
F
F
G
G G
A
A B
BC
C D
D
F I G I A I B7 I C I D I
Dm IAm IEm I
D G B EF C F
B E A
G C F D G
33
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.0472
• The notes go up from line to space in alphabetical order.• “E”, “F” and “G” each occur in three places in the range of notes shown below.• “A”, “B”, “C” and “D” each occur in two places in the range of notes shown below.• The lowest of each of the natural notes in fi rst positon is below the staff.• The middle of each of the sets three notes with the same name (E, F and G) is near the bottom of the staff.
Note Names On The Staff
lowest middle highest
• Spaces (notes between lines) are FACE, from bottom to top. Going up on lines beginning with the third ledger line below the staff is also FACE.
• Lines from bottom to top are represented by the fi rst letter of each word in the sentence: Every Good Boy Does Fine. Going up on spaces beginning with the note below the third ledger line below the staff is also EGBDF.
• “B” is on the center line of the staff. Think of it as the “bulls-eye” (see the arrow at the right above).• FACE and EGBDF overlap in the every-other-letter cycle FACEGBD shown at the right below.
the center line is “B” for “bulls-
eye”
The every-other note letter cycle includes “FACE”
and EGBDF (Every Good Boy Does Fine).
FA
C
EG
B
D
ÄE
tF
tG
tA
tB
tC
tD
tE
tF
tG
tA
tB
tC
tD
tE
tF
tG
t
ÄF
tA
tC
tE
tE
tG
tB
tD
tF
ttF
tA
tC
tE E
tG
tB
tD
tF
t
34
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.0473
The Staff Game
This game will help you to memorize the names of the notes on the staff, using the word “F-A-C-E” for the spaces and the sentence “Every Good Boy Does Fine” for the lines. You need to recall the names of the notes on the staff directly, without having to think through the word “face” or through the sentence “every good boy does fi ne”. In this game, you’ll make the transistions to think directly to each letter name.
This is a question and answer game. The questions and answers for the spaces regard the word “face”. They are:
question answerwhat is the fi rst letter? ..............................................Fwhat is the second word? ...........................................Awhat is the next-to-last letter? ....................................Cwhat is the last letter?.................................................E
The questions and answers for the lines of the staff regard the sentence “every good boy does fi ne”. The answers are intentionally abbreviated to the fi rst letter of each word. They are:
question answerwhat is the fi rst word? ................................................Ewhat is the second word? .........................................Gwhat is the middle word? .........................................Bwhat is the next-to-last word? ..................................Dwhat is the last word? ...............................................F
Part of this game is knowing how to ask the questions. Here are the eight questions (in order) for the eight-note example below:
Ä 44 t t t t æt t t tWhat is the next-to last letter?
What is the next-to last word?
What is the second letter?
What is the second word?What is the fi rst word?
What is the last letter?
What is the last word?
35
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.0474
Beginning To Read:Putting the Fretboard and Staff Together
ÄE
tF
tG
tA
tB
tC
tD
tE
tF
tG
tA
tB
tC
tD
tE
tF
tG
tRead the diagram at the left and play the notes from “G” on the third string
to “G” on the fi rst string. Then, play the notes from “G” to “G” again as you read the last eight notes on the staff below. Think the letter names as you focus on the notes on the staff.
Ä 44 t t t t t t t t t t t t «t tY |Ä t t t t t t t t t t t t «t tY |Ä t t t t t t t t t t t t t t t t |Ä t t t t t t t t t t t t æ«t tY |
Ode To Joyfrom Beethoven's Ninth Symphony
Now, using those eight notes (seven of them, actually), play the melody to Ode To Joy shown below.
E A D G B EF C F
B E A
G C F D G
36
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.0475
Ä t t t t t t t t t t t tt t t t t
SELF TEST
1. Look at any note above.2. Speak its name and play it.3. Confi rm you have played it correctly with the chart below.
Äâ
æææ
E
0
tF
1
tG
3
tA
0
tB
2
tC
3
tD
0
tE
2
tF
3
tG
0
tA
2
tB
0
tC
1
tD
3
tE0
tF1
tG3
t
37
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.048
Tertian is Greek for “made of threes”. From each number in the cycle, counting the number on whichyou begin, it is three numbers to the next. Think of it as an every-other-number pattern, where after “7” you skip“1” and continue from “2”. After “6” you skip “7” and begin again at “1“.
13
5
72
4
6C
E
G
BD
F
Atertiancycle of
numbers
tertiancycle ofletters
In letters, this cycle represents the pattern of note names on “all lines” or “all spaces” in music notation:
Ä 44 tD
tF
tA
tC
tE
tG
tB
tD
tF
tA
tC
tE
æt
G
t
B
t
D
t
F
======================Ä 44 tmmmmmmm
D
tmmmmmmF
tmmmmmA
tmmmmC
tmmmmE
tmmmmG
tmmmmB
tmmmmD
tmmmmF
tmmmmA
tmmmmmC
tmmmmmmE
ætmmmmmmmG
tmmmmmmmmB
tmmmmmmmmmD
tmmmmmmmmmmF
Ä 44 tE
tG
tB
tD
tF
tA
tC
tE
tG
tB
tD
t
F
æt
A
t
C
t
E
t
G
======================Ä 44 tmmmmmmE
tmmmmmG
tmmmmB
tmmmmD
tmmmmF
tmmmmA
tmmmmC
tmmmmE
tmmmmG
tmmmmB
tmmmmmD
tmmmmmmF
ætmmmmmmmA
tmmmmmmmmmC
tmmmmmmmmmmE
tmmmmmmmmmmmG
In letters and numbers both, the tertian cycle is the pattern of letters with which harmony and chords aremade. A “C major chord“ consists of the notes “C, E, G”, which are three consecutive letters in the tertian cycle,beginning with “C”. The combination of the notes “F, A, C” also constitutes a major chord, as does “G, B, D”.Some combinations constitute a minor chord, such as “D, F, A” and “A, C, E”. Some chords use all seven letters.A complete “G13” chord consists of “G, B, D, F, A, C, E”. More details are given in the materials that follow.
Thinking in numbers, a major chord can consist of “135“, “4, 6, 1” or “5, 7, 2”, while a minor chord canconsist of “2, 4, 6”, “3, 5, 7” or “6, 1, 3”. All of these examples involve consecutive groups of numbers fromthe tertian cycle. Not all chords follow this convention, but it is the basis of chord construction and is best tolearn first. All the details of chord construction will be taught in the materials that follow.
THE TERTIAN CYCLE
38
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.049
Ä 44â 44 C
3
tD
0
tE
2
tF
3
tG
0
tA
2
tB
0
tC
1
t1
tC
0
tB
2
tA
0
tG
æææ
F
3
tE
2
tD
0
tC
3
t
Äâ
0
tA
2
tB
3
tC
0
tD
2
tE
3
tF
0
tG
2
tA
0
tB
1
tC
3
tD
0
tE
1
tF
3
tG
5
|A
Äâ 5
tA
3
tG
1
tF
0
tE
3
tD
1
tC
0
tB
2
tA
0
tG
3
tF
2
tE
0
tD
æææ3
tC
2
tB
0
|A
Speak the note names as you play.
Speak the note names as you play.
C major scalein first position
A natural minor (A Aeolian)in first position
theo 1.049 theo 1.049
39
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.090
Ä 44 | | t | t t t t t t t t t t | t t t t
Ä t t t t t | t t t t t t t t t t t t t t t
Ä t t t t t t t t t t t t t t t t t t | t t t t
Ä t t t t t t t t t t t t | t tÄ t t t t t | t t | t t | t
Ä t t t t | t t t t t t | t t t t t t t t t t t
Ä t t t t t t | | t t t t t t t t t t tÄ t t t t t t t | t t t t t t t t t | t
Ä t t t t t t | t t t t t t t t t t æt t |
Word GamesWrite the letter name under each note.
Each bar should spell a word.
theo 1.090 theo 1.090
40
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.091
Ä 44B
|E
| tA
|B
tE
tC
tA
tG
tE
tD
tA
|B
tE
tG
|G E
tG
tA
tD
t
Ä tB
tA
tD
tE
tA
|C
tE
tE
tF
tA
tC
tE
tE
tD
tG
tE
tD
tF
tA
tC
tE
Ä tE
tD
tG
tE
tD
tE
tF
tA
tC
tE
tB
tE
tA
tD
tE
tD
tC
tA
|D
tB
tE
tA
tD
Ä tB
tA
tD
tE
tB
tA
|D
tA
tD
tD
tE
tD
|A
tG
tE
Ä tF
tE
tE
tD
tB
|A
tG
tF
|E
tD
tB
|A
tD
Ä tA
tG
tE
tD
|B
tA
tG
tF
tA
tD
tE
|F
tE
tD
tF
tA
tD
tE
tD
tD
tE
tA
tD
Ä tC
tA
tF
tE
tD
tA
|D
|C
tA
tB
tC
tA
tG
tE
tD
tD
tE
tE
tD
Ä tD
tA
tB
tB
tE
tD
tD
|A
tD
tC
tA
tB
tB
tA
tG
tE
tB
|E
tE
Ä tA
tG
tE
tD
tA
tC
|E
tB
tA
tG
tE
tD
tF
tA
tD
tE
tD
ætG
tA
|G
Word Games Answers
theo 1.091 theo 1.091
41
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.102
Ä 44 | | t | t t t t t t t | t t | t t t t
Ä t t t t t | t t t t t t t t t t t t t t t
Ä t t t t t t t t t t t t t t t t t t | t t t t
Ä t t t t t t | t t t t t | t t
Ä t t t t t | t t | t t | t
Ä t t t t | t t t t t t | t t t t t t t t t t t
Ä t t t t t t | | t t t t t t t t t t t
theo 1.102 theo 1.102Word Games On Ledger LinesWrite the letter name below each note. Each bar spells a word.
42
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.103
Ä t t t t t t t | t t t t t t t t t | t
Ä t t t t t t | t t t t t t t t t t æt t |
theo 1.103 theo 1.103Word Games On Ledger Lines (continued)
43
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.104
Ä 44B
|E
| tA
|B
tE
tC
tA
tG
tEtD
tA
|B
tE
tG
|G E
tG
tA
tDt
ÄB
tA
tD
tE
t tA
|C
tE
tE
tF
tA
tC
tE
tE
tD
tG
tE
tD
tF
tA
tC
tE
ÄE
tD
tG
tE
t tD
tE
tF
tA
tC
tE
tB
tE
tA
tD
tE
tD
tC
tA
|D
tB
tE
tA
tD
ÄB
tA
tD
tE
t tB
tA
|D
tA
tD
tD
tE
tD
|A
tG
tE
Ä tF
tE
tEtD
tB
|A
tG
tF
|E
tD
tB
|A
tD
ÄA
tG
tE
tD
t |B
tA
tG
tF
tA
tD
tE
|F
tE
tD
tF
tA
tD
tE
tD
tD
tE
tA
tD
ÄC
tA
tF
tE
t tD
tA|D
|C
tA
tB
tC
tA
tG
tEtDtD
tE
tEtD
Word Games On Ledger Lines - Answerstheo 1.104 theo 1.104
44
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.105
ÄD
tA
tB
tB
tE
tD
t tD
|A
tD C
tA
tB
tB
tA
tG
tE
tB
tE
|E
t
ÄA
tG
tE
tD
t tA
tC
|E
tB
tA
tG
tE
tD
tF
tA
tD
tE
tD
ætG
tA
|G
Word Games On Ledger Lines - Answers (continued)theo 1.105 theo 1.105
45
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.250
CHORD ROOT
A chord root is the note after which a chord is named. “A” is the root of an A7 chord. “D” is the rootof a Dm7 chord. “Eb” is the root of an Eb7 chord. The root is the main note of a chord. Enlarged or circled noteson diagrams indicate chord roots.
A chord root is the lowest bass note you can imagine in a chord. In the chord below, the lowest pitchthat sounds is not the root of the chord. The bass note (on the fourth string) is “E”, but the root is “C”.
2
1
C I
The version of the chord below includes the root in the bass. The root is a “C” note, after which the chordis named.
3
2
1
C I
TONIC CHORD
The tonic chord (or “main chord”) is the chord you would expect the piece of music to end on. It is thechord which sounds most resolved in a piece of music. A tonic chord is used to give the most final sound atthe end of a piece.
I said “you would expect” the piece of music to end on the tonic chord in the previous paragraph, becausealthough the listener expects a song to end on the tonic chord, it doesn't have to. A song can end with a deceptivecadence (chord sequence) where the final chord is not the tonic chord. This type a ending is intended to “trick”the listener. Although a deceptive cadence does not produce as strong a feeling of resolution, it still can bestimulating. Likewise, songs often begin on the tonic chord, but they don’t have to.
Many recorded pieces of music have a “fade- out” ending. No distinct ending chord is played with a fade-out. I have always hated fade-out endings. I much prefer hearing the ending the band or artist would play ina live performance. The only exception would be where there is some point to fading out, such as the maincharacter in the lyric is walking off into the woods or something of that nature.
46
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.251
Here are some compositional techniques of establishing the tonic chord:
1. Use long duration or frequent occurrence of the main chord.
2. Use the root of the main chord as the continual bass note for a series of chords.
3. Progressions are typically built with groups of two or four bars. Ending with the desired tonic chordestablishes stronger tonality than beginning with it, especially where the tonic chord begins the thirdor fifth bar.
4. Use a main chord which has a strong consonance. Example “a” below is the strongest consonanceand example “c” has the weakest consonance.
a. The main chord usually has a strong tonality (is easy to establish as the main chord) in major,Dorian, Mixolydian or Aeolian mode (when major, Dorian, Mixolydian or Aeolian scales areused).
b. The main chord has a passive tonality (somewhat difficult to establish as a main chord) inPhrygian or Lydian mode (when Phrygian or Lydian scales are used).
c. The main chord has a weak tonality (quite difficult to establish as the main chord) in Locrianmode (when Locrian scale is used).
5. Use the root of the main chord in a low range of pitch.
TONE CENTER
The tone center of a piece of music is the root of the tonic chord (the chord you expect the piece to endon). If the tonic chord is Cm7, the tone center is “C.” If the tonic chord is Ebm, the tone center is “Eb.”
Cm7 III Eb IIIC
G
Bb
Eb
G
G
Bb
Eb
Eb
Whenever scales are shown on diagrams in this book, the tone centers are indicated by enlarged, circled,or “squared” notes:
47
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.252
KEY
A song is said to be in a key named after the tone center. If the tone center is “A”, the song is said to bein the key of “A”. The key may be further qualified by the scale or mode type, such as “A” major, “A” minoror “A” Mixolydian.
The term “minor” is often used loosely in key names where the song may be in any mode which has aminor chord built on the tone center (e.g., Aeolian or harmonic minor). Likewise, the term major is sometimesused in reference to any mode which has a major chord built on the tone center (e.g., Mixolydian or Phrygianmajor).
In the example below, the Am chord sounds resolved at the end. The piece is in the key of A minor.
Äâ 2
t0
t1
t3
t0
t1
t0
t4
!t4
t4
t3
# t3
" t3
t2
t0
t1
t3
t0
t1
t0
t5
t æææ0
t1
t0
t5
t012
|||Am========================Ännnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâmmmmm mmmm mmmm mmmm
2
t0
t1
t3
t mmmm mmm0
t1
t0
tmmmm mmmm mmmm4
!t4
t4
tmmmm mmmm mmmm3
# t3
" t3
tmmmm mmmmm mmmm mmmm mmmm2
t0
t1
t3
t mmmm mmm mmmm mmmmm0
t1
t0
t5
t æææ
mmmm mmm mmmm mmmmm0
t1
t0
t5
t012
|mmmmmm||Am
Elsewhere, in the same piece of music, the section below appears. It has a sense of temporarily beingin the key of E major (the specific scale it uses is E Mixolydian flat six, but the tonic chord is E, and the primarysound of the scale is E major). The E major chord sounds somewhat resolved at the end of the example. but youmight get the sense that the melody is going back to the key of A minor afterward (play the example below, thenthe example above).
ÄâΩ øΩΩ ø 2t
4
!t1
!t2
t0
t1
t0
t1
t1
!t1
t0
t1
t0
t2
t4
!t1
!t2
t0
t1
t0
t æøææø1
t1
!t1
t210
|||E
========================ÄnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâΩ øΩΩ ømmmmm mmmm mmmm mmmm
2
t4
!t1
!t2
t mmmm mmmm0
t1
t0
tmmmmmmmm mmmmm
1
t1
!t1
tmmmm mmmm mmmm0
t1
t0
tmmmm mmmmm mmmm mmmm mmmm2
t4
!t1
!t2
t mmmm mmmm0
t1
t0
tmmmm æøææø
mmmm mmmmm1
t1
!t1
tmmmm210
|mmmmmm||E
48
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
CHORD PROGRESSION
A chord progression is any sequence of chords. Typically, a chord progression is repeated during a pieceof music. Each section of the piece of music (verse, chorus, etc.) may use a different chord progression. Theremay be different versions of each chord progression. Here is a simple chord progression:
1
Am I
2
Ä 44â 44 0
12
|||000
||| æææ3
200
||||2100
|!|||================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 0
12
|mmmmmm||000
|mmmmmmm|| æææ3
200
|mmmmmmm|||
2100
|mmmmmmmm!|||
G6 I Fma7b5 I
1
2
E I
1
2
Theory 1.253
49
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.255
Become familiar with the sound of the intervals below. Changing the position in which an interval isplayed changes the names of the notes, but the interval remains the same.
OCTAVES
All 21 of the intervals below are octaves. It doesn't matter which position they are played in, sinceintervals are measurements, not specific notes.
these are octaves in the fifth position
V1
3
V1
3
V1
4
V1
4
V1
4
V1
3
V1
3
these are octaves in the sixth position
VI1
3
VI1
3
VI1
4
VI1
4
VI1
4
VI1
3
VI1
3
octaves are octaves, no matter which position you play them in
1
3
at any fret
1
3
at any fret
1
4
at any fret
1
4
at any fret
1
4
at any fret
1
3
at any fret
1
3
at any fret
PERFECT FIFTHS
All 24 of the intervals below are octaves. Like octaves, it doesn't matter which position they are playedin. Intervals are measurements, not specific notes.
these are perfect fifths in the fifth position
V1
3
V1
3
V1
3
V1
3
V1
3
V1
3
V1
3
V1
3
V1
3
EAR TRAINING
50
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
these are perfect fifths in the sixth position
VI1
3
VI1
3
VI1
3
VI1
3
VI1
3
VI1
3
VI1
3
VI1
3
VI1
3
perfect fifths are perfect fifths, no matter which position you play them in
1
3
at any fret
1
3
at any fret
1
3
at any fret
1
3
at any fret
1
3
at any fret
1
3
at any fret
1
3
at any fret
1
3
at any fret
1
3
at any fret
EAR TRAINING TEST 1.256On the CD, each interval example below will be played, then identified as a perfect fifth or octave. Listen
to each example and attempt to identify the intervals before the anwer is given. If you find this too difficult, listento the CD while reading the answers below. In the answer rows below, “fifth” means perfect fifth.
1 2 3 4 5 6 7 8 9 10octave octave fifth fifth octave octave fifth octave fifth fifth
V1
3
V1
3
V1
3
V1
3
V1
4
V1
4
V1
3
V1
4
V1
3
V1
3
11 12 13 14 15 16 17 18 19 20fifth octave fifth octave octave fifth fifth octave octave octave
V1
3
V1
3
V1
3
V1
3
V1
3
V1
3
V1
3
V1
3
V1
4
V1
4
21 22 23 24 25 26 27 28 29 30fifth octave fifth fifth octave octave octave fifth octave fifth
V1
3
V1
4
V1
3
V1
3
V1
3
V1
4
V1
3
V1
3
V1
4
V1
3
Theory 1.256
51
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
MAJOR AND MINOR CHORDS
A chord is the simultaneous sounding of two or more different notes. Most often, a chord has three ormore different notes. Chords with three different notes are called triads. The most common triads are majorand minor.
The major chord below combines “C”, “E”, and “G” notes. Although there are five notes in the chord,there are only three different notes. The names of the notes are shown below the strings (C, E, G, C, E).
3
2
1
C I
C E G C E
Each chord has a root name. The root of a “C” major chord is “C”, and the root of a “D” major chordis “D”. The quality of both of them is major. Major chords express happiness, while minor chords expresssadness. To experience this, play the A major and A minor chords and the D major and D minor chords below.The chord name “D” abbreviates the full chord name “D major chord”, and the chord name “Dm” abbreviatesthe full chord name “D minor chord”.
1
Am I
324
A I
32 2
D I
3
1
Dm I
1
2
3
these are major chords
3
2
1
C I
2
1
G I
3 4
2
D I
3
1 4
A I
32
1
E I
32
these are minor chords
Cm I
1
3
Gm I
4
1
3
Dm I
1
2
3
1
Am I
32
Em I
32
Theory 1.257
52
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
EAR TRAINING TEST 1.258On the CD, each chord example below will be played, then identified as a major or minor chord. Listen
to each example and attempt to identify the chords before the anwer is given. If you find this too difficult, listento the CD while reading the answers below.
1 2 3 4 5 6 7 8 9 10minor major major minor minor major major minor minor minor
Em I
32 2
D I
3
1
3
2
1
C I
1
Am I
32
Gm I
4
1
3
1
E I
32
2
1
G I
3 4
Gm I
4
1
Cm I
1
3
Em I
32
11 12 13 14 15 16 17 18 19 20major major minor minor major minor minor minor major major
2
D I
3
1 4
A I
32
Dm I
1
2
3
1
Am I
32
2
1
G I
3 4
1
Am I
32
Cm I
1
3
Gm I
4
1
3 3
2
1
C I
1
E I
32
21 22 23 24 25 26 27 28 29 30major major minor minor major minor minor minor major major
3
2
1
C I
2
1
G I
3 4
Dm I
1
2
3
1
Am I
32
1
E I
32
Em I
32
Gm I
4
1
3
Dm I
1
2
3
4
A I
32 4
A I
32
Theory 1.258
53
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.290
Ä ! 44â 44
3
tG
0
tA
2
tB
3
tC
0
tD
2
tE
4
tF#
0
tG
2
tA
0
tB
1
tC
3
tD E
0
tF#
2
tG3
|
Ä !â 3
tG
2
tF#
0
tE
3
tD
1
tC
0
tB
2
tA
0
tG
4
tF#
2
tE
0
tD
3
tC
æææ2
tB
0
tA
3
|G
Ä !
â0
tE
2
tF#
3
tG
0
tA
2
tB
3
tC
0
tD
2
tE
4
tF#
0
tG
2
tA
0
tB
1
tC
3
tD
0
|E
Ä !â 0
tE
3
tD
1
tC
0
tB
2
tA
0
tG
4
tF#
2
tE
0
tD
3
tC
2
tB
0
tA
æææ3
tG
2
tF#
0
|E
Speak the note names as you play.
Speak the note names as you play.
G major scalein first position
E natural minor (E Aeolian)in first position
theo 1.290 theo 1.290
54
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.420
Ä " 44â 44
F1
1
tG2
3
tA3
0
tBb
4
1
t3
tC5
0
tD6
2
tE7
3
tF1
0
tG2
2
tA3
3
tBb
4
1
tC5
D6
3
tE70
tF11
|
Ä "â
F71
tE60
tD5
3
tC4
1
tBb
3
t3
A
2
t2
G
0
t1
F
3
t1
2
tE7
0
tD6
3
tC5
1
tBb
4
æææ0
tA3
3
tG2
1
|F1
Ä " 44â 44
D61
0
tE72
2
tF1
b3
3
tG24
0
tA3
2
t5
Bb4
3
tb6
C5
1
tb7
D6
3
t1
Ä "
âD61
3
tC5
b7
1
tBb
4b6
3
tA35
2
t æææ
G2
0
t4
F1
3
tb3
E7
2
t2
D6
0
t1
Speak the note names as you play.
letter names:
numbered tones:
Speak the note names as you play.
letter names:
numbers in F:numbers in D:
F major scalein first position
D natural minor (D Aeolian)in first position
theo 1.420 theo 1.420
55
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.450
Ä 34
â 34names:fingers:
E0
0
tF1
1
tG2
3
t1
A4
5
tB1
7
tC2
8
tD4
10
tE1
12
tF2
13
t æ
ææG4
15
«|
Ä
â A0
0
tB1
2
tC2
3
t5
D4
5
tE1
7
tF2
8
tG4
10
tA1
12
tB3
14
t æ
ææ15
«|C4
Ä
â D0
0
tE1
2
tF2
3
t9
G4
5
tA1
7
tB3
9
tC4
10
tD1
12
tE3
14
t æ
ææ15
«|F4
Ä
â G0
0
tA1
2
tB3
4
t13
C4
5
tD1
7
tE3
9
tF4
10
tG1
12
tA3
14
t æ
ææ16
«|B4
II position VII position XII position
II position VII position XII position
II position VII position XII position
II position VII position XII position
Linear Notes On Each String cp 1.450cp 1.450
56
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.451
Ä 34
â 34fingers:names: B
0
0
tC1
1
tD2
3
t17
E4
5
tF1
6
tG2
8
tA4
10
tB1
12
tC2
13
tæ
ææD4
15
«|
Ä
â E0
0
tF1
1
tG2
3
t21
A4
5
tB1
7
tC2
8
tD4
10
tE1
12
tF2
13
tæ
ææ15
«|
G4
Ä 44
â 448
tC1
10
tD1
12
tE3
13
tF4
25
10
tG1
12
tA1
14
tB3
15
tC4
14
tB3
12
tA1
10
tG1
13
tF4
æ
ææ12
tE3
10
tD1
8
|C1
Ä 44
â 443
tG1
5
tA1
7
tB3
8
tC4
29
5
tE1
7
tD1
8
tF2
10
tG4
8
tF2
7
tE1
5
tD1
8
tC4
æ
ææ7
tB3
5
tA1
3
|G1
II position VII position XII position
II position VII position XII position
C major scale
G Mixolydian Scale
Linear Notes On Each String (continued) cp 1.451cp 1.451
57
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.452
Ä 34
â 34 E0
0
tF1
1
tG3
3
t33
0
tA0
2
tB2
3
tC3
0
tD0
2
tE2
3
tF3
0
tG0
2
tA2
0
tB0
1
tC1
3
tD3
0
tE0
æ
ææF1
1
tG3
3
|
Ä 34â 34 E
1
12
tF2
13
tG4
15
t39
A1
12
tB3
14
tC4
15
t
12
tD1
14
tE3
15
tF4
12
tG1
14
tA3
12
tB1
13
tC2
15
tD4
12
tE1
æ
ææF2
13
t
G4
15
|
Ä 34
â 34 B1
7
tC2
8
tD4
10
t45
E1
7
tF2
8
tG4
10
tA1
7
tB3
9
tC4
10
tD1
7
tE3
9
tF4
6
tG2
8
tA4
10
tB1
7
tC2
t
8
D4
|
10
Ä 34â 34
1
t3
t5
t51
2
t3
t5
t2
t3
t5
t2
t4
t1
t3
t5
t1
t æææ1
t3
t5
t
C
G I
CE
EE
F
GG
F
A D B
DFB A
open position notes
C
G
XII
CE
EE
F
GG
F
A D B
DFB A
At first, play the notes below with the index finger barring the twelfth fret, so you can associate them with the notes in open position. Once you have begun to memorize the note names, finger the notes with the index finger moving to each string as needed. Since the lowest reachable note in this fingering is the rhird step of the C major scale, this is called "fingering 3."
G
D
VII
GB
BB
C
DD
C
E A
AC
F
EF
Play these natural notes at the seventh fret (seventh position). Notice that there is no notefreted with the first finger on the second string. Since the lowest reachable note in this fingering is the seventh step of the C major scale, this is called "fingering 7."
D
A
I
D
F
F
G
AA
G
B E
EG
C
B
C
FPlay these natural notes at the first fret (second position, since the hand mainly plays with the first finger at the second fret). Since the lowest reachable note in this fingering is the fourth step of the C major scale, this is called "fingering 4."
Linear Notes On Each String (continued) cp 1.452cp 1.452
58
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Ä !! 44â 44
D
0
t1
E
2
t2
F#
4
t3
G
0
t4
A5
2
tB6
0
tC#
7
2
tD1
3
t
Ä !!â
D
3
t1
C#
2
t7
B
0
t6
A
2
t5
æææ0
tG4
4
tF#3
2
tE2
0
tD1
Ä !! 44â 44
B6
2
t1
C#7
4
t2
D1
0
tb3
E2
2
t4
æææ4
tF#35
0
tG4
6b6
2
tA5
b7
0
tB61
Ä !!â
B6
0
t1
A5
2
tb7
G4
0
tb6
F#3
4
t5
æææ2
tE24
0
tD1
b3
4
tC#
72
2
tB61
Speak the note names as you play.
Speak the note names as you play.
D major scalein first position
B natural minor (B Aeolian)in first position
theo 1.527 theo 1.527
Theory 1.527
59
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.535
EAR TRAINING
Become familiar with the sound of the intervals below. Changing the position in which an interval isplayed changes the names of the notes, but the interval remains the same.
MAJOR THIRDS
All 22 of the intervals below are major thirds (the four rows of diagrams below). It doesn't matter whichposition they are played in, since intervals are measurements, not specific notes. They can occur on two adjacentstrings, or on a single string.
these are major thirds in the fifth position
V1
2
V1
2
V11
V
2
1
1
4
V1
4
V1
4
V1
4
V1
4
V1
4
V
major thirds are major thirds, no matter which position you play them in
1
2
at any fret1
2
at any fret1
2
at any fret11
at any fret
2
1
at any fret
1
4
at any fret at any fret1
4
at any fret1
4
at any fret1
4
at any fret1
4
at any fret1
4
60
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.536
MINOR THIRDS
All 22 of the intervals below are minor thirds (the four rows of diagrams below). It doesn't matter whichposition they are played in. Intervals are measurements, not specific notes. They can occur on two adjacentstrings, or on a single string.
these are minor thirds in the fifth position
V1
3
V1
3
V1
3
V1
2
V1
3
V1
4
V1
4
V1
4
V1
4
V1
4
V1
4
minor thirds are minor thirds, no matter which position you play them in
1
3
at any fret1
3
at any fret1
3
at any fret1
2
at any fret1
3
at any fret
1
4
at any fret1
4
at any fret1
4
at any fret1
4
at any fret1
4
at any fret1
4
at any fret
EAR TRAINING TEST 1.536On the CD, each interval example below will be played, then identified as a major third or minor third.
Listen to each example and attempt to identify the intervals before the anwer is given. If you find this too difficult,listen to the CD while reading the answers below. In the answer rows below, “maj 3” means major third and“min 3” means minor third.
1 2 3 4 5 6 7 8 9 10maj 3 min 3 maj 3 min 3 maj 3 min 3 maj 3 maj 3 min 3 min 3
1
4
V V1
4
1
4
V V
1
4
1
4
V V
1
3
V1
2
1
4
V V
1
3
V1
4
61
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.537
11 12 13 14 15 16 17 18 19 20min 3 min 3 maj 3 min 3 min 3 maj 3 min 3 maj 3 maj 3 maj 3
V1
2
V1
4
1
4
V V
1
3
V1
3
1
4
V V
1
3
V1
2
1
4
V V
1
2
21 22 23 24 25 26 27 28 29 30min 3 maj 3 min 3 maj 3 min 3 maj 3 min 3 min 3 min 3 min 3
V1
4
1
4
V V
1
4
V1
2
V1
4
V1
2
V1
3
V1
3
V1
3
V1
2
EAR TRAINING TEST 1.537review octave, perfect fifth, major third and minor third
On the CD, each interval example below will be played, then identified. Listen to each example andattempt to identify the intervals before the anwer is given. If you find this too difficult, listen to the CD whilereading the answers below. You may want to review the previous ear training on octaves and perfect fifths.
1 2 3 4 5 6 7 8 9 10octave maj 3 min 3 maj 3 octave fifth min 3 octave maj 3 maj 3
V1
3
V1
2
V1
4
1
4
V V1
3
V1
3
V1
3
V1
4
1
4
V V
1
2
11 12 13 14 15 16 17 18 19 20fifth octave maj 3 min 3 octave maj 3 min 3 maj 3 maj 3 fifth
V1
3
V1
3
1
4
V V
1
3
V1
4
1
4
V V
1
3
V1
2
1
4
V V1
3
21 22 23 24 25 26 27 28 29 30octave maj 3 octave min 3 min 3 maj 3 fifth octave min 3 min 3
V1
4
1
4
V V1
3
V1
3
V1
4
V1
2
V1
3
V1
4
V1
3
V1
2
62
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.538
MAJOR, MINOR AND DIMINISHED CHORDS AND ARPEGGIOS
A major chord consists of the first, third and fifth tone of a major scale. A minor chord consists of athefirst, a flatted third (lowered in pitch by one fret) and fifth tone of a major scale. A diminished chord consistsof the first, a flatted third and a flatted fifth tone of a major scale. When a chord is played one note at a time itis an arpeggio. When the tones of an arpeggio are played simultaneously, they make a chord.
G major scale and G major chord
2
1
G III
3
G major scale II
4
2
1
2
4
1
4
3
Ä 44â 44
fingers: 4scale tones:
5
t1
1
2
t2
3
4
t3
4
5
t4
3
t25
5
t46
2
!t17
3
t21
æææ5
t31
4
t23
3
t15
345
ttt========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
fingers: 4scale tones:
5
tmmmm1
1
2
tmmmm2
3
4
tmmmm3
4
5
tmmmm4
3
tmmmm25
5
tmmmm46
2
!tmmmm17
3
tmmmm21
æææ5
tmmmm31
4
tmmmm23
3
tmmmm15
345
tmmmmmmtt
G major scale and G minor chord
1 1
Gm III
3
G major scale II
4
2
1
2
4
1
4
3
Ä 44â 44
fingers: 4scale tones:
5
t1
1
2
t2
3
4
t3
4
5
t4
3
t25
5
t46
2
!t17
3
t21
æææ
31
5
t1
b3
3
" t15
3
t335
ttt========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
fingers: 4scale tones:
5
tmmmm1
1
2
tmmmm2
3
4
tmmmm3
4
5
tmmmm4
3
tmmmm25
5
tmmmm46
2
!tmmmm17
3
tmmmm21
æææ
31
5
tmmmm1
b3
3
" tmmmm15
3
tmmmm335
tmmmmmmtt
G major scale and G diminished chord
2
1
G dim. II
4
G major scale II
4
2
1
2
4
1
4
3
Ä 44â 44
fingers:
scale tones:
5
t41
2
t12
4
t33
5
t44
3
t25
5
t46
2
!t17
3
t21
æææ
41
5
t2
b3
3
" t1
b5
2
" t235
ttt========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
fingers:
scale tones:
5
tmmmm41
2
tmmmm12
4
tmmmm33
5
tmmmm44
3
tmmmm25
5
tmmmm46
2
!tmmmm17
3
tmmmm21
æææ
41
5
tmmmm2
b3
3
" tmmmm1
b5
2
" tmmmm235
tmmmmmmtt
63
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.539
these are major chords
3
2
1
C I
2
1
G I
3 4
2
D I
3
1 4
A I
32
1
E I
32
these are minor chords
Cm I
1
3
Gm I
4
1
3
Dm I
1
2
3
1
Am I
32
Em I
32
these are diminished chords
C dim. III
1
4
32
G dim. I
12 3
D dim. I
3
1 1
A dim. I
13
2
E dim. I
12
EAR TRAINING TEST 1.539major, minor and diminished chords
On the CD, each chord example below will be played, then identified. Listen to each example and attemptto identify the major, mnor or diiminshed chord quality before the anwer is given. If you find this too difficult,listen to the CD while reading the answers below. You may want to review the previous ear training on majorand minor chords.
1 2 3 4 5 6 7 8 9 10major minor diminished minor major minor major diminished minor major
3
2
1
C I Gm I
4
1
3
C dim. III
1
4
32
Dm I
1
2
3
1
E I
32
Cm I
1
3
4
A I
32
A dim. I
13
2 1
Am I
32 2
D I
3
1
11 12 13 14 15 16 17 18 19 20diminished major diminished diminished diminished major min 3 major diminished diminished
C dim. III
1
4
32
1
E I
32
G dim. I
12 3
D dim. I
3
1 1
A dim. I
13
2
3
2
1
C I E dim. I
12
2
1
G I
3 4
G dim. I
12 3
D dim. I
3
1 1
21 22 23 24 25 26 27 28 29 30major diminished minor major minor minor minor minor minor major
4
A I
32
D dim. I
3
1 1
Gm I
4
1
3 2
1
G I
3 4
1
Am I
32
Em I
32
Gm I
4
1
3
Dm I
1
2
3
1
Am I
32 2
D I
3
1
64
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.590
Ä "" 44â 44
Bb
1
t1
C
3
t2
D
0
t3
Eb
1
t4
F5
3
tG6
0
tA7
2
tBb
1
3
t
Ä ""â Bb
3
t1
A
2
t7
G
0
t6
F
3
t5
æææ1
tEb
4
0
tD3
3
tC2
1
tBb
1
Ä "" 44â 44
G61
3
tA72
0
tBb
1b3
1
tC24
3
t0
tD35
1
tEb
4b6
3
tF5
b7
0
tG61
A
2
t72
Bb
3
t1
b3
C
1
t24
D
3
t35
4
tEb
4b6
1
tF5
b73
|G61
Ä ""
âG613
tF5
b71
tEb
4b6
4
tD35
3
t
1
tC24
3
tBb
1b3
2
tA72
0
tG61
3
tF5
b7
1
tEb
4b6
0
tD35
3
tC24
æææ1
tBb
1b3
0
tA72
3
|G61
Speak the note names as you play.
Speak the note names as you play.
Bb major scalein first position
G natural minor (G Aeolian)in first position
theo 1.590 theo 1.590
65
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.636
Ä !!! 44â 44 1
0
tA
2
2
tB
3
4
tC#
4
0
tD
2
t5E
4
t6
F#
1
t7
G#
2
t1A
0
t2B
2
t3
C#
3
t4D
0
t5E
6F#
2
t7
G#
4
t1A
5
|
Ä !!!
â 5
t1A
4
t7
G#
2
t6
F#
0
t5E
3
t4D
2
t3
C#
0
t2B
2
t1A
1
t7
G#
4
t6
F#
2
t5E
0
t4D
æææ4
t3
C#
2
t2B
0
|1A
Ä !!! 44
â 44 16
F#
2
t27
G#
4
tb31A
0
t42B
2
t5
4
t3
C#
b6
0
t4D
b7
2
t5E
1
4
t6
F#
1
t27
G#
2
tb31A
0
t42B
2
t53
C#
3
tb64D
0
tb75E
2
|16
F#
Ä !!!
â 12
t6
F#
b70
t5E
b6
3
t4D
5
2
t3
C#
0
t42B
2
tb31A
1
t27
G#
4
t16
F#
2
tb75E
0
tb64D
4
t53
C#
2
t42B
æ
ææ0
tb31A
4
t27
G#
2
|16
F#
Speak the note names as you play.
letter names:
numbers in A:
Speak the note names as you play.
numbers in F#:
numbers in A:
letter names:
A major scalein first position
F# natural minor (F# Aeolian)in first position
theo 1.636 theo 1.636
66
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Ä !!!! 44â 44
E1
0
tF#2
2
tG#
3
4
tA4
0
tB5
2
tC#
6
4
tD#
7
1
tE1
2
tF#2
4
tG#
3
1
tA4
2
tB5
0
tC#
6
2
tD#
7
4
tE10
|
Ä !!!!
â E10
tD#
7
4
tC#
6
2
tB5
0
tA4
2
tG#
3
1
tF#2
4
tE1
2
tD#
7
1
tC#
6
4
tB5
2
tA4
0
t æææ
G#3
4
tF#2
2
tE1
0
|
Ä !!!! 44
â 44C#
61
4
tD#
72
1
tE1
b3
2
tF#24
4
tG#
35
1
tA4
b6
2
tB5
b7
0
tC#
61
2
t
Ä !!!!
âC#
61
2
tB52
0
tA4
b3
2
tG#
34
1
t æ
ææF#25
4
tE1
b6
2
tD#
7b7
1
tC#
61
4
t
Speak the note names as you play.
letter names:
Speak the note names as you play.
letter names:
numbers in E:
numbers in C#:
E major scalein first position
C# natural minor (C# Aeolian)in first position
theo 1.680 theo 1.680
Theory 1.710
67
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.710
MAJOR SCALE INTERVALSThe major scale is familiar to most of us. At sometime in our childhood most of us had some exposure to
it as the “do, re, me” scale. In the solfeggio system (solfeggio in Italian, solfége in French), the intervals of the major scale are labeled with the syllables “do, re, me, fa, sol, la, ti”. Here is a C major scale, played entirely on the fi fth string and labeled both with the solfeggio syllables and the numbers 1 through 7:
Ä 44â 44
3
t1do
5
t2re
7
t3
me
8
t4fa
10
t5
sol
12
t6la
14
t7ti
15
t1
do
15
t1
do
14
t7ti
12
t6la
10
t5
sol
æææ
4fa
8
t3
me
7
t2re
5
t1
do
3
t========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
3
tmmmm1do
5
tmmmm2re
7
tmmmm3
me
8
tmmmm4fa
10
tmmmm5
sol
12
tmmmm6la
14
tmmmm7ti
15
tmmmm1do
15
tmmmm1do
14
tmmmm7ti
12
tmmmm6la
10
tmmmm5
sol
æææ
4fa
8
tmmmm3
me
7
tmmmm2re
5
tmmmm1do
3
tmmmmnumbered
tones:solfeggio:
The example above was given on a single string to illustrate the intervals that make up the major scale. A whole step is an interval of two frets (not counting the one on which you begin). A half step is an inteval of two frets (not counting the one on which you begin).
As you can see in the example above, major scale tones three up to four and seven up to one are a half step apart. All other consecutive major scale tones (1 to 2, 2 to 3, 4 to 5, 5 to 6 and 6 to 7) are a whole step apart.
The intervals between natural notes in alphabetical order also have two half steps: B to C and E to F. In the example below, the natural notes from “A” to A” are played on the sixth string. Notice that the musical alphabet begins again with “A” after “G”. All of the alphabetically consecutive notes (A to B, C to D, D to E, F to G and G to A) are a whole step apart, except B to C and E to F.
Ä 44â 44 A
5
tB
7
tC
8
tD
10
t12
tE
13
tF
15
tG
17
tA
17
tA
15
tG
13
tF
12
tE
æææ10
tD
8
tC
7
tB
5
tA
========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 A
5
tmmmmmB
7
tmmmmC
8
tmmmmD
10
tmmmm12
tmmmmE
13
tmmmmF
15
tmmmmG
17
tmmmmA
17
tmmmmA
15
tmmmmG
13
tmmmmF
12
tmmmmE
æææ10
tmmmmD
8
tmmmmC
7
tmmmmB
5
tmmmmmA
letternames:
The C major scale is the only one which aligns the half steps at 3 to 4 and 7 to 1 with the half steps between B and C and between E and F. C major scale tones three and four are “E” and “F”, which are a half step apart both in regard to the intervals between the letters and in regard to the intervals of the major scale. Likewise, C major scale tones seven and one (ascending) are “B” and “C”, which are a half step apart both in regard to the intervals between the letters and in regard to the intervals of the major scale.
Every major scale except C major requires alteration of one or more notes to align the letter names with the major scale pattern. These alterations are called accidentals. The three common accidentals are (1) sharp, which raises a note one half step; (2) fl at, which lowers a note one half step; and (3) natural, which cancels previous sharps and fl ats.
68
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.711
The symbols for accidentals are: “” for sharp, “” for fl at and “” for natural. In typesetting, the number symbol () is often substituted for the sharp, and the lowercase “” substituted for the fl at.
String diagrams will be used to illustrate the intervals between tones of the major scale and between the letter-named notes of the musical alphabet. The vertical lines each represent a string, positioned with the head of the guitar above the top end of the string image. The horizontal lines represent frets.
string diagram
string
frets
The string diagrams below illustrate the intervals of the major scale and the necessary alterations to adjust the intervals implied by the letter names of notes. Thick horizontal lines illustrate the frets at which you would play notes.
Ä 44â 44
3
t1do
5
t2re
7
t3
me
8
t4fa
10
t5
sol
12
t6la
14
t7ti
15
t1
do
15
t1
do
14
t7ti
12
t6la
10
t5
sol
æææ
4fa
8
t3
me
7
t2re
5
t1
do
3
t========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
3
tmmmm1do
5
tmmmm2re
7
tmmmm3
me
8
tmmmm4fa
10
tmmmm5
sol
12
tmmmm6la
14
tmmmm7ti
15
tmmmm1do
15
tmmmm1do
14
tmmmm7ti
12
tmmmm6la
10
tmmmm5
sol
æææ
4fa
8
tmmmm3
me
7
tmmmm2re
5
tmmmm1do
3
tmmmmnumbered
tones:solfeggio:
The C major scale on the string diagram below illustrates this C major scale shown in music notation and tablature above. The major scale intervals line up perfectly with the letters “C” through “C” to make the C major scale. Notice that the half step between major scale tones three and four aligns with the half step between E and F. Likewise, the half step between major scale tones seven and eight aligns with the half step between B and C.
The letters “G” through “G”, however do not align to make a major scale. The “F” note of the “G through G alphabetically” diagram is one fret higher on the diagram (which would be one half step lower in pitch) than the major scale tone “7” on the “major scale intervals” diagram next to it. To correct this, F can be raised in pitch,
69
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.712
or sharped. Raising the pitch would place an “F#” one fret lower on the diagram (which is one fret higher in pitch).
1 do
2 re
3 me
4 fa
5 sol
6 la
7 ti
1 do
C
D
E
A
B
C
F
G
G
A
B
C
D
E
G
F
1 do
2 re
3 me
4 fa
5 sol
6 la
7 ti
1 do
G
A
B
C
D
E
F#
G
1 do
2 re
3 me
4 fa
5 sol
6 la
7 ti
1 do
majorscale intervals
C majorscale
majorscale intervals
G through G,alphabetically
majorscale intervals
G majorscale
In the diagrams below, the “B” note of the “F through F alphabetically” diagram is one fret lower on the diagram (which would be one half step higher in pitch) than the major scale tone “4” on the “major scale intervals” diagram next to it. To correct this, B can be lowered in pitch, or fl atted. Lowering the pitch would place a “Bb” one fret higher on the diagram (which is one fret lower in pitch).
F
G
A
B
C
D
F
E
1 do
2 re
3 me
4 fa
5 sol
6 la
7 ti
1 do
majorscale intervals
F through F,alphabetically
majorscale intervals
F majorscale
F
G
A
Bb
C
D
F
E
1 do
2 re
3 me
4 fa
5 sol
6 la
7 ti
1 do
70
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.760
Ä !!!!! 44
â 44B1
2
2
tC#
2
4
4
tD#
3
1
1
tE4
2
2
t
4
tF#5
4
1
tG#
6
1
3
tA#
7
3
4
tB1
4
2
tC#
2
1
4
tD#
3
3
5
tE4
4
2
tF#5
1
G#6
1
4
tA#
7
3
6
tB1
4
7
|
Ä !!!!!
âB1
4
7
tA#
7
3
6
tG#
6
1
4
tF#5
1
2
t
5
tE4
4
4
tD#
3
3
2
tC#
2
1
4
tB1
4
A#7
3
3
tG#
6
1
1
tF#5
4
4
tE4
2
2
t æ
ææ1
tD#
3
1
4
tC#
2
4
2
|B1
2
Ä !!!!! 44
â 44G#
6
1
4
4
tA#
7
2
1
1
tB1
b3
2
2
tC#
2
4
4
4
t
1
tD#
3
5
1
2
tE4
b6
2
4
tF#5
b7
4
1
tG#
6
1
1
3
tA#
7
2
3
4
tB1
b3
4
2
tC#
2
4
1
4
tD#
3
5
3
E4
b6
4
5
tF#5
b7
1
2
tG#
6
1
3
4
|
Ä !!!!!
âG#
6
1
3
4
tF#8
b7
1
2
tE4
b6
4
5
tD#
3
5
3
4
t
2
tC#
2
4
1
4
tB1
b3
4
3
tA#
7
2
3
1
tG#
6
1
1
4
tF#8
b7
4
2
tE4
b6
2
1
tD#
3
5
1
4
tC#
2
4
4
æ
ææ2
tB1
b3
2
1
tA#
7
2
1
4
|G#
6
1
4
Speak the note names as you play.
numbers in B:
letter names::
fingers:
Speak the note names as you play.
letter names::
numbers in B:
numbers in G#:fingers:
letter names::
numbers in B:
numbers in G#:
fingers:
B major scalein first position
G# natural minor (G# Aeolian)in first position
theo 1.760 theo 1.760
71
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.830
EAR TRAININGBecome familiar with the sound of the intervals below. Changing the position in which an interval is
played changes the names of the notes, but the interval remains the same.
MINOR SECOND (ALSO CALLED HALF STEP)AND MAJOR SECOND (ALSO CALLED WHOLE STEP)
Here are the fingerings for half and whole steps. Play them and become familiar with their sound. Thewhole step is a dissonant or disturbing interval. The half step is a very dissonant or disturbing interval.
2
4
4
1 1 1
minor second on 1 stringmay be on any string,
at any position,with any fingers
3
1
major second on 1 stringmay be on any string,
at any position,with any fingers
minor second on 2 stringsmay be on adjacent pair of strings
except NOT the second and third strings,at any position, with any fingers
4
1
major second on 2 stringsmay be on adjacent pair of strings
except NOT the second and third strings,at any position, with any fingers
minor second on 2 stringsthe unique fingering
on the second and third strings,at any position, with any fingers
3
1
major second on 2 stringsthe unique fingering
on the second and third strings,at any position, with any fingers
EAR TRAINING TEST 1.830
On the CD, each interval example below will be played, then identified as a minor second or majorsecond. Listen to each example and attempt to identify the intervals before the anwer is given. If you find thistoo difficult, listen to the CD while reading the answers below.
1 2 3 4 5 6 7 8 9 10min 2 min 2 maj 2 min 2 maj 2 min 2 maj 2 min 2 min 2 min 2
1
V
2
1
V
4
1
V
3
1
V
4
1
V
4
1
V
4
1
V
4
1
V
4
1
V
2
1
V
4
72
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
11 12 13 14 15 16 17 18 19 20maj 2 min 2 maj 2 min 2 maj 2 min 2 maj 2 min 2 maj 2 maj 2
1
V
4
1
V
4
1
V
3
1
V
4
1
V
4
1
V
4
1
V
4
1
V
4
1
V
4
1
V
3
EAR TRAINING TEST 1.831
review octave, perfect fifth, major third, minor third, minor second, major second
On the CD, each interval example below will be played, then identified. Listen to each example andattempt to identify the intervals before the anwer is given. If you find this too difficult, listen to the CD whilereading the answers below. You may want to review the previous ear training lessons.
1 2 3 4 5 6 7 8 9 10octave min 2 min 3 min 2 min 2 maj 2 fifth octave maj 2 maj 3
V1
3
1
V
4
V1
4
1
V
4
1
V
4
1
V
4
V1
3
V1
4
1
V
3
V1
2
11 12 13 14 15 16 17 18 19 20maj 3 octave fifth octave maj 2 maj 3 min 3 maj 2 maj 3 fifth
V1
2
V1
3
V1
4
V1
3
1
V
4
1
4
V V
1
3
1
V
3
1
4
V V1
3
21 22 23 24 25 26 27 28 29 30fifth min 2 octave min 3 min 3 min 2 fifth maj 2 min 3 min 3
V1
4
1
V
4
V1
3
V1
2
V1
4
1
V
2
V1
3
1
V
4
V1
3
V1
2
31 32 33 34 35 36 37 38 39 40maj 3 maj 2 octave min 3 min 3 min 2 fifth maj 2 maj 3 min 3
V1
2
1
V
4
V1
3
V1
3
V1
4
1
V
2
V1
3
1
V
4
V1 1
V1
2
Theory 1.831
73
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
SUSPENDED FOURTH CHORDS AND ARPEGGIOS
A suspended fourth chord consists of the first, fourth and fifth tone of a major scale. Think of it as a majoror minor chord with a fourth replacing the third. When a chord is played one note at a time it is an arpeggio.When the tones of an arpeggio are played simultaneously, they make a chord.
G major scale and G suspended fourth chord
4
1
G sus.4 III
3
G major scale II
4
2
1
2
4
1
4
3
Ä ! 44â 44 5
t4
1
2
t1
2
4
t3
3
1
t4
4
3
t2
5
5
t4
6
2
t1
7
3
t2
1
æææ5
t3
1
5
t4
4
3
t1
5
355
ttt========================Ä ! 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 5
tmmmm4
1
2
tmmmm1
2
4
tmmmm3
3
1
tmmmm4
4
3
tmmmm2
5
5
tmmmm4
6
2
tmmmm1
7
3
tmmmm2
1
æææ5
tmmmm3
1
5
tmmmm4
4
3
tmmmm1
5
355
tmmmmmmttfingers:
scale tones:
these are suspended fourth chords
C sus. 4 I
3
1
4 2
1
G sus. 4 I
4
1
3
D sus. 4 I
4
3
4
A sus. 4 I
2 3 4
E sus. 4 I
2
these are major chords
3
2
1
C I
2
1
G I
3 4
2
D I
3
1 4
A I
32
1
E I
32
these are minor chords
Cm I
1
3
Gm I
4
1
3
Dm I
1
2
3
1
Am I
32
Em I
32
these are diminished chords
C dim. III
1
4
32
G dim. I
12 3
D dim. I
3
1 1
A dim. I
13
2
E dim. I
12
Theory 1.832
74
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
EAR TRAINING TEST 1.833major, minor and diminished chords
On the CD, each chord example below will be played, then identified. Listen to each example and attemptto identify the major, mnor, diiminshed and suspended fourth chord quality before the anwer is given. If youfind this too difficult, listen to the CD while reading the answers below. You may want to review the previousear training.
1 2 3 4 5 6 7 8 9 10sus. 4 minor sus. 4 major diminished major sus. 4 sus. 4 sus. 4 diminished
3 4
E sus. 4 I
2
1
Am I
32
C sus. 4 I
3
1
4
2
D I
3
1
C dim. III
1
4
323
2
1
C I C sus. 4 I
3
1
4
1
3
D sus. 4 I
4
3 4
E sus. 4 I
2
G dim. I
12 3
11 12 13 14 15 16 17 18 19 20major sus. 4 minor sus. 4 minor sus. 4 diminished diminished sus.4 major
2
D I
3
1 1
3
D sus. 4 I
4
Dm I
1
2
3 2
1
G sus. 4 I
4
Gm I
4
1
3 2
1
G sus. 4 I
4
C dim. III
1
4
32
E dim. I
12
2
1
G sus. 4 I
4
4
A I
32
21 22 23 24 25 26 27 28 29 30diminished sus. 4 major minor sus. 4 minor minor minor major sus.4
D dim. I
3
1 13
4
A sus. 4 I
2
3
2
1
C I Em I
32 1
3
D sus. 4 I
4
Gm I
4
1
3
Dm I
1
2
3
1
Am I
32 2
D I
3
1 3 4
E sus. 4 I
2
31 32 33 34 35 36 37 38 39 40major minor minor sus. 4 sus. 4 diminished sus.4 major minor sus.4
2
D I
3
1
Dm I
1
2
3
Em I
32 1
3
D sus. 4 I
4
1
3
D sus. 4 I
4
C dim. III
1
4
322
1
G sus. 4 I
4 3
2
1
C I Gm I
4
1
3
C sus. 4 I
3
1
4
Theory 1.833
75
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.846
PREPARATION FOR MAJOR SCALE CONSTRUCTION
You will need to know (1) how to fi nger half steps and whole steps; (2) how to assign numbers to the major scale; and (3) where half steps occur in the major scale.
FINGERING HALF STEPS AND WHOLE STEPS: THERE ARE THREE WAYS TO FINGER EACH.
Fingering Half Steps And Whole Steps On A Single String.
On a single string, half steps are one fret apart (not counting the fret on which you begin). The half step may be fi ngered with any combination of fi ngers, but usually with two consecutive fi ngers.
Regardless of which single string the half step is fi ngered on, and regardless of which position it is fi ngered in (regardless of which fret at which it is played), the interval is the same.
2
half step I1
2
half step II1
2
half step III1
2
half step IV1
2
half step V1
2
half step at any fret1
3
half step I2
3
half step II2
3
half step III2
3
half step IV2
3
half step V2
3
half step at any fret2
4
half step I3
4
half step II3
4
half step III3
4
half step IV3
4
half step V3
4
half step at any fret3
half step I1
2
half step I1
2
half step II1
2
half step III1
2
half step IV1
2
half step V1
2
half step at any fret1
3
half step I2
3
half step II2
3
half step III2
3
half step IV2
3
half step V2
3
half step at any fret2
4
half step I3
4
half step II3
4
half step III3
4
half step IV3
4
half step V3
4
half step at any fret3
half step I1
76
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.847
Regardless of which single string the whole step is fi ngered on, and regardless of which position it is fi ngered in (regardless of which fret at which it is played), the interval is the same.
3
whole step I1
3
whole step II1
3
whole step III1
3
whole step IV1
3
whole step V1
3
whole step at any fret1
4
whole step I2
4
whole step II2
4
whole step III2
4
whole step IV2
4
whole step V2
4
whole step at any fret2
whole step I
2
3
whole step I1
3
whole step II1
3
whole step III1
3
whole step IV1
3
whole step V1
3
whole step at any fret1
4
whole step I2
4
whole step II2
4
whole step III2
4
whole step IV2
4
whole step V2
4
whole step at any fret2
whole step I
2
Fingering Half Steps And Whole Steps On Two Adjacent Strings.
To understand half and whole steps fi ngered on two adjacent strings, let’s look at the fi ngering of unisons (pairs of the same note) commonly used for tuning:
I
4
I
4
I
4
I
4
I
4
on each diagram, the two notes are the same pitch
By raising the pitch of the note on the smaller string on each diagram by one fret (a half step), the interval is changed from a unision (the same notes) to a half step. Notice that these fi ngerings are relatively the same, except the one involving the third and second strings is unique.
I
4
I
4
I
4
I
4
I
4
1 1 1 1 1
on each diagram, the two notes are an interval of a half step apart
77
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.848
By raising the pitch of the note on the smaller string on each diagram by an additional half step (raised two frets or one whole step from the open string), the interval is changed to a whole step. Again, these fi ngerings are relatively the same, except the one involving the third and second strings is unique.
I
4
I
4
I
4
I
4
I
4
1 1 1 1 1
on each diagram, the two notes are an interval of a whole step apart
THE THREE FINGERINGS FOR EACH INTERVAL
I
2
I
4
I
4
1 1 1
half step on one stringmay be on any string,
at any position,with any fingers
I
3
1
whole stepmay be on any string,
at any position,with any fingers
half step on two stringsmay be on adjacent pair of strings
except NOT the second and third strings,at any position,
with any fingers (as long as you can reach!)
I
4
1
whole step on two stringsmay be on adjacent pair of strings
except NOT the second and third strings,at any position,
with any fingers (as long as you can reach!)
half step on two stringsthe unique fingering
on the second and third strings,at any position,with any fingers
I
3
1
whole step on two stringsthe unique fingering
on the second and third strings,at any position,with any fingers
78
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.849
NUMBERING THE MAJOR SCALE TONES
In the solfeggio system, the intervals of the major scale are labeled with the syllables “do, re, me, fa, sol, la, ti”. Here is a C major scale, played in the fi rst position (with the fi rst fi nger at the fi rst fret) and labeled both with the solfeggio syllables and the numbers 1 through 7:
Ä 44â 44
3
t1do
0
t2re
2
t3
me
3
t4fa
0
t5
sol
2
t6la
0
t7ti
1
t1do
1
t1do
0
t7ti
2
t6la
0
t5
sol
æææ
4fa
3
t3
me
2
t2re
0
t1do
3
t========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
3
tmmmm1do
0
tmmmm2re
2
tmmmm3
me
3
tmmmm4fa
0
tmmmm5
sol
2
tmmmm6la
0
tmmmm7ti
1
tmmmm1do
1
tmmmm1do
0
tmmmm7ti
2
tmmmm6la
0
tmmmm5
sol
æææ
4fa
3
tmmmm3
me
2
tmmmm2re
0
tmmmm1do
3
tmmmmletter
names:solfeggio:
RECOGNIZING THE LOCATION OF THE HALF STEPS IN THE MAJOR SCALE
In making up major scale fi ngerings, you should think of the notes by number, one through seven. Be aware that the half steps (one fret intervals) occur between numbered major scale tones 3 and 4 and between 7 and 1 (ascending in pitch). These scale steps are circled in the example above. The remaining steps of the major scale are whole steps apart, which include the intervals between the following pairs of numbered scale tones: “1 to 2”, “2 to 3”, “4 to 5”, “5 to 6” and “6 to 7”.
The intervals between the numbered tones of the major scale were illustrated earlier in the section on Major Scale Intervals, using the “string diagrams” shown below.
1 do
2 re
3 me
4 fa
5 sol
6 la
7 ti
1 do
C
D
E
A
B
C
F
G
G
A
B
C
D
E
F#
G
1 do
2 re
3 me
4 fa
5 sol
6 la
7 ti
1 do
majorscale intervals
C majorscale
majorscale intervals
G majorscale
79
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
CONSTRUCTINGMAJOR SCALE FINGERINGS
You must know the information in the previous section: Preparation For Major Scale Construction toeffectively study this section.
After studying this section, you should be able to begin a major scale at scale tone “1” with the index,middle or little finger of your fretting hand on strings six and five and with the index finger on string four.
Review “Strict Vertical Position” (primarily for single note playing)Position is numbered after the fret at which your index finger is placed. In that position, the other three
fingers are assigned one of the next three frets in-a-row toward the body of the guitar. In other words, eachof the four fingers are assigned to one of four consecutive frets.
The examples below show the first string. The position numbers would be the same, regardles ofwhich string the fingers were placed upon.
1
2
3
4
V1
2
3
4
VI1
2
3
4
VII
fifthposition
sixfhposition
seventhposition
fifthfret
sixthfret
seventhfret
You can also reach one fret out-of-position with the index and little fingers:
1
2
3
4
IV V VI
fifthposition
sixfhposition
seventhposition
fourthfret
fifthfret
sixthfret
1
4
1
2
3
4
1
4
1
2
3
4
1
4
Theory 1.850
80
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
So......what position are each of these examples (example 3 has two answers)?
2
X
whichposition?
tenthfret
3
II
whichposition?
secondfret
Example 2Example 1
II
whichposition?
secondfret
Example 3
1
answers: Example 1: eleventh position. Example 2: third position. Example 3: second OR third position.
BEGINNING A MAJOR SCALE FINGERING
FROM THE LITTLE FINGER ON THE SIX STRING
Be careful not to change position. Position was defined earlier in this lesson.
Let's start in fifth position. Play the note at the sixth string, eighth fret and think of it as scale tone one:
Vfifthfret
4
scale tone 1
The interval from scale tone one to scale tone two should be a whole step. According to the fingeringfor a whole step shown in the previous section, a whole step above step one would be here:
Vfifthfret1
scale tone 2
The interval from scale tone two to scale tone three should be a whole step. According to the fingeringfor a whole step shown in the previous section, a whole step above step two would be here:
Vfifthfret
3scale tone 3
Theory 1.851
81
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.852
So far, you should have played this:
Äâ
æææ
4
8
t1
1
5
t2
3
7
t3
=========Ännnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ
æææ
4
8
tmmmm1
1
5
tmmmm2
3
7
tmmmm3
fingers:
scale tones:
The interval from scale tone three to scale tone four should be a half step. According to the fingeringfor a half step shown in the previous section, a half step above step three would be here:
Vfifthfret
4scale tone 4
The interval from scale tone four to scale tone five should be a whole step. That would be here:
Vfifthfret1
scale tone 5
The interval from scale tone five to scale tone six should be a whole step. That would be here:
fifthfret
3scale tone 6
V
The interval from scale tone six to scale tone seven should be a whole step. According to the fingeringfor a half step shown in the previous section, that presents two options:
fifthfret
4scale tone 7
Vfourthfret1scale tone 7
IV
82
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.853
The interval from scale tone seven up to scale tone one should be a half step. If you chose the firstfinger option in fingering scale tone seven, be careful not to change position.
fifthfret1scale tone 1
V
You should have come up with one of these fingerings. The first version uses the little finger for scaletone seven, while the second version uses the little finger for both scale tones seven and one.
Ä 44â 44
41
8
t12
5
t33
7
t44
8
t æææ
15
5
t36
7
t47
9
t11
5
t================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
41
8
tmmmm12
5
tmmmm33
7
tmmmm44
8
tmmmm æææ
15
5
tmmmm36
7
tmmmm47
9
tmmmm11
5
tmmmmfingers:
scale tones:
Ä 44â 44 1
8
t4
2
5
t1
3
7
t3
4
8
t4
æææ
5
5
t1
6
7
t3
7
4
t1
1
5
t1
================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 1
8
tmmmm4
2
5
tmmmm1
3
7
tmmmm3
4
8
tmmmm4
æææ
5
5
tmmmm1
6
7
tmmmm3
7
4
tmmmm1
1
5
tmmmm1fingers:
scale tones:
If you continue the fingering through the next octave higher, you should get the following:
fifthfret1
scale tone 1
V
3
scale tone 2
V1
scale tone 3
V
2
scale tone 4
V
4
scale tone 5
V1
scale tone 6
V
3
scale tone 7
V
4
scale tone 1
V
Ä 44â 44 1
5
t1
2
7
t3
3
5
t1
4
6
t2
æææ
5
8
t4
65
t1
77
t3
18
t4
================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 1
5
tmmmm1
2
7
tmmmm3
3
5
tmmmm1
4
6
tmmmm2
æææ
5
8
tmmmm4
65
tmmmm1
77
tmmmm3
18
tmmmmm4fingers:
scale tones:
Here is the entire two-octave fingering you have made:
Ä 44â 44
8
t41
5
t12
7
t33
8
t44
5
t15
7
t36
9
t47
5
t11
5
t32
7
t13
5
t24
6
t45
æææ8
t16
5
t37
7
t41
8
c========================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
8
tmmmm41
5
tmmmm12
7
tmmmm33
8
tmmmm44
5
tmmmm15
7
tmmmm36
9
tmmmm47
5
tmmmm11
5
tmmmm32
7
tmmmm13
5
tmmmm24
6
tmmmm45
æææ8
tmmmm16
5
tmmmm37
7
tmmmmm41
8
cfingers:
scale tones:
83
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.854
Now begin the fingering again at the sixth string, eighth fret, scale tone “1” and descend as far as theposition permits:
fifthfret
1
scale tone 1
Vfifthfret
3
scale tone 7
V
down a half step tobegin at
fifthfret1
scale tone 6
V
down a half step to
I number major scale fingerings according to the number of lowest note fingered with the index fingeron the sixth string. The fingering you have just made, is called major scale in-position fingering 6. Otherfingerings called three-note-per-string major scale fingerings use slightly different rules regarding playingin position. The seven in-position fingerings are shown below. Scale tones are numbered. The scale tonenumbers shown in parenthesis are options, where the same note can be fingered on the second string.major scale in-position fingerings
1
1
7
1
2 7
7
6
3
6
6
5
5
4
4
( 3 )
1
1
7
1
7 3
6
6
5
5
4
7
fingering 1reach with
index finger
fingering 2reach with
index finger
fingering 3no
reaches!
fingering 4reach with
index finger
fingering 5reach with
index finger
fingering 6reach withlittle finger
fingering 7no
reaches!
4
2 3
2
3 2
2
1
2
3
4 5
6
7
1
2
3
45
6
7
1 2
3( 5 )
6 7
7
1
1
52
5
2
3
6
23 3
4
4 4
(6 )
7
1
7
1
6
6 6
2
2 5
5
3
5
3
4 4
4
( 1 )
1
7
1
7
2
6
6 6
5 5
5
4
4
2
( 2 )
7
7
6
6
1
1
5
5 52
23 3
3
4
4 4
( 7 ) 3
7
3
The in-position fingerings lend themselves to playing chord and arpeggio structures within the scale.Melody is largely an ornamentation of chord tones, so these fingerings work well to improvise. Three-note-per-string fingerings are better suited to playing scale runs, since picking can be the same for every stringand the finger patterns are more repetitious and easier to recall. Here are the three-note-per-string majorscale fingerings:
4
6
7
2
3
41
7 3
1
5
4
1
2 5
63
4
7 3
1
2 5
2 15
6 2 53
4
67 3
44
6 2
1
53
67
2 5
3
15 4
6
7
3
4
67
2 5
3
6
7
315
4
7
5
6
4
6
7
3
4
1
72
15
15
6 2 5
67 3
4
7
1
2
6 2 15
67 2
5
3
1 4
6
7 3
6 2
15
3
6
7
2
3
2 15 4
7 3
2
4
1 4
2
41
7
fingering 1/2 fingering 2/3 fingering 3/4 fingering 4/5 fingering 5/6 fingering 6/7 fingering 7/1
Three-note-per-string major scale fingerings shown above combine in-position fingerings, and arenumbered accordingly. Fingering 1/2 combines in-position fingerings 1 and 2; fingering 2/3 combines in-position fingerings 2 and 3; and so on.
Let's get back to constructing in-position fingerings.
84
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.855
BEGINNING A MAJOR SCALE FINGERING
FROM THE INDEX FINGER ON THE SIX STRING
Be careful not to change position. Position was defined at the beginning of this article.
Let's start in fifth position. Play the note at the sixth string, fifth fret and think of it as scale tone one:
Vfifthfret1
scale tone 1
The interval from scale tone one to scale tone two should be a whole step. You may use the second orthird fingers. If you use the second finger, you are in sixth position. If you use the third finger you are infifth position.
Vfifthfret
2scale tone 2
Vfifthfret
3scale tone 2
Using either the second or third fingers for scale tone “2”, you could use the fourth finger for scale tone“3”. This is shown in options 1 and 2, below
:fingering scale tones “1”, “2“ and “3” with OPTION 1
V
4scale tone 3
Vfifthfret1
scale tone 1
V
2scale tone 2
fingering scale tones “1”, “2“ and “3” with OPTION 2 V
4scale tone 3
Vfifthfret1
scale tone 1
V
3scale tone 2
85
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.856
If you used the third finger for scale tone “2”, there is another option for scale tone three:
fingering scale tones “1”, “2“ and “3” with OPTION 3
IV1
scale tone 3
Vfifthfret1
scale tone 1
V
3scale tone 2
fourthfret
The interval from scale tone three to scale tone four should be a half step. Regardless of which optionyou used in fingering scale tones “1”, “2” and “3” (see above), scale tone four would be fingered the same:
Vfifthfret1
scale tone 4
Using option 3 for scale tones “1”, “2” and “3” presents a problem in fingering two consecutive noteswith the same finger, which can make it difficult to play through the scale quickly:
fifthfret1
scale tone 1
V
3
scale tone 2
V1
scale tone 3
IV1
scale tone 4
V
fifthfret
fifthfret
fifthfret
Using option 2 for scale tones “1”, “2” and “3” presents another problem in reaching scale tone “3”with the little finger, which can also make it difficult to play through the scale quickly:
fifthfret1
scale tone 1
V
3
scale tone 2
V
4
scale tone 3
V1
scale tone 4
Vfifthfret
fifthfret
fifthfret
Using option 1 for scale tones “1”, “2” and “3” is best to play through the scale quickly. Remember,this choice has established your fingering as being in sixth position, with the index finger reaching out-of-position to the fifth fret and with the little finger reaching out-of-position to the ninth fret.
fifthfret1
scale tone 1
V
2
scale tone 2
V
4
scale tone 3
V1
scale tone 4
Vfifthfret
fifthfret
fifthfret
86
© 2000-2001 Jim Gleason. All Rights Reserved.
THEORY
Theory 1.857
Continuing to construct the scale in sixth position would produce the fingering shown below.
1
scale tone 1
V
2
scale tone 2
V
4
scale tone 3
V1
scale tone 4
V
2
scale tone 5
Vscale tone 6
V
1
scale tone 7
V
2
scale tone 1
V
4
4
scale tone 2
V
1
scale tone 3
V
2
scale tone 4
V
4
scale tone 5
Vscale tone 6
V
4
scale tone 7
V
2
1
scale tone 1
V1
useeitherone 2
scale tone 2
V
4
scale tone 3
V
Since the lowest pitch fingered on the sixth string with the index finger is scale tone “1”, this is calledmajor scale in-position fingering 1. You should now try to construct all seven of the major scale in-positionfingerings, which were shown earlier in this article.
87
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique
GUITAR CARE
TUNINGPrecise tuning is essential to good music and for your development. Tuning is accomplished by
comparing a note suspected to be out of tune to a “reliable” tuning source such as a tuning fork, an electronicguitar tuner, or a musical instrument which is in tune and can produce a steady, sustained pitch.
Tuning with a tuning fork. Hold the handle without touching the “u-shaped” portion and tap the fork witha snap of the wrist on something hard (careful not to bend the fork). Without touching the fork to the guitar,position the “u-shaped” portion parallel to, and close to, the guitar pickup to amplify it. If you are using anacoustic guitar or can’t amplify the tuning fork with the guitar pickup, touch the base of the handle to a resonatingobject such as a wooden guitar top, a table, or to the bone where your cheek meets your ear. It is preferable tohear the tuning fork and the string being tuned at the same time.
Tuning with electronic tuner. If you have a choice, use a tuner with a stable sweep meter. Tune eachstring exactly to the “0” mark. An electronic tuner is the most accurate method available to you, so take advantageof it. Remember to double check all of the strings once you have tuned them.
Tuning to another musical instrument. It is preferable to tune to a musical instrument which has a puretone (without complex harmonics), such as a flute, or to a harmonic on a string instrument. If you are tuningto a synthesizer, select a “voice” or “patch” on the synthesizer that is similar to a flute in sound. Carefully balancethe volume between your guitar and the other instrument.
Tune to the fifth string (“A”) first. Larger strings are less likely to go out of tune. The sixth string tendsto be less stable than the fifth because (1) being lower in pitch, it doesn’t produce as steady a tone and (2) beingon the edge of the fretboard, it is more subject to change caused by twisting of the neck.
Tune up to the note. This prevents the string from slipping on the tuning machine post.
Listen to the “beating.”. Bring the string’s pitch up gradually, but continuously. When it gets close tothe correct pitch, you should be able to hear a rapid pulsing or beating sound (if not, perhaps you’ve heard toomuch loud music!). This sound is the difference in speed of vibrations between the string and the tuning source.
Once you are in close proximity to the correct pitch, the beating sound will slow down as you approachthe pitch of the tuning source and speed up as you move away from it. Turn the key on the tuning machine sloweras you approach the desired pitch. You may pass the pitch if you don’t pay close and continuous attention tothe decreasing speed of the beating, in which case the beating will gradually start to speed up again. Once yougrow accustomed to this tuning method, you will be able to bring the pitch up more rapidly. Try to tune closeenough so that the beating is slowed to less than one beat per second.
Tune all of the strings, then check all of them again. On most guitars, the neck actually bends as you tunethe strings which tends to put other strings out of tune as you tune a single string. You will often need to “triplecheck” your tuning.
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.010
Tuning With Fretted Notes and Open Strings.This traditional tuning method is easiest to memorize. It is fairly accurate, but error can accumulate by
the time you tune all six strings.
Pressing too hard can sharpen the note out of tune. Press the string down just to your left of the fret, justhard enough that the string doesn’t buzz on the fret you are fingering. Part of the fingertip may lay over the fret,but not so much as to mute the string. Turn the tuning machine keys with the right hand, so the left hand cansustain the note (or notes) it is fretting.
Tuning with fretted notes and open strings. The top fret on each diagram is the first fret.
The top horizontal line in first position fretboard diagrams represents the nut. The top horizontal spaceis the first fret. In fretboard diagrams, the fret is the line at the bottom of each horizontal space, as noted earlierin Fretboard Diagrams.
Stretch out new strings well during the first time you tune them, to lessen the number of times you’ll haveto tune all of the strings
Tuning All Strings Relative To the Fifth String (illustrated on the next page)
The fifth string is usually least prone to going out of tune. It is a large string, less likely to stretch. Thefifth string is less likely to be affected by twisting of the neck, as are the first and sixth strings. This tuning methodis quite accurate, since it continually references the fifth string.
Before proceeding, tune your fifth string to a reliable source, as described earlier.
• Step 1 tunes the sixth string open “E” to a fretted “E” on the fifth string.
• Step 2 tunes the first string open “E” to a fretted “E” on the fifth string.
• Step 3 tunes a fretted “E” on the second string to a fretted “E” on the fifth string.
• Step 4 tunes a fretted “A” on the fourth string to the fifth string open, “A”.
• Step 5 tunes a fretted “D” on the third string to a fretted “D” on the fifth string.
Steps 3 and 5 require fretting notes with the left hand while reaching across to the tuning pegs with theright hand. This can be a little awkward, but is well worth the effort.
As you proceed from Step 1 through Step 5, it is likely that the strings will loosen and drop in pitch. Tuneyour fifth string to the source again and retune all of the strings. If your guitar has a floating tremolo system,you may have to tune a few times.
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.011
Tuning All Strings Relative To the Fifth String
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.012
TUNING THE GUITAR TO THE PIANO
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TECHNIQUE
Technique 1.013
INTONATING THE BRIDGE
(adjusting your guitar’s bridge to correct the string lengths in relation to the fretboard)
Use a guitar tuner equipped with a meter. Tune the guitar fairly well. Play the twelfth fret harmonic onone string and note the exact reading on the meter (the needle doesn’t have to be exactly on the “0” mark). Nextplay the fretted note on the twelfth fret on the same string. If the fretted note was flat, adjust the individual bridgepiece to make the string shorter. If the fretted note was sharp, adjust the individual bridge piece to make the stringlonger. Repeat the process until the fretted note and harmonic at the twelfth fret are exactly the same. This maytake a few minutes for each string, but it is well worth the time. Before adjusting another string, always checkthe tuning of all the strings. Adjust your bridge every month if you can. Re-check the bridge if you change stringgauge or if the trussrod or tilt of the neck is readjusted.
CHANGING STRINGS
Change your strings at least once every six weeks or as often as once a week if the strings get very oxidized(watch for “crud” and discoloration of the strings). Never remove more than three strings at a time and neverremove more than two of the larger strings (fourth, fifth and sixth) at a time. The change in tension may affectthe neck adversely.
Slip the end of each new string through the slots or holes in the bridge and/or tailpiece, except with a FloydRose™ Tremolo system, where you would cut off the end of the string and insert in the vice slot (some stringsnow come with pre-cut soldered ends, making this step unnecessary). Slip the end of the string through the holeor slot on the tuning machine post.
Measure about five to five and one half inches slack (one hand width) in the string at the twelfth fret. Onceyou have measured the slack, bend the end of the string ninety degrees (an “L” shape) at the point where it passedthrough the tuning machine post, bending it opposite the way the string will wind around the post as it is tuned.Keeping the slack pulled up so that the bent part of the string is taut against the post, grab the loose end of thestring and pull it tightly around the post opposite the direction the string winds around it. Keep each windingunderneath the portion of string running from the neck to the tuning machine.
It is preferable to have two or three windings around the string post of the sixth string, progressing to fiveor six windings around the first string’s post. Windings should not overlap. Once the post is full of windings,more turns will tend to strip the gear inside the tuning machine. Get accustomed to the proper length of slackfor each string on a particular guitar.
Pulling the string tightly against the post, bend it over the portion of the same string running from theneck to the tuning machine. Taking up the slack so the string winds below itself on the post, tighten the string.Once the string is not flopping around, start tuning it. Stretch the string with both hands every six inches toremove excess elasticity. Pull only an inch or two away from the fretboard on the first two strings to avoidbreaking them.
Once you’ve installed all six strings, stretch them all again, tune, stretch again, until the strings stay intune. The new strings should sound great and stay in tune now!
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.020
RELAXATION, POSTURE AND ATTITUDE
RELAXATION
The shoulder, forearm, wrist and hand should be loose throughout. For maximum efficiency, use onlyas much muscular tension as is necessary for a technique. All the parts of your arms and hand that need not beinvolved in the performance of a technique should be relaxed and flexible, moving only sympathetically. Excesstension will decrease your speed and accuracy. Analyze your technique to make sure the habits you developcontribute to your control. Develop your personal technique as you discover the unique way your physiologyworks.
MASSAGE AND STRETCHING
Massage and stretching should be applied particularly to the fretting hand, since more dexterity is usuallyrequired in that hand.
• Allow both hands to dangle at your side. Shake them briskly to loosen up the hands and arms ANDlubricate the joints.
• Relax the hand to be massaged. Stretch each adjacent pair of fingers apart to loosen the webbingbetween them.
• Sit down and lay your massaged hand palm-up on your thigh. Make a fist with your free hand andmassage the palm with the knuckles of the free hand in circles about one inch in diameter. Usingthe thumb and fingers of your free hand, gently squeeze all the muscles and bones in the palm ofthe massaged hand to relieve tension.
• Wrap the thumb and fingers of the free hand around a finger of the massaged hand. Massage in atubular fashion, squeezing the finger while moving up and down it and twisting around it. Includethe thumb of the massaged hand.
• Bend the left arm at the elbow and touch the elbow to your ribs. Rotate the left hand clockwise andtouch its knuckles to your left collarbone. Cover the back of your left hand with your right palmand use the right hand to gently turn the left hand even further clockwise. Use enough pressure tocause a slight discomfort in the left wrist. Repeat with the opposite arm. When done daily, thisincreases the flexibility of the fretting-hand wrist and greatly aids in quick chord changes and inchanging from the “bending” position to the “classical” position. Descriptions of these twopositions follow in the sections on fretting technique.
AVOID INJURY FROM REPETITIVE STRESS DISORDER
Carpal Tunnel SyndromeThe carpel tunnel is the area of your wrist beneath the muscles at the heel of your hand. It contains nerves
and tendons which control the movement of your hand. Repetitive movements (such as playing guitar) canirritate the tendons and cause them to swell, which in turn irritates the nerves. Movements made with the wristbent are particularly irritating and should be avoided. Like the strings on a marionette, the tendons manipulatethe fingers. Once the tendons swell, they have a problem fitting through the carpal tunnel and are irritated evenmore, hence the term carpal tunnel syndrome.
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TECHNIQUE
Technique 1.021
Tendonitis is a general term referring to a chronic irritation of the tendons (another repetitive stressdisorder). It is a symptom of carpal tunnel syndrome and of other irritations. When you experience anydiscomfort or pain in your hands during guitar practice use the following remedies:
• concentrate on relaxing any muscles that are not involved in the technique
• think about your posture (see below)
• take a short break to relax your mind and body
• massage and stretch the hands and arms
• breathe deeply throughout your practice: oxygen is great for the brain and body
• change to a different exercise
Some physicians might prescribe corticosteroid injection or surgery for repetitive stress disorders, butthese treatments should only be used in extreme situations when all other alternatives have failed. Most problemscan be solved with the checklist above. If they do not suffice, try professional massage, osteopathic treatmentor take a Yoga or other stretching class.
Be aware of physical or mental fatigue. Mental fatigue can cause physical fatigue and vice-versa. Hereis a fatigue checklist:
“I may be fatigued because”.............
• I'm not using good posture (see section below).
• I've been playing long enough for now and I need a break.
• I'm upset about something, and I need to do something first before practicing (sit and relax for a fewminutes, take a walk, make a phone call, etc.).
• My body hurts and I need stretching, massage and a break.
• I'm holding my breath while I play, instead of breathing deeply.
• This exercise is irritating me and I need to do another one, play something fun for a few minutes, or takea break.
POSTURE AND HOLDING THE GUITAR
Always sit or stand with posture that provides free movement of your forearms, hands and fingers.Holding the head of the guitar above shoulder height allows the tendons in your fretting arm to loosen. Holdingthe head of the guitar too high can require too much bending in the picking wrist and tightens the tendons in thepicking arm. Feel your body. Concentrate on relaxing the areas where you feel tension.
A Posture Checklist• avoiding bending the wrists by keeping the head of the guitar away from the left shoulder.
• avoiding bending the wrists by keeping the head of the guitar elevated to about 45º from the floor.
• keep the elbow on the fretting hand arm near the side, except when fretting extremely wide spans or whenbarréing with the ring or little fingers .
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TECHNIQUE
Technique 1.022
• when you sit and play guitar, it is preferable to use a chair height which allows the thigh on the frettinghand side to be parallel to the floor.
• when you sit and play guitar, it is preferable to elevate the foot on the fretting hand side so that the kneeis three to eight inches above the hip (more for a taller person) and place the guitar on the left thigh. Ifthis causes discomfort in the lower back, avoid it (or do stretching for your lower back).
• if you find yourself bending over while playing in a seated position (which may be because you havea long torso), try using a lower chair to position the leg on your fretting hand side so the knee is higherthan the hip by an inch or two.
• if you find it difficult to reach over the guitar with your fretting hand while playing in a seated position(which may be because you have a short torso), try using a higher chair to position the leg on your frettinghand side so the knee is lower than the hip by an inch or two.
• keep the fretting hand positioned with the base of the little finger very close to or touching the bottomedge of the fretboard except when fretting extremely wide spans (especially those on the first string,lesser on the second string, etc.).
ATTITUDE
The fastest way to advance as a guitarist is to get into the habit of playing daily.
One of my students told me about this great idea he was taught by Howard Roberts (the jazz guitarist whowas one of the founders of the Guitar Institute of Technology in L.A..
Howard said, “ get an egg timer and set it for five minutes the next time you practice. Then stoppracticing.” Jeff said, “what??, I don't get it!” Howard continued, “then, if you feel you're up to it set it for sixminutes the next day. Increase it by one minute every day, only if you feel you're psychologically up to it. Youshould be anxious to practice.” I thought this was a great idea.
Combine play and practice. You should practice a combination of fun stuff and hard work. If you don'tenjoy it, you won't find it easy to do regularly. In the early months of your practicing, play something you knowwell for five or ten minutes, so you feel good about your playing. Then focus for two or three minutes and workup a sweat. Alternate back an forth. By focus, I mean complete attention to what you are studying: no distractionsno indecision about whether you want to do this or not. You should choose the things you practice so they areapplicable to what you want to play, so they are psychologically rewarding.
Develop your ability to focus for longer periods and more often during your play/practice sessions. Aftera few months you may be able to focus for ten or fifteen minutes at a time and enjoy it. A seasoned professionalmusician can play for a half hour to an hour at a time with complete concentration. It is incredible what you canaccomplish in one hour with complete focus.
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.050
GENERAL PICKING TECHNIQUE
Wrist And hand Position For The Picking Arm The upper forearm should serve as an “anchor” point against the upper edge of the guitar. The wrist
should be slightly bent unless you are using part of the hand to mute. The fingertips, side of hand (from the baseof the little finger to the wrist), heel of hand, and thumb should brush against the strings, bridge or body of theguitar to judge distance.
Many players rest the “pinky” side of their hand (between the little finger and the wrist) on the bridgewhile picking. While this provides stability for the picking hand, it sacrifices the tone variation usually availableby picking closer to the neck for bass tones or closer to the bridge for treble tones.
Wrist Sweep, Forearm Rotation And Elbow SweepWrist Sweep. A sweeping, continuous down-up motion of the wrist is used for strumming chords and
picking single notes. Here is an exercise to familiarize you with this motion:
• Move your hand side to side with the same movement as if your hand were palm-down on a table.
• Mute the strings with your fretting hand and strum down-up alternately on two or three strings asa group; as you would a three note chord.
• Gradually widen the stroke until you are strumming on all six strings.
Note that when strumming alternately down-up on four to six strings, the wrist movement is so wide thatit involves a distinct forearm rotation (view the protruding wrist bone nearest the thumb). The weight of the handwill aid the motion of the hand in strumming.
Most players involve a slight forearm rotation in playing single notes. At the fastest rates of pickingsingle notes, most players use a controlled muscle quiver in the forearm rotation.
Holding The PickThere are many ways to hold a guitar pick. In the most traditional method, hold the pick between the side
of the tip segment of the index finger and the flat surface of the thumb (opposite the thumbnail). Try to extendthe tip of the pick less than a quarter of an inch from the thumb for fine control (many players prefer less thanan eighth of an inch). Bend the first finger so its tip points toward the base of the thumb. Holding the pick inthis manner should allow light pressure between the thumb and first finger.
Experiment and see what is comfortable and effective. For single-note playing, I usually hold the pickbetween the tips of the thumb, index and middle fingers. This gives me fine control over the pick and allowsremoval of the index finger for picking hand tapping. For strumming, I usually hold the pick between the sideof the tip segment of the index finger and the thumb.
The Position Of The PickUsually, you should position the pick in a plane perpendicular (90°) to the surface of the strings (or to
the guitar top), so it will glide equally well over the strings during downstrokes and upstrokes. This makes it
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.051
easier to move the pick from one string to another. It also causes the strings to vibrate parallel to the frets,providing maximum clearance and minimum buzzing. There are special situations, however, where you shouldtilt the pick toward or away from the floor:
(1) when picking the first note down on each of four or more strings, tilt the base of the pick towardthe floor and;
(2) when picking the first note up on each of four or more strings, tilt the base of the pick away fromthe floor and;
(3) when picking all downstrokes or all upstrokes to intentionally cause the strings to vibrate againstthe frets and buzz (typically in an accented phrase).
Pluck the strings with the tip of the pick produces a purer tone than either of the long edges of the pick,which produce more “scratchy” or “breathy” tones.
Rotating The Pick On Its AxisTo produce the purest string tone, rotate the pick on its axis so the flat surface of the pick is parallel to
the length of the string. Ideally, the tip of the pick should not move past the underside of the string (nearest theguitar body), moving just close enough to the guitar body to get alongside the string.
By rotating the pick on its axis to make it less parallel to the length of the string, you produce a morepercussive, “breathy” or “scratchy” tone. When the pick is rotated slightly out-of-parallel position with thestring, the tone becomes breathy. As the pick is rotated more out-of-parallel position with the string, the tonebecomes more scratchy.
axis
Rotating the pick on its axis to make it less parallel to the length of the string by about ten to fifteendegrees makes it easier to judge the distance between your pick and the guitar body, and therefore allows youto “glide” over the surface of the strings while picking.
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.052
string
an aerial viewof the pickparallel to a string
to the guitar's bridge
to the tuning headof the guitar
an aerial view of the pickrotated 30° on itsaxis in relation to the stringfor standard picking
string
to the guitar's bridge
to the tuning headof the guitar
Circle picking is a refined alternative to picking from the wrist. It involves very small, controlledmovements in the fingers. To get the basic feeling of this technique, draw a straight line on a piece of paper, holda pen or pencil between your thumb and index finger as you would hold a pick, and draw little clockwise ovalsaround the line at this angle:
Then try picking down-up on one string with the same movement. Bend the wrist to move the oval pathfrom one string to another (to change the string you are picking on). Circle picking is only practical at slowerrates of picking notes.
STYLES OF PICKINGThe seven styles of picking are downstroke, upstroke, alternate, rhythmic, sweep, economy and inside.
1. Downstroke PickingThis provides melodic emphasis and is often used in simpler guitar froms such as traditional blues and
fifties rock. You will find it to be the easiest sytle of picking, unless you began playing with a predominantupstroke (see upstroke picking, below).
Upstroke PickingMost players have a predominant downstroke and tend to start phrases (continuous rhythmic group of
notes) with a downstroke. Some players developed a predominant upstroke, often because they liked the tone.
The common position of the pick in regard to the position on its axis is such that the end of the pick nearestthe bridge is up and the end nearest the neck is down. Many of the predominant upstrokers that I have seen havethe type of thumb that curves back at the tip toward the thumbnail. Let's call this a hyper-extended thumb. Thishyper-extended thumb shape makes it easier to position the pick on its axis as shown below.
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.053
an aerial view of the pickrotated 30° on itsaxis in relation to the stringfor picking with a hyper-extended thumb
string
to the guitar's bridge
to the tuning headof the guitar
Either position of the pick can work, but be aware that the more the pick is rotated on its axis away frombeing parallel to the string, the more it scrapes the string, changing the tone.
Open-String Picking ExercisePlay this exercise with all strokes in the same direction, preferrably downstrokes. If you have a
predominant upstroke, it may be better to try to make a change to predominant downstroke, since most guitarstyles are played with predonimant downstrokes.
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© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.054
GENERAL FRETTING TECHNIQUE
FRETTING-HAND POSITIONS
The fretting hand can go through infinite forms. Any particular chord is ideally fretted with a slightlydifferent hand form to accommodate what is played immediately before and after it. Every phrase of notes orchords requires that the hand move a little differently. For any particular phrase, each guitar player has theirown unique and ideal way to perform the fretting. I'll discuss a few basic forms below.
Classical Wrist PositionFor wide spans in scales, arpeggios and chords, use the classical guitar wrist form. With the ball of the
thumb on the center of the back of the neck (opposite the third and fourth strings), bend the wrist to turn thefretting-hand palm towards the forearm and spread the fingers.
To protect the fretting wrist is essential that the head of the guitar be kept high with this wrist position.Keep the head of the guitar raised enough that the neck is at 45° or more to the floor.
Bending PositionAlthough you may not be bending notes (stretching one or more strings up and down a fret) for a while,
you should start getting used to the form. It will also be useful in understanding the compromised position, whichshould be your most common fretting-hand position for now.
Keep the elbow against or close to the body. Bend the fretting-hand wrist to move the back of the handtowards the forearm slightly (30° to 45°). If you have trouble imagining this bending of the wrist, put yourfretting hand palm right in front of your face and bend the hand away from you at the wrist, without moving theforearm.
Keep the base of your first finger touching the bottom of the fretboard and your thumb high enough thatit is easily visible from the front of the guitar (see photos or videos of Hendrix, Clapton, Van Halen or Vai, etc.in performance). The fingers should be angled in such a way that the base of the index finger is one or two fretstoward the head of the guitar from the tip of the finger. The bottom of the fretboard should be in line with (closeto) the base of the index finger at one end of your hand, and at a point halfway between the base of the little fingerand the heel of the hand.
The Circular Or “V” ShapeThe two extremes of the shapes the fretting hand thumb and index finger form are a circle or “v”. When
fretting notes on the smaller strings, the thumb and index finger form a circular shape. When fretting the largerstrings and especially when barréing, the thumb and index finger are in a “v” shape.
“Choreographing” Your Fretting Hand MovementThink of your fingers as dancers. Think of the places they fret notes as resting points in a dance. The
fingers should work together gracefully. When they fret a chord where all of the notes are to be strummed atonce, they need to move from their previous position in such a manner that they all arrive at their fretting pointsat precisely the same time.
When the fretting fingers play a sequence of single notes, the sequence forms a path. Each group of a
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TECHNIQUE
few consecutive notes (three to six, typically) moves through some sort of a path. Whatever the path is, movegracefully through it.
Consider a short phrase of three notes ascending the same string, using your index, ring, then littlefingers. Think of fretting the three notes similarly as you would a chord, but don't fret them all at once. Instead,make a “wave” motion through the fretted with your fingers. “Hover” your fingers over the frets as you playthe group of notes. As you are fretting the first note, begin moving the finger into place for the next note andrelax the previous finger precisely when the next finger has attained full pressure against the string. Apply onlyas much pressure as is needed to sound the note clearly without buzzing or muting.
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The next example is short phrase involving one note on each of four consecutive strings, forming adiagonal path. Again, think of using the fingers as you would fret a chord, but fret the little finger note with asmooth transition to the third finger, and so on. Think “wave”. The chord shape is shown at the right of the phraseexample.
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It may be a sequence of notes that keeps returning to the same note. In fretting the example below, caterto the positioning of the ring finger, while shaping the hand so each of the other notes can be fretted with minimalmovement.
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4
t4
5
tmmmmfingers::
Technique 1.055
101
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.056
FRETTING TECHNIQUES
Contacting The StringFret notes with the fingertip pressing the string up against the edge of the metal fret (the edge nearest the
headstock of the guitar). Exert just enough pressure. Contact the string to the fret at precisely the same time thepick touches the string, so that by the time the pick follows through, the note is clearly fretted. Fretting beforepicking is inefficient and impedes your ability.
Spreading The FingersIn playing single notes, keep the fretting-hand fingers both relaxed and spread out. Keep the fingertips
hovering close (within a quarter inch) to four consecutive frets on the same string in line with points at whichyou would fret notes. Lay the first (index) finger’s middle knuckle away from the rest of the hand, giving easieraccess to the notes one fret toward the headstock of the guitar. Although you won’t be able to stretch as far, laythe little finger in a similar way to the right (left for left-handers). This is a “ready” position enabling you to reachany note you may need to on any string within a six fret range.
FIRST HOVERING EXERCISE
This exercise develops the posture of your fretting hand, training the fretting fingers to stay in readyposition. First, place all four fingers on four consecutive frets and pick the second string, sounding the notefretted with the little finger (finger "4"):
3
2
1
V
4
Next, lift the little finger off the fretboard 1/4" or less, "hovering" the little finger over the fretting pointit used earlier, keeping the finger very relaxed. Pick the ring finger note (finger “3”).
3
2
1
V
Now, lift the ring finger. Hover both of the free fingers over the fretting points they used earlier, withboth of them relaxed. Pick the middle finger note (finger “2”).
2
1
V
102
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.-057
Finally, lift the middle finger. Hover all of the free fingers over the fretting points they used earlier, withthem relaxed. Pick the index finger note (finger “1”).
1
V
Repeat the sequence, trying each time to relax the fingers more and hover them closer to the fretboard.You'll probably have the most trouble with the little finger.
CLOSENESS AND CLEARING EXERCISE ON TWO STRINGS
Versions of this exercise will be presented later on all six strings, with slurs, and in combination with thehover exercise. Like the hovering exercise, this one trains your fingers to stay close to the strings.
As you are playing this exercise, you may need to adjust the position of fingers with which you previouslyfretted in order to reach the next note you are fretting. If so, the next time you play the exercise, try to positionthe fingers when you put each down initially, so no readjustment will be necessary.
Step 1.Fret the note on the second string, fifth fret with the index finger (“1”). Strum it along with the first string
open, as a chord. Make sure both notes are sounding clearly. Keep the free fingers relaxed and hovering overthe fretboard. The middle finger (“2”) should hover over the point at which it would fret the sixth fret, the ringfinger over its fretting point at the seventh fret and the little finger over its fretting point at the eighth fret. Makesure both notes sound clearly and are not muted.
1
V
Step 2.Leave your index finger pressing the string to the fifth fret and fret the next note with your middle finger
(finger “2”). Strum it along with the first string open, as a chord. Keep the free fingers relaxed and hoveringover their assigned points on the fretboard. Make sure both notes sound clearly and are not muted.
1
V
2
103
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.058
Step 3.Leave your index and middle fingers fretting their assigned frets and fret the next note with your ring
finger (finger, “3”). Strum it along with the first string open, as a chord. Keep the little finger relaxed andhovering over the eighth fret. Make sure both notes sound clearly and are not muted.
1
V
2
3
Step 4.Leave your first three fingers fretting their assigned frets and fret the next note with your little finger
(finger, “4”). Strum it along with the first string open, as a chord. Make sure both notes sound clearly and arenot muted.
1
V
2
3
4
Step 5.Leave the middle, ring and little fingers fretting their assigned frets on the second string (sixth, seventh
and eighth frets) while fretting the first string, fifth fret with the index finger (“1”). Strum the first two stringsas a chord and make sure both notes sound clearly.
1
V
2
3
4
Step 6.Leave the ring and little fingers fretting their assigned frets on the second string (seventh and eighth frets)
and the index finger fretting the first string, fifth fret. At the same time, fret the first string, sixth fret with themiddle finger (“2”). Strum the first two strings as a chord and make sure both notes sound clearly.
1
V
2
3
4
104
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.059
Step 7.Leave the index and middle fingers fretting their assigned frets on the first string (fifth and sixth frets)
and the little finger fretting the second string, eighth fret. At the same time, fret the first string, seventh fret withthe ring finger (“3”). Strum the first two strings as a chord and make sure both notes sound clearly.
1
V
2
3
4
Step 8.Leave the index, middle and ring fingers fretting their assigned frets on the first string (fifth, sixth and
seventh frets) and fret the first string eighth fret with the little finger. Pick the first string.
1
V
2
3
4
105
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.120
FRETTING PRESSURE EXERCISEThis is a good warm-up exercise. Fret the note shown below. In five steps, increase fretting pressure
from totally muting the note to applying just barely enough pressure to clearly fret the note. Here is a descriptionof the five steps:
Step 1. The note is clearly muted. Picking it produces a thumping sound, with no buzzing.
Step 2. The note is muted, but just barely buzzes. Picking it produces a thumping sound, with buzzing
Step 3. The note is clearly buzzing. Picking it produces buzzing, not a muted sound, not a clear note.
Step 4. The note is almost clear. Picking it still produces slight buzzing, but you can hear the frettednote.
Step 5. You are applying just barely enough pressure to sound the note clearly.
1
VIII
Make sure you are not increasing pressure abruptly on one of the steps. Typical mistakes are to increasepressure too abruptly between steps four and five. For example don't apply half the pressure during steps onethrough four, then the rest on step five.
Now apply the five steps listed above to each of the other three fingers as shown below. Of course, applyall five steps to the second finger; then apply all five steps to the third finger; then apply all five steps to thelittle finger.
2
VIII
3
VIII
4
VIII
Okay, now for the hard part! Apply the five steps to each of the pairs of notes below, making sure thatthe sound attributes described in each of the five steps above occur on both notes simultaneously. In order tobe able to hear the notes clearly on these two note chords, pluck them with your thumb and index finger, ratherthan picking them.
1
V
21
V
3
1
V
4
1
V
21
V
2
1
V1
2
V1
2
V
3
2
V
43
V
3 3
V1
2
V
2
3
V
4 4
V
4
1
V
4 4
V
2
4
V
33
V
2
106
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.125
Get a head start on fretting your chords with the exercises below. The eight chords used in these exercisesare usually the best ones to learn first.
CHORD CANCELATION EXERCISES
3
2
1
C I
1
Am I
32
Em I
32
4
A I
322
D I
3
1
1
E I
32
2
1
G I
3 4
Dm I
1
2
3
Practice each of the chords above in the following manner:
• Finger a chord using minimal pressure (just enough to prevent the notes from muting or buzzing).
• Release the pressure on the notes you are fretting, but retain contact with the strings.
• Reapply minimal pressure and strum the chord, making sure all notes are clear.
• Release the pressure on the notes you are fretting, and move your fingertips one eighth inch fromthe strings.
• Reapply minimal pressure and strum the chord, making sure all notes are clear.
Choreograph the movement of your fingers so that all of the fingertips touch their stringssimultaneously.
• Repeat the previous two steps four times, increasing the distance to one quarter inch, then one halfinch, then one inch and finally two inches.
Now the chord shape should be cancelled, since your fingertips are two inches from the strings. Duringthe exercise you trained your fingers to the choreographed movement they should make for a simultaneoustouchdown.
CHORD FRETTING EXERCISES
107
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.126
SIMULTANEOUS TOUCHDOWN EXERCISES
Chord Changes With Fretted Notes in CommonTake advantage of a finger that doesn't need to move during a chord change. Some of the easiest chord
changes involve notes in common. Practice the changes below without moving fingers on the notes in common.Be careful that the fingertips that do move fret their respective notes simultaneously.
Strum each chord once in the example below Don't remove the tip of the ring finger (“3”) on this example.However, the rest of the ring finger should tilt down slightly.
2
1
Cadd9 I
2
1
G I
3 43 4
1
D I
3
2
Strum each chord once in the example below. Don't remove the tip of the middle finger (“2“) on this example.However, the rest of the ring finger should tilt up slightly.
Dm I
1
2
3
3
A I
21
Strum each chord once in the example below. Don't remove the tip of the index (“1”) nor middle finger s (“2“)on this example.
1
Am I
32
3
2
1
C I
Chord Changes With Shapes In CommonTake advantage of fingering shapes that move. When part or all of a chord fingering shape is transferred
to other strings, take advantage by retaining the shape. Cancelling the fingering shape would cause unnecessarymovement. Be careful that the fingertips that do move fret their respective notes simultaneously.
Strum each pair of chords below, retaining the identical shape of the chord fingering.
1
Am I
32
1
E I
32 4
A I
32 4
E sus. 4 I
32
108
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.127
Strum each pair of chords below, retaining the identical shape of the fingering made by the middle (“2”) andring (“3”) fingers.
3
2
1
C I
3
2
G I
44
Em I
32 4
A I
32
3
2
1
C I
1
F I
2
3
Strum each of the four chords below, retaining the identical shape of the fingering made by the index (“1”)and middle (“2”) fingers.
3
2
1
C I Dm I
1
2
3
1
32
E I
1
Am I
32
109
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.220
TECHNIQUES OF STRUMMINGHolding the pick. There are many ways to hold a guitar pick. In the most traditional method, hold the
pick between the side of the tip segment of the index finger and the flat surface of the thumb (opposite thethumbnail). Try to extend the tip of the pick 1/4" or less from the thumb for fine control (many players preferless than 1/8"). Bend the first finger so its tip points toward the base of the thumb. Holding the pick in this mannershould allow light pressure between the thumb and first finger.
The position of the pick in relation to the strings. To produce the purest string tone, cause the stringsto vibrate parallel to the frets, providing maximum clearance and minimum buzzing. Make sure that the pickis held in a plane perpendicular (90°) to the surface of the strings (or to the guitar top), to avoid “catching” thestring on upstrokes. Pluck the strings with the tip of the pick. Keep the flat surface of the pick almost, but notquite parallel with the length of the string. Allow the tip of the pick to protrude just barely past the undersideof the string (nearest the guitar body).
Right wrist and hand position. The shoulder, forearm, wrist and hand should be loose throughout. Applylight, evenly-distributed muscular tension throughout these parts of the hand and arm to support the pick“effortlessly”.
The wrist should be slightly bent unless you are using part of the hand to mute. The upper forearm shouldserve as an “anchor” point against the upper edge of the guitar. The fingertips, side of hand (from the base ofthe little finger to the wrist), heel of hand, and side of the thumb can touch to judge distance, but don’t anchorthem. As you develop your personal technique, you may find yourself touching with various parts of the hand.Analyze your technique to make sure the habits you develop contribute to your control of the pick.
Many players rest the “pinky” side of their hand (between the little finger and the wrist) on the bridgewhile picking. While this provides stability for the right hand, it sacrifices the tone variation usually availableby picking closer to the neck for bass tones or closer to the bridge for treble tones.
Right wrist sweep. A sweeping, continuous down-up motion of the wrist is used for strumming chords.Here is an exercise to familiarize you with this motion:
• Move your hand side to side with the same movement as if your hand were palm-down on a table.
• Mute the strings with your left hand and strum down-up alternately on two or three strings as a group;as you would a three note chord.
• Gradually widen the stroke until you are strumming on all six strings.
Note that when strumming alternately down-up on four to six strings, the wrist movement is so wide thatit involves a distinct forearm rotation (view the protruding wrist bone nearest the thumb). The weight of the handwill aid the motion of the hand in strumming.
110
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.221
Strict Down-Up StrummingIn strict down-up strumming, each series of continuous notes is strummed strictly (1) down-up-down-
up, etc. or (2) up-down-up-down, etc. If you start with a downstroke, the picking order is down-up-down-up,etc. Starting with an upstroke would use the picking order up-down-up-down, etc.
You often pass the strings before strumming them to strictly continue the down-up motion. In theory,the wasted motion is acceptable in order to allow an uninterrupted continuous rhythmic motion.
Down-up strumming exercise. Count evenly: “one - and - two - and - three - and - four - and,” as you strumdown on the downward arrows and up on the upward arrows.
Rhythmic Selection.Many accompaniment and melodic rhythms can be played easily when your right hand assumes a
continuous motion but you select when the pick contacts the strings. This may be applied to playing single notesor strumming chords.
Rhythmic selection. Miss the strings where no arrow is shown.
Exceptions to Strict Down-Up StrummingConsecutive downstrokes or consecutive upstrokes provide emphasis and a consistent tone.
Consecutive downstroke exercise. Consecutive upstroke exercise.
111
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.235
MUTING WITH THE FRETTING HAND
“Safety” MutesAs a safeguard against strings picked or plucked by mistake, you can gently touch strings adjacent to
those you are fretting. The surface of each finger between the tip of the finger and the palm may be used to muteby gently touching the smaller strings adjacent to those you are fretting.
In the example below, every fretting finger should gently touch and mute the next smaller adjacent string.
================================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 fingers: 0
0
tmmmmmI mmmm mmmmm1
9
! t0
0
t mmmm mmmmm2
10
t0
0
t mmmm mmmmm3
11
!t0
0
t mmmm mmmm4
12
t0
0
#t mmmm mmmm1
9
!t0
0
t mmmm mmmmm2
10
t0
0
t mmmm mmmmm3
11
!t0
0
t mmmm mmmm4
12
t0
0
#t mmmm mmmm9
t1
0
t0
mmmmm mmmm10
t2
0
t0
mmmmm mmmm11
!t3
0
t0
mmmm mmmm12
t4
0
t0
mmmmm mmmm1
9
t0
0
t mmmmm mmmm2
10
t0
0
t mmmmm mmmm3
11
!t0
0
t mmmm mmm4
12
t0
0
t æææ
mmmm mmm1
9
!t0
0
t mmmm mmm2
10
t0
0
t mmmmm mmm3
11
" t0
0
t4
12
# tmmmm
If your fingertips are large enough in relation to the string spacing, you can use them to mute the nextlarger string. While fretting on one string, the fingertip of the fretting finger can gently touch the next larger stringand mute it.
As each finger frets in the example below, it should gently touch and mute the next larger adjacent string sothat no two notes sound at the same time.
=======================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44fingers:
0
0
tmmmmmmmImmmm mmmmmmm
4
5
t0
0
t mmmm mmmmmmm3
4
! t0
0
t mmmm mmmmmmm2
3
# t0
0
t mmmm mmmmm1
2
t0
0
t æææ
mmmm mmmmmm4
5
t0
0
tmmmm mmmmmm
3
4
!t0
0
tmmmm mmmmmm
2
3
#t0
0
t1
2
tmmmm
Safety mutes can be used with chord fingerings to mute smaller and larger strings. If the chord involvesstrings two through five, for example, safety mutes could be applied to the first and sixth strings.
While fretting the chord progression below, try to mute the first and sixth strings with the fretting hand. Ifyou are unable to mute the sixth string, at least mute the first string.
21
A9 IV
43 32
D9 V
3
1
2
1
4
A dim. 7 V
3
1
A6 VI
2 3 4 2
1
4
A dim. 7 V
3
21
Bb9 V
43
21
A9 IV
43
112
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.236
Muting Notes After Fretting ThemAfter fretting a note, it can be muted by aburptly decreasing the pressure to the point that you are lightly
touching the string. This will mute the string. Let the string lift off of the fret quickly. If it lifts off slowly, itmay buzz.
Muting Single Notes When Moving To A Larger StringRolling technique. If two consecutive notes are fretted on the same fret with the second note on a larger
string, the rolling technique can be used to mute the first note.
The rolling technique exercises below should involve a slight “cradle-like” rocking motion of the palmto help move each finger from one string to another. The base of the first finger should be closer to the fretboardthan the base of the little finger.
The rocking motion should involve more movement on the side of the palm near the little finger. Thiscauses a slight rotation of the finger. From the player's view of the fingertip, the finger rotates clockwise whenmoving to a smaller string and rotates counter-clockwise when moving to a larger string.
=============================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44mmmmm mmmm
8
t1
8
t1
mmmmm mmmm
9
! t2
9
!t2
mmmm mmmm
10
t3
10
t3
mmmm mmmm
11
!t4
11
!t4
mmmm mmmm
8
t1
8
"t1
mmmm mmmm
9
!t2
9
#t2
mmmmm mmmm
10
t3
10
t3
mmmmm mmmm
11
!t4
11
!t4
mmmm mmmm8
"t1
8
"t1
mmmm mmmm9
# t2
9
# t2
mmm mmmm10
t3
10
t3
mmm mmmm11
!t4
11
!t4
mmm mmmm8
"t1
8
t1
mmm mmmm9
# t2
9
!t2
mmmm mmmm10
t3
10
t3
mmmm mmmm11
!t4
11
! t4
mmm mmmm8
t1
8
t1
mmm mmmm9
!t2
9
! t2
mmmm mmmmm10
t3
10
t3
mmmm mmmmmm11
" t4
11
" t4
=============================Ä
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ
mmmmmm mmmm4
11
" t4
11
" t mmmmm mmmm3
10
t3
10
t mmmmm mmmm2
9
" t2
9
" t mmmm mmm1
8
t1
8
t mmmm mmm11
" t4
11
"t4
mmmm mmmm10
t3
10
t3
mmmm mmm9
!t2
9
t2
mmmm mmm8
# t1
8
"t1
mmmm mmmm11
"t4
11
"t4
mmmm mmm10
t3
10
t3
mmmm mmmm9
t2
9
t2
mmmm mmmm8
"t1
8
"t1
mmmm mmm11
"t4
11
"t4
mmmm mmmm10
t3
10
t3
mmmm mmm9
t2
9
!t2
mmmm mmm8
"t1
8
# t1
æææ
mmmm mmmmm11
"t4
11
"t4
mmmm mmmm10
t3
10
t3
mmmm mmmm9
"t2
9
"t2
mmmm mmmmm8
t1
8
t1
fingers::
When two consecutive notes are fretted on different strings with the second note on a larger string anda higher-numbered fret (closer to the guitar body), the finger fretting the second note can mute the first note. Thisis easier on adjacent strings, but can be done two or more strings apart by using the fretting fingers flattenedagainst the strings.
================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44d
7
tmmmmI1
mmmm mmmm
8
t2
7
t1
mmmm mmmm
9
! t3
7
t1
mmmm mmmm
10
t4
8
t2
æææ
mmmmm mmmm
9
! t3
8
t2
mmmm mmmm
10
t4
9
!t3
10
tmmmm4
cfingers::
113
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.237
Ä 44â 44
Swing Eighths
fingers: 0
0
t000
ttt3
4
! t000
ttt1
2
t000
ttt3
4
! t000
ttt
2
t1
000
ttt
4
! t3
000
ttt
2
t1
000
ttt
4
t3
000
ttt0
0
t000
ttt3
4
! t000
ttt1
2
t000
ttt3
4
! t000
ttt1
2
t000
ttt3
4
! t000
ttt1
2
t000
ttt3
4
t000
ttt
Äâ
0
t0
000
ttt
4
! t3
000
ttt
2
t1
000
ttt
4
!t3
000
ttt2
t1
000
ttt
4
!t3
000
ttt
2
t1
000
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4
t3
000
ttt
0
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4
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000
ttt
2
t1
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4
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4
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t2
2
t3
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2
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2
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t0
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tI2
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E7
A7 E7
B7 C B7 E7 B7
E7 A7 B7 Fma13#11 E7
Combined Fretting and Muting Mute each open string chord with the finger that frets the note that follows.Pluck the bass notes with the thumb and the remaining notes with the fingers.
tec 1.237 tec 1.237
114
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
INTRODUCTION TO SLIDEThis technique should not be confused with bottleneck slide technique, which will be covered separately.
The slide is a slurring technique where two or more notes are sounded when picking or plucking the string once,continuing the pressure against the fret with the fretting hand and slidding to another fret. Two or moreconsecutive notes can be performed with the slide, by moving up or down a string to different frets.
If the slide is a distance of two or three frets, you should be able to retain the contact on the back of theneck with the ball of your thumb, pivoting on it. This makes it much easier to retain your orientation on thefretboard. You may be able to retain contact while sliding over three frets, especially if the span of your handis large and/or if playing on the higher-numbered frets (which are closer together).
Single Note Slide Exercise
=============================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44mmmm mmmm
1
!t1
2
t1
mmmm mmmmS
0
t0
0
t0
mmmm mmmm3
t3
S
5
t3
mmmm mmmm0
t0
0
t0
mmmm mmm5
t4
4
!t4
mmmm mmmmS
0
t0
0
t0
mmmm mmmm1
!t1
2
t1S
mmmm mmmm0
t0
0
t0
mmmm mmmm1
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t1S
mmmm mmmm0
t0
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t0
mmmm mmmm3
t3
5
t3S
mmmm mmmm0
t0
0
t0
mmmm mmm5
t4
S
4
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mmmm mmmm0
t0
0
t0
2
|mmmm1
=============================Ä
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâmmmm mmmm
1
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S
2
t1
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0
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5
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t4
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4
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007
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The slide may be performed on two or more strings simultaneously. Here is an example where the notesare consistently an interval of a fifth apart (equal to five scale tone apart).
Perfect Fifth Slide Exercise
===============Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44fingers:
c
79
1012
mmmmmm mmmmmmS
31
tt
1012
31
tt
57
mmmmmm mmmmmmmS
S
31
tt
57
31
tt
79
mmmmmmm mmmmmmS S
S
31
tt31
tt æ
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b
Technique 1.300
115
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.310
“RECOIL” TECHNIQUEI named this technique after a rattlesnake, because of its habit of returning to its ready position after
striking and biting.
In more fundamental styles such as blues, rock and folk, an improviser often uses a single scale fingeringpattern as a source for melodic tones. This makes it easier to develop an improvisation by having to recall onlyone pattern. In these styles, an improviser can slide up to a note, then return to the original scale fingering area.
To make this quick and efficient, keep the ball of the thumb in contact with the back of the neck. Slideup the neck, then quickly return. Try this in the exercise below.
recoil technique example 1
===============Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44fingers:
c
2 4
S
mmmm mmmm2
t0
2
t0
mmmm mmmm0
t0
0
t
3
mmmm mmmm0
t3
t æ
ææ
mmmm mmmm3
S
5
t0
0
t mmmm mmmm3
3
t0
0
t mmmm mmm3
3
"t2
2
tP
mmmm mmmm0
0
t2
2
t
recoil technique example 2
===============Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44fingers:
d
2 4
2 2
S
tmmmmoY tmmmmY0
mmmm mmmm0
t0
0
3
t
5
mmmm mmmm3 3
S
tmmmmmoY t
0
0
t
3
mmmm mmmm3
t
0
0
t æ
ææ
mmmm mmmm2 2
S
tmmmmoY
2 4
t0
0
t mmmm mmmm0
0
tS
3 3
tmmmmmoI
3 5
t |mmmm
116
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.350
BARRE TECHNIQUEFingers Typically Used
Barreing is most commonly performed with the index and ring fi ngers, less often with the middle fi nger and the little fi ngers. Here a few of the most common barré chords:
2
1
F I
4
11
3
3
Bb I
3
1
3
2
1
3
C9 II
3 3
2
C13 no root II
4
1
2
1 1
Fm I
4
11
3
2
Bb I
4
1
3
1barre
barre
barre barre
barre
barre
Am II
4
1
44 barrebarre
G13 sus. 4 III
4
2
44
1
The Portion Of The Barreing FingerGenerally, it is most effi cient to barre with edge of a fi nger (the area between the surface of the fi nger
facing the palm and the side of the fi nger). With the index fi nger, the preferred edge is on the side of the fi nger nearest the thumb. On the other fi ngers, the edge opposite the thumb usually works best.
Applying And Sustaining PressureUsually the thumb should be placed near the middle of the neck, opposite the barréing fi nger. Pressure
should be applied between the thumb and the barréing fi nger. The shape of your hand will be a little different for each barre chord. Listen carefully to all the notes that should be sounding in a barre chord you are playing.
The “F chord shown above usually works better when the thumb is placed near the middle of the neck, while the “C9” chord works better with the thumb below the middle and toward the head of the guitar. The “Am” chord shown above works best if the thumb is placed well below the center of the neck and toward the head of the guitar.
Avoiding StressBarreing can be quite stressful on the tendons in your wrist, so take a break whenever you experience the
slightest pain. Do your best to develop barré forms that avoid bending your wrist. Keep your elbow at your side. It is often better to keep the base of the little fi nger in front of the neck and sometimes above the level of the fi rst string. Keeping the palm close to or touching the bottom of the fretboard will avoid bending your wrist.
117
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.381
Ä 44
â 44
Û0fretting:
picking:
t
0
↓1
t
1
↑2
! t
2
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Û1
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2
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4
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3
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1
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2
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3
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2
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5
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1
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2
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t
3
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2
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3
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4
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3
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4
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4
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Ä 44
â 44Û
0
0
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1
1
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2
2
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1
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2
2
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3
3
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2
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3
3
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4
4
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Û4
5
t↑
3
4
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2
3
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7
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3
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2
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2
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1
t1↑
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1
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0
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t1↑
0
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4
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Ä
âÛ
0
0
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4
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3
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2
2
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1
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2
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1
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0
0
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9
Û1
1
t↓
0
0
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3
3
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Û0
0
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3
3
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2
2
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3
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2
2
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1
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Û2
2
#t↓
1
1
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0
0
t↓
Open-Position Chromatic Scale ExercisePick alternately down-up when you stay on a string. Pick in the direction of a new string you are moving to.
tec 1.381 tec 1.381
118
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.382
Ä 44
â 44Û
1picking:
1
"t↑
0
0
t↓
4
4
"t↑
Û0
0
#t↓
4
4
!t↑
3
3
# t↓
Û4
4
"t↑
3
3
t↓
2
2
t↑
Û3
3
t↓
2
2
t↑
1
1
"t↓
11 Û2
2
t↑
1
1
"t↓
0
0
t↑
Û1
1
t↓
0
0
t↑
4
4
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Û0
0
#t↓
4
4
"t↑
3
3
t↓
Û4
4
t↑
3
3
t↓
2
2
t↑
Ä
âÛ
3
3
t↓
2
2
t↑
1
1
" t↓
Û2
2
# t↑
1
1
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0
0
t↑
Û1
1
t↓
0
0
t↑
4
4
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0
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4
4
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3
3
t↓
13
æ
ææ
Û4
4
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3
3
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2
2
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3
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2
2
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1
1
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Û2
2
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1
1
t↓
0
0
t↑
t
Ä 44
â 440
0
t↓
1
1
t↑
2
2
! t↓
3
3
t↑
1
1
# t↓
2
2
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3
3
t↓
4
4
! t↑
2
2
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3
3
# t↑
4
4
! t↓
0
0
t↓
3
3
# t↑
4
4
! t↓
0
0
t↓
1
1
! t↑
15
4
4
! t↑
0
0
t↓
1
1
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2
2
t↓
0
0
# t↑
1
1
! t↓
2
2
t↑
3
3
t↓
1
1
t↑
2
2
t↓
3
3
t↑
4
4
! t↓
2
2
t↑
3
3
# t↓
4
4
! t↑
0
0
t↓
Ä
â3
3
t↑
4
4
! t↓
0
0
t↓
1
1
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4
4
t↑
0
0
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1
1
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2
2
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0
0
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1
1
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2
2
t↑
3
3
t↓
1
1
t↑
2
2
t↓
3
3
t↑
4
4
!t↓
17
2
2
t↑
3
3
t↓
4
4
!t↑
0
0
t↓
3
3
# t↑
4
4
!t↓
0
0
t↓
1
1
!t↑
4
4
t↑
0
0
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1
1
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2
2
t↓
0
0
#t↑
1
1
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2
2
t↑
3
3
!t↓
Ä
â1
1
!t↑
2
2
t↓
3
3
!t↓
0
0
t↓
2
2
#t↑
3
3
!t↓
0
0
t↓
1
1
t↑
3
3
t↑
0
0
t↓
1
1
t↑
2
2
!t↓
0
0
t↑
1
1
# t↓
2
2
!t↑
3
3
t↓
19
1
1
t↑
2
2
!t↓
3
3
t↑
4
4
!t↓
2
2
t↑
3
3
#t↓
4
4
!t↑
0
0
t↓
3
3
#t↑
4
4
!t↓
0
0
t↓
1
1
t↑
4
4
t↑
0
0
t↓
1
1
t↑
2
2
!t↓
fingers:
Open Position Chromatic Scale Exercise (continued)tec 1.382 tec 1.382
119
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.383
Ä 44
â 440
picking:
0
t↑
1
1
t↓
2
2
!t↑
3
3
t↓
1
1
#t↑
2
2
!t↓
3
3
t↑
4
4
!t↓
1
2
t↑
2
3
#t↓
3
4
!t↑
4
5
t↓
1
3
# t↑
2
4
!t↓
3
5
t↑
4
6
! t↓
21
4
7
t↑
3
6
" t↓
2
5
t↑
1
4
" t↓
4
6
t↑
3
5
# t↓
2
4
" t↑
1
3
t↓
4
5
# t↑
3
4
" t↓
2
3
t↑
1
2
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4
4
t↑
3
3
#t↓
2
2
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1
1
t↓
Ä
â3
3
t↑
2
2
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1
1
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0
0
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2
2
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1
1
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0
0
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4
4
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1
1
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0
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4
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3
3
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0
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4
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3
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2
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23
4
4
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3
3
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2
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1
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3
3
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2
2
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1
1
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0
0
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2
2
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1
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0
0
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3
3
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1
1
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0
0
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3
3
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2
2
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Ä
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0
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3
3
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1
1
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2
2
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1
1
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0
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2
2
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1
1
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0
0
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4
4
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1
1
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0
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4
4
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3
3
t↓
25
0
0
t↓
4
4
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3
3
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2
2
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4
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3
3
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3
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2
2
#t↑
1
1
"t↓
0
0
t↑
2
2
#t↓
1
1
"t↑
0
0
t↓
4
4
"t↑
Ä
â1
1
"t↓
0
0
t↑
4
4
"t↑
3
3
t↓
0
0
#t↓
4
4
"t↑
3
3
t↓
2
2
t↑
4
4
t↓
3
3
t↑
2
2
t↓
1
1
" t↑
3
3
t↓
2
2
# t↑
1
1
" t↓
0
0
t↑
27
2
2
t↓
1
1
" t↑
0
0
t↓
4
4
" t↑
1
1
t↓
0
0
# t↑
4
4
" t↑
3
3
t↓
0
0
# t↓
4
4
" t↑
3
3
t↓
2
2
" t↑
4
4
t↓
3
3
# t↑
2
2
" t↓
1
1
t↑
æ
ææ3
3
t↓
2
2
" t↑
1
1
t↓
0
0
t↑
«|
fingers:
Open Position Chromatic Scale Exercise (continued)tec 1.383 tec 1.383
120
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.390
HARMONICSEach note played on the guitar produces complex sounds comprised of many pitches. The loudest of
those pitches, the one we’re most aware of, is called the fundamental. Other pitches that sound with thefundamental are called harmonics. Harmonics sound clearer and louder using the bridge pickup with areasonable amount of treble.
“Touch” (or “Artificial”) harmonics.“Touch” harmonics can be produced by forcing the string to vibrate in fractional arcs called “partials.”
By touching the string very lightly with the fingertip at 1/2, 1/3, 1/4, 1/5, etc., the vibrating string length fromeither end, the string can be forced to vibrate in sections. As the sections or arcs vibrate, they produce the soundwe call a harmonic.
If a touch harmonic is played at 1/2 the string length, the string will vibrate in two sections:
touching here
produces these arcs
end of vibratingstring length
end of vibratingstring length
A touch harmonic played at 1/3 the string length, causes the string to vibrate in three sections:
touching here
produces these arcs
end of vibratingstring length
end of vibratingstring lengthor touching here
Once the strings are vibrating in sections produced by touch harmonics, touching the string exactly atthe end of an arc will not stop its vibration. Touching the string anywhere other than an the end of an arc willmute the string. The point at which the ends of two arcs meet is called a node.
All of these fractional arcs or partials sound with every open string and fretted note you play, but withmuch less volume than the fundamental (above). The shorter the string length, the lesser the volume. Amultiband equalization unit can aid in bringing out particular harmonics by increasing the volume through thehigher range of pitch where they occur.
121
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.391
Open string touch harmonics.Before or after picking a note, touching the string very lightly at the particular places along the string will
produce a harmonic:
• Touching at the 12th fret (1/2 the vibrating string length) will produce a harmonic an octave above theopen string. Touch exactly over the metal fret.
• Touching at the 7th or 19th frets (1/3 the vibrating length) produces a harmonic an octave and a fifth abovethe open string. Touch exactly over the metal fret.
• Touching at the 5th or 24th frets (1/4 the string length) produces a harmonic two octaves above the openstring. Touch exactly over the metal fret.
TWELFTH FRET HARMONICS EXERCISE
Play harmonics where the diamond-headed notes are shown at the twelfth fret.
Touch exactly over the twelfth fret, not where you usually fret it, but exactly over the metal fret.
====================================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
c0
tmmmm2
tmmmm0
tmmmm121212
zmmmmmmmzz0
tmmmm2
tmmmm0
|mmmm2
tmmmm0
tmmmm121212
zmmmmmmmzz0
tmmmm2
tmmmm0
tmmmm3
tmmmm2
tmmmm0
tmmmm
====================================Ännnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 2
tmmmm0
tmmmmmm3
tmmmmm2
tmmmm tmmmm12
rmmmm121212
zmmmmmmmzz
3
tmmmmm0
tmmmm2
tmmmm0
tmmmm tmmmm0
tmmmm2
tmmmm0
tmmmm
====================================Ännnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 12
1212
zmmmmmmmzz0
tmmmm2
tmmmm0
|mmmm2
tmmmm0
tmmmm121212
zmmmmmmmzz0
tmmmm2
tmmmm0
tmmmm3
tmmmm2
tmmmm0
tmmmm
====================================Ännnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 2
tmmmm0
tmmmmmm3
tmmmmm2
tmmmm tmmmm12
rmmmm121212
zmmmmmmmzz
3
tmmmmm0
tmmmm2
tmmmm0
tmmmm æææ
tmmmm12
rmmmm121212
zmmmmmmmzz
122
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.425
PICKING HEEL-OF-HAND MUTEThe “heel” of your hand is the ridge of muscle and flesh between your wrist and palm. By touching a
string immediately next to the bridge, the sound can be softened, or muted. This technique is easier to performwith the elbow of the picking hand a inch or two lower, so the picking hand arm is closer to being parallel tothe strings. The same positionion of the hand can temporarily be gotten by bending the wrist of the fretting hand.The wrist should not remain bent in this manner for an extended length of time, as it would put unnecessary stresson the wrist.
Pressing the heel of the hand anywhere on a string whiile picking or plucking it will raise the pitch ofnotes played on that string. To keep this change in pitch to a minimum, mute by touching the string as close tothe bridge as you can. More pressure should be applied to the bridge than to the string.
As with standard picking, heel-of-hand muted picking should be accompolished by a side-to-sidesweeping motion of the wrist. To move from one string to another, keep the wrist in contact with the vibratingend of each string nearest the bridge. You should find it fairly easy to pick muted notes on either or both of twoadjacent strings without changing the location of the wrist. With practice, you can even play on three adjacentstrings without changing the placement of the wrist, but it is usually better to move the placement of the wristrather than risk losing a mute.
123
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.426
Ä 44â 44 At0
B
t2
C
t3
D
t0
E
t2
C
t3
E
t2 1
!tD#
2
tB
1
tD#
0
# tD
1
" tBb
0
tD
0
tA
2
tB
3
tC
0
tD
2
tE
3
tC
2
tE
2
tA
0
tG
2
tE
3
tC
2
tE
0
|G
Äâ A
2
tB
0
tC
1
tD
3
tE
t1
C
tE
t4
! tD#
0
tB
4
tD#
3
# tD
3
" tBb
3
tD
2
tA
0
tB
1
tC
3
tD
t1
E
tC
tE
tA
t1
G
tE
tC
tE
|G
ÄâΩ øΩΩ ø
E
2
tF#
4
!tG#
1
!tA
2
tB
0
tG
1
tB
0
t1
tC
1
! tG#
1
tC
0
tB
1
tG#
0
tB
2
tE
4
! tG
1
!tE
2
tF#
0
tG#
1
tA
0
tB
æøææø1
tC
1
!tG#
1
tC
0
|B
Äâ
0
tA
2
tB
3
tC
0
tD
2
tE
3
tC
2
tE
1
! tD#
2
tB
1
tD#
0
# tD
1
" tBb
0
tD
0
tA
2
tB
3
tC
0
tD
2
tE
3
tC
2
tE
2
tA
0
tG
2
tE
3
tC
2
tE
0
|G
Äâ A
2
tB
0
tC
1
tD
3
tE0
tC
1
tE0
t4
! tD#
4
tB
4
tD#
3
# tD
3
" tBb
3
tD
2
tA
0
tB
1
tC
3
tD
0
tE
1
tC
0
tE
5
tA
æææ0
tE
1
tC
0
tE
5
tA
2
|A
In the Hall of the Mountain KingUse heel-of-hand mutes for every note.
tec 1.426 tec 1.426
124
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.470
PRIMARY STYLES OF PICKING
ALTERNATE PICKING
In alternate picking, each series of continuous notes is picked strictly (1) down-up-down-up, etc. or (2)strictly up-down-up-down, etc. If you start with a downstroke, the picking order is down-up-down-up, etc.Starting with an upstroke would use the picking order up-down-up-down, etc. On a single string, this is simpleenough:
Ä 44â 44
1picking:
fingers:
↓4
!t0
↑0
t2
↓5
t0
↑0
t3
↓6
" t0
↑0
t4
↓7
# t0
↑0
t æææ6
" t3
↓0
t0
↑5
t2
↓0
t0
↑4
!t1
↓0
t0
↑
=================Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
mmmm mmm1
picking:
fingers:
4
!t0
0
t mmmm mmm2
5
t0
0
t mmmmm mmm3
6
" t0
0
t mmmmm mmm4
7
# t0
0
t æææ
mmmmm mmm6
" t3
0
t0
mmmm mmm5
t2
0
t0
4
!tmmmm1
0
tmmmm0
You often pass a string before picking it to strictly continue the down-up motion. If you were to pickdown on the fifth string immediately before picking a note on the fourth string, you would move the pick slightlypast the fourth string before picking it, so it can be picked in an upstroke. In theory, the wasted motion isacceptable in order to allow an uninterrupted continuous rhythmic motion.
Ä 44â 44
æææ
picking: ↓
0
t↑
0
t↓
0
t↑
0
t============Ä 44nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
æææ
picking:
0
tmmmmm0
tmmmm0
tmmmmm0
tmmmm
Alternate Picking Exercise. The most significant disadvantage of down-up picking is having to passa string before picking it. On the exercise below, every string has to be passed before picking. Using all openstrings, pick in this exact order of down ( ↓ ) and up ( ↑ ) strokes.
Ä 44â 44picking:
↓
0
t↑
0
t↓
0
t↑
0
t↓
0
t↑
0
t↓
0
t↑
0
t0
t↓
0
t↑
0
t↓
0
t↑
0
t↓
0
t↑
0
t↓
0
t↑
3434
æøææø0
t↓
0
t↑
0
t↓
0
t↑
0
t↓
0
t↑
==========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44picking:
mmmmmm mmmmmm0
t0
t mmmmmm mmmmm
0
t0
t mmmmm mmmm
0
t0
t mmmm mmmm
0
t0
t mmmm mmmm
0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t 34=34nnnnnnnnnnnnnnnnnn
æøææø
mmmm mmmm0
t0
t mmmm mmmm0
t0
t mmmmm mmmmm0
t0
t
125
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.471
Imagine alternate picking a series of notes with an even rhythm:
Ä 44â 44fingers:
picking: ↓
5
t1
↑
7
t3
↓
7
t3
↑
7
t3
↓
7
t3
↑
7
t3
↓
7
t3
↑
7
t3
æææ8
"t↓
4
7
t↑
3
7
t↓
3
7
t↑
3
7
t↓
3
7
t↑
3
5
t↓
1
Now, imagine some of the notes missing from the even rhythm:
Ä 44â 44fingers:
picking:
0
t1
↓
2
t3
↑
d
2
tI3
↑
2
t3
↓
2
t3
↑
d
2
tI3
↑
æææ3
"t4
↓
2
t3
↑
d
2
tI3
↑
2
t3
↓
2
t3
↑
0
t1
↓
Carefully compare the two examples above.
Strumming By Rhythmic Selection. Many accompaniment and melodic rhythms can be played easilyby assuming a continuous down-up motion with your picking hand and selecting when the pick contacts thestrings. So, this may be called “rhythmic selection from a continuous pulse.” It may be applied to playing singlenotes or strumming chords.
Ä 44â 44strum:
02210
ttttt↓
02210
ttttt↑
d
02210
tItttt
02210
↑
d
02210
tItttt
02210
↑
ttttt↓
ttttt↑
æøææø3
0033
ttttt↓
30033
ttttt↑
d
30033
tItttt↑
d
30033
tItttt↑
30033
ttttt↓
30033
ttttt↑
æææ
↓
02210
AAAAA1
Am I
322
1
G I
3 4
1
Am I
32
“RHYTHMIC” PICKING
126
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.472
Creating Rhythmic Picking By Rhythmic Selection. For single notes, as with strumming, you canassume a continuous down-up motion with your picking hand and select when the pick contacts the string.
Ä 44â 44 ↓picking:
0
tI↑
0
tI↑
0
tI↑
0
tI↓
0
tI↑
0
tI æøææø
↓
3
tI↑
3
tI↑
3
tI↑
3
tI↓
3
tI↑
3
tI æææ
↓
0
A
ECONOMY PICKING
Basic ConceptStaying On The Same String. Whenever you remain on the same string and pick continuous rhythms,
pick alternately down-up.
Ä !!!! 44â 44picking:
fingers:
12
t4↓
11
t3↑
9
t1↓
12
t4↑
11
t3↓
9
t1↑
7
t1↓
11
t4↑
æøææø9
t2↓
7
t1↑
5
t1↓
9
t4↑
7
t2↓
5
t1↓
4
t1↓
0
t0↑
======================Ä !!!! 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44picking:
mmmmmm mmmmmfingers:
12
t4
11
t3
mmmmm mmmmmm9
t1
12
t4
mmmmm mmmmm11
t3
9
t1
mmmm mmmmm7
t1
11
t4
æøææø
mmmmm mmmm9
t2
7
t1
mmmm mmmmm5
t1
9
t4
mmmm mmmm7
t2
5
t1
mmmm mmm4
t1
0
t0
Picking Discontinuous Rhythms. When the regular pulse of a rhythm you are playing in single notesis interrupted (by a sustain or by a rest), the next picking stroke can be in either direction. If the next picking strokeis on the beat (at the beginning of a beat), it is preferable to pick down. By picking up on the first note in thecircled pair below, the downstroke falls on the beat. The single circled note after the next pause is picked down,again to conform to the preferred downstroke on the beat.
Ä !!!! 44â 44picking:
fingers:
12
t4↓
11
t3↑
9
t1↓
12
t4↑
11
tY3↓
c11
tY3↑
æææ
1↓
9
|
7 5 4
4↓
t0
2↑
t1↓
t0↑
t======================Ä !!!! 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44picking:
mmmmmm mmmmmfingers:
12
t4
11
t3
mmmmm mmmmmm9
t1
12
t4
11
tmmmmmY3
c11
tmmmmmY3
æææ
1
9
|mmmmm7 5 4
mmmm mmmm4
t0
2
t mmmm mmm1
t0
t
If all notes on the beat are picked down and all notes on the last half of the beat picked up, this constitutesrhythmic picking, discussed earlier.
127
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.473
Pick In The Direction Of The New String. In economy picking, every time you move to a new string,you pick in the direction you were moving to get to the new string. This method of changing strings is moreefficient, since it makes use of every stroke.
Ä 44â 44picking:
fingers:
Û0
↓
0
t2
↑
2
t3
↓
3
t Û0
↓
0
t2
↑
2
t3
↓
3
t Û0
↓
0
t2
↑
2
t0
↓
0
t Û1
↑
1
t3
↓
3
t0
↓
0
t æææ
Û3
↑
3
t0
↑
0
t1
↑
1
t Û0
↑
0
t2
↑
2
t3
↑
3
t3
↑
3
|===================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44picking:
fingers:
Ûmmmmm mmmm mmmm0
0
t2
2
t3
3
t Ûmmmm mmmm mmmm0
0
t2
2
t3
3
t Ûmmmm mmmm mmmm0
0
t2
2
t0
0
t Ûmmm mmm mmmm1
1
t3
3
t0
0
t æææ
Ûmmmmm mmmm mmm3
3
t0
0
t1
1
t Ûmmmm mmmm mmmmm0
0
t2
2
t3
3
t3
3
|mmmmm
ChallengesPreserving The Rhythm. Alternate picking involves a rhythmically regular wrist movement, making
it easy to pick regular rhythms. Picking two or more consecutive notes in the same direction requires timingthe movement to preserve the rhythm of the notes.
Try playing the example above again (“pick in the direction of the new string”), paying particularattention to continuing the triplet rhythm through the first two beats of the second bar. It would be easy to “rush”the rhythm where the first two beats of the second bar are played with all upstrokes.
Efficiency In Passing A String Without Picking It. In economy picking, you will often need to passover a string without picking it. This occurs when you have just picked a string, then need to move in the oppositedirection of the last stroke to pick to the next note on another string. This would require passing the string youhave just picked, on the way to picking the next string. Whenever this occurs, minimize the length of your stroke,staying close to the string before changing direction in moving toward the next string.
In the exercise below, after picking every note except the circled one, you will need to change directionto move to the next string. In doing so, try to minimize the length of your stroke, staying close to the string beforechanging direction in moving toward the next string.
Ä 44â 44
æøææø
picking:
fingers: 0
↓
0
t0
↑
0
t1
↓
1
t0
↑
0
t2
↓
2
t3
↑
3
t0
↓
0
t0
↑
0
t=============Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44æøææø
picking:
fingers:
mmmm mmmm0
0
t0
0
t mmmm mmmmm1
1
t0
0
t mmmm mmmm2
2
t3
3
t mmmm mmmm0
0
t0
0
t
128
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.474
Inside PickingInside picking is a concept to improve efficiency with economy picking, where a repeated note group
involves picking downward on the smallest string and upward on the largest string. Following the rule of pickingin the direction of the new string, immediately after picking the largest or smallest string in a repeated group ofnotes, you would have to pass the string without picking it on the way to the next string.
inside picking example 1
Ä 44â 44picking:
fingers:
0
t0
↓
0
t0
↑
1
t1
↓
0
t0
↑
3
t1
↓
0
t0
↑
5
t3
↓
0
t0
↑
æøææø
4
↓
6
t0
↑
0
t3
↓
5
t0
↑
0
t1
↓
3
t0
↑
0
t1
↓
1
t0
↑
0
t====================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44picking:
fingers:
mmmm mmmm0
t0
0
t0
mmmm mmmmm1
t1
0
t0
mmmmm mmmm3
t1
0
t0
mmmmmm mmmm5
t3
0
t0
æøææø
mmmmmm mmmm4
6
t0
0
t mmmmmm mmmm3
5
t0
0
t mmmmm mmmm1
3
t0
0
t mmmm mmmmm1
1
t0
0
t
inside picking example 2
Ä 44â 44picking:
fingers:
0
t0
↑
1
t1
↓
0
t0
↓
2
t2
↑
1
t1
↓
0
t0
↓
3
"t3
↑
1
t1
↓
æøææø0
t0
↓
2
t2
↑
1
t1
↓
0
t0
↓
3
"t3
↑
1
t1
↓
2
t2
↑
1
t1
↓
====================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44picking:
fingers:
mmmmm mmmm
0
t0
1
t1
mmmmm mmm0
t0
2
t2
mmm mmmm1
t1
0
t0
mmmm mmmm3
"t3
1
t1
æøææø
mmmmm mmm0
t0
2
t2
mmm mmmm1
t1
0
t0
mmmm mmmm3
"t3
1
t1
mmm mmmm2
t2
1
t1
Tilting The Pick For Four Or More Consecutive Strings. Economy picking scales, arpeggios ormelodies which consistently progress upwardly in pitch involve more downstrokes, since the first and last noteon each string would be picked down. Play the example below.
===================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44mmmm mmmm
fingers:
picking:
2
2
t1
1
!t mmmm mmmm0
0
t0
0
t mmmm mmmm3
6
t1
4
t mmm mmmm2
5
t1
4
!t æææ
mmmm mmmm3
9
t3
9
t mmm mmmm3
9
!t1
7
t4
12
|mmmmmm
129
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.475
Economy picking scales, arpeggios or melodies which consistently progress downwardly in pitchinvolves more upstrokes, since the first and last note on each string would be picked up. Play the example below.
Ä 44â 44
fingers:
picking:
1
↑
10
t1
↑
10
t2
↑
11
!t3
↑
12
t1
↓
5
t3
↑
7
t3
↑
7
t3
↑
7
t æææ
1
↓
2
!t2
↑
3
t1
↑
2
t3
↑
4
!t0
↓
0
|===================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
mmmmm mmmmfingers:
picking:
1
10
t1
10
t mmmm mmmm2
11
!t3
12
t mmmm mmmm1
5
t3
7
t mmmm mmm3
7
t3
7
t æææ
mmmm mmmm1
2
!t2
3
t mmmm mmmm1
2
t3
4
!t0
0
|mmmm
When four or more consecutive strings are picked in the same direction, tilt the plane of the pick fromits base (opposite the tip) five to ten degrees so it can glide over the surface of the strings.
Ä 34â 34
↓strum:
fretting:
0
t↓
2
t↓
2
t↓
1
!t↓
0
t↑
3
t↓
0
t↑
1
t↑
2
t↑
2
t↑
0
t↑
3
t↓
2
! t↓
0
t↓
0
t↓
2
t↓
3
t↓
2
!t↑
3
t↑
3
t↑
0
t↑
0
t↑
3
t↓1
2
! t
Äâ ↑
0
t↓
3
t↓
2
t↓
0
t↓
1
t↓0
t1
t↑
1
t↑
2
t↑
3
t↑
3
t↑
1
t↑ ↓
0
t↓
2
t↓
2
t↓
1
!t↓
0
t↓0
t æøææø
↑2
!t↑
0
t↑
2
t↑
1
!t↑
2
t æææ
↑
0
t↓
2
t↓
2
t↓
1
!t ≥↓00
tt
1
E I
32
4
1
Am I
32
1
Am7 I
32
43
4
2
D I
1
2
1
G I
3 4
3
2
1
C I
2
1
F I
4
11
3
1
E I
32 2
1
B7 I
3 41
E I
32
1
E I
32
4
1
Am I
32
1
Am7 I
32
43
4
2
D I
1
2
1
G I
3 4
3
2
1
C I
2
1
F I
4
11
3
1
E I
32 2
1
B7 I
3 41
E I
32
SWEEP PICKING
Sweep picking will be discussed soon in Level 2.
130
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.480
Ä !!! 98â 98
d12
t9
↓
t11
↑
t9
↓
t12
↑
t12
↓
t11
↑
t9
↓
t↑
1
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
11
t↑
9
t↓
Ä !!!â 11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
5
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
12
t↑
12
t↓
11
t↑
12
t↓
11
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
11
t↑
9
t↓
Ä !!!
â 52
0
«t «t «t
4
t3
d
2
23
«t «t«t9
4
40
«t «t «t
2
2
«t «t «t0665
«t «t «t «t2
23
«t «t «t42
«t «t
022
«t «t «t
Ä !!!
â0
119
ttt↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
12
t↑
11
t↓
12
12
t↑
9
t↓
11
t↑
12
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↑
9
t↓
9
t↑
10
t↓
9
t↑
10
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
9
t↑
12
t↓
11
t↑
9
t↓
12
t↑
12
t↓
12
t↑
11
t↓
For each of the chords in this line, pick the bass note and pluck the other notes with the remaining fingers of your plucking hand.
A II
4
1
2
D/F# I
43
2
E I
3
2
F#m7 I
3 4
2
C#m V
3 2
D/F# I
43
E I
3
1 1 1
A I
1
1
E IX
3
Alternate Picking Study #1
Cantata 147 (Jesu, Joy of Man's Desiring) by J.S. Bach
tec 1.480 tec 1.480
131
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.481
Ä !!! 98â 98
12
t↑
11
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
17
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
11
t↑
9
t↓
Ä !!!â 11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
21
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
12
t↑
12
t↓
11
t↑
Ä !!!
â022
«t «t «t
4
«t «t «t
2
23
«t «t«t4
4
40
«t «t «t
2
2
«t «t «t
0665
«t «t «t «t æ
ææ2
23
«t «t «t
42
«t «t
022
«t «t «t
Ä !!!
â0
119
ttt↓
t↑
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
12 11
27
12
t↑
9
t↓
11
t↑
12
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↑
9
t↓
9
t↑
10
t↓
9
t↑
10
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
1 1
A I
1
For each of the chords in this line, pick the bass note and pluck the other notes with the remaining fingers of your plucking hand.
1
A/G# I
11
3
2
D/F# I
43
2
E I
3
2
F#m7 I
3 4
2
C#m V
3 2
D/F# I
43
E I
3
1 1 1
A I
1
1
E IX
3
Alternate Picking Study #1, Cantata 147 (continued)
tec 1.481 tec 1.481
132
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.482
Ä !!! 98â 98
9
t↓
9
t↑
12
t↓
11
t↑
9
t↓
12
t↑
12
t↓
12
t↑
11
t↓
31
12
t↑
11
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
Ä !!!â
11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
11
t↑
9
t↓
35
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
12
t↑
12
t↓
11
t↑
Ä !!!
â12
t↓
11
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
11
t↑
13
!t↓
39
9
t↑
12
t↓
9
t↑
11
t↓
9
t↑
13
!t↓
13
t↑
11
t↓
9
t↑
9
t↓
12
t↑
11
t↓
12
t↑
9
t↓
9
t↑
9
t↓
12
t↑
9
t↓
10
#t↑
9
t↓
12
t↑
9
t↓
11
t↑
13
!t↓
9
t↑
11
!t↓
13
t↑
Ä !!!
â 9
t↓
12
t↑
11
t↓
12
t↑
11
t↓
9
t↑
9
t↓
12
#t↑
11
t↓
43
11
t↑
12
t↓
11
! t↑
12
t↓
11
t↑
12
t↓
9
t↑
11
t↓
12
t↑
12
#t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
9
t↓
9
t↑
13
!t↓
9
t↑
12
t↓
11
t↑
12
«t↓
9
«t↑
Ä !!!
â12
t↓
12
t↑
9
t↓
11
t↑
10
t↓
12
#t↑
10
t↓
8
# t↑
12
t↓
47
12
t↑
10
t↓
9
t↑
10
t↓
12
t↑
12
#t↓
9
t↑
11
t↓
12
t↑
11
t↓
10
t↑
12
#t↓
10
t↑
11
t↓
12
t↑
12
t↓
9
t↑
10
#t↓
9
t↑
12
t↓
11
t↑
12
t↓
9
t↑
10
#t↓
11
t↑
9
t↓
10
t↑
Alternate Picking Study #1, Cantata 147 (continued)
tec 1.482 tec 1.482
133
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.483
Ä !!! 98â 98 12
t↓
10
t↑
12
t↓
9
t↑
12
t↓
11
t↑
12
t↓
11
t↑
9
t↓
51
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
Ä !!!
â11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
12
t↑
11
t↓
55
12
t↑
9
t↓
11
t↑
12
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↑
9
t↓
9
t↑
10
t↓
9
t↑
10
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
Ä !!!
â9
t↓
9
t↑
12
t↓
11
t↑
9
t↓
12
t↑
12
t↓
12
t↑
11
t↓
59
12
t↑
11
t↓
9
t↑
10
t↓
9
t↑
11
t↓
12
t↑
11
t↓
9
t↑
12
#t↓
9
t↑
11
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
11
t↑
12
t↓
9
t↑
12
t↓
11
t↑
Ä !!!
â 12
t↓
9
t↑
11
t↓
12
t↑
11
t↓
9
t↑
12
t↓
11
t↑
9
t↓
63
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
Ä !!!
â11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
11
t↑
9
t↓
67
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
12
t↓
12
t↑
11
t↓
9
t↑
9
t↓
10
t↑
9
t↓
10
t↑
9
t↓
11
t↑
12
t↓
9
t↑
11
t↓
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↓
12
t↑
12
t↓
11
t↑
æææ12
«t↓
c« c«
Alternate Picking Study #1, Cantata 147 (continued)
tec 1.483 tec 1.483
134
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.485
Ä !!! 98â 98
d12
t9
↓
t11
↓
t9
↑
t12
↓
t12
↑
t11
↓
t9
↓
t↑
1
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
12
t↓
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
Ä !!!â 11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
5
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↑
12
t↑
12
t↓
11
t↑
12
t↓
11
t↓
9
t↓
10
t↓
9
t↑
11
t↑
12
t↑
11
t↓
9
t↓
Ä !!!
â 52
0
«t «t «t
4
t3
d
2
23
«t «t«t
9
4
40
«t «t «t
2
2
«t «t «t0665
«t «t «t «t2
23
«t «t «t42
«t «t
022
«t «t «t
Ä !!!
â0
119
ttt↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
12
t↑
11
t↓
12
12
t↑
9
t↓
11
t↑
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↑
12
t↑
12
t↓
11
t↑
For each of the chords in this line, pick the bass note and pluck the other notes with the remaining fingers of your plucking hand.
A II
4
1
2
D/F# I
43
2
E I
3
2
F#m7 I
3 4
2
C#m V
3 2
D/F# I
43
E I
3
1 1 1
A I
1
1
E IX
3
Economy Picking Study #1Cantata 147 (Jesu, Joy of Man's Desiring) by J.S. Bach.
This exerciseis the same as the previous one, Alternate Picking Exercise 1, except it uses economy picking.
tec 1.485 tec 1.485
135
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.486
Ä !!! 98â 98
12
t↓
11
t↓
9
t↑
11
t↓
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
17
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
12
t↓
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
Ä !!!â 11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
21
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↑
12
t↑
12
t↓
11
t↑
Ä !!!
â022
«t «t «t
4
«t «t «t
2
23
«t «t«t
4
4
40
«t «t «t
2
2
«t «t «t
0665
«t «t «t «t æ
ææ2
23
«t «t «t
42
«t «t
022
«t «t «t
Ä !!!
â0
119
ttt↓
t↑
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
12 11
27
12
t↑
9
t↓
11
t↑
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
1 1
A I
1
For each of the chords in this line, pick the bass note and pluck the other notes with the remaining fingers of your plucking hand.
1
A/G# I
11
3
2
D/F# I
43
E I
3
2
F#m7 I
3 4
2
C#m V
3 2
D/F# I
43
E I
3
1 1 1
A I
1
1
E IX
3
Economy Picking Study #1, Cantata #147 (continued)
tec 1.486 tec 1.486
136
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Ä !!! 98â 98
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↑
12
t↑
12
t↓
11
t↑
31
12
t↓
11
t↓
9
t↑
11
t↓
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
12
t↓
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
Ä !!!â
11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
35
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↑
12
t↑
12
t↓
11
t↑
Ä !!!
â12
t↓
11
t↓
9
t↓
10
t↓
9
t↑
11
t↑
12
t↑
11
t↓
13
!t↑
39
9
t↓
12
t↑
9
t↓
11
t↑
9
t↓
13
!t↑
13
t↓
11
t↓
9
t↑
9
t↓
12
t↑
11
t↓
12
t↑
9
t↓
9
t↑
9
t↓
12
t↑
9
t↓
10
#t↑
9
t↓
12
t↑
9
t↓
11
t↑
13
!t↑
9
t↓
11
!t↑
13
t↓
Ä !!!
â 9
t↓
12
t↑
11
t↓
12
t↑
11
t↓
9
t↑
9
t↓
12
#t↑
11
t↓
43
11
t↑
12
t↓
11
! t↑
12
t↓
11
t↑
12
t↑
9
t↓
11
t↑
12
t↓
12
#t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
9
t↑
9
t↓
13
!t↑
9
t↓
12
t↑
11
t↓
12
«t↑
9
«t↑
Ä !!!
â12
t↑
12
t↓
9
t↓
11
t↑
10
t↓
12
#t↑
10
t↓
8
# t↓
12
t↑
47
12
t↓
10
t↓
9
t↑
10
t↓
12
t↑
12
#t↑
9
t↓
11
t↑
12
t↓
11
t↑
10
t↓
12
#t↑
10
t↓
11
t↑
12
t↑
12
t↑
9
t↓
10
#t↑
9
t↓
12
t↑
11
t↓
12
t↑
9
t↓
10
#t↑
11
t↓
9
t↑
10
t↓
Economy Picking Study #1, Cantata #147 (continued)
tec 1.487 tec 1.487
Technique 1.487
137
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.488
Ä !!! 98â 98 12
t↓
10
t↑
12
t↓
9
t↓
12
t↑
11
t↓
12
t↑
11
t↓
9
t↑
51
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
12
t↓
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
Ä !!!
â11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
12
t↑
11
t↓
55
12
t↑
9
t↓
11
t↑
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
Ä !!!
â9
t↑
9
t↓
12
t↑
11
t↓
9
t↑
12
t↑
12
t↑
12
t↓
11
t↑
59
12
t↓
11
t↓
9
t↓
10
t↓
9
t↑
11
t↑
12
t↑
11
t↓
9
t↓
12
#t↑
9
t↓
11
t↑
12
t↑
11
t↓
9
t↓
11
t↑
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
9
t↓
11
t↑
12
t↑
9
t↓
12
t↑
11
t↓
Ä !!!
â 12
t↑
9
t↓
11
t↑
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
63
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
12
t↓
9
t↓
11
t↑
9
t↓
12
t↑
11
t↓
9
t↑
11
t↓
12
t↑
Ä !!!
â11
t↓
12
t↑
9
t↓
12
t↑
11
t↓
9
t↓
12
t↑
11
t↓
9
t↑
67
11
t↓
12
t↑
9
t↓
11
t↑
9
t↓
12
t↑
12
t↓
11
t↓
9
t↑
9
t↓
10
t↓
9
t↑
10
t↓
9
t↑
11
t↑
12
t↑
9
t↓
11
t↑
9
t↓
9
t↑
12
t↑
11
t↓
9
t↑
12
t↓
12
t↑
12
t↑
11
t↑
æææ12
«t↓
c« c«
Economy Picking Study #1, Cantata #147 (continued)
tec 1.488 tec 1.488
138
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.550
SIDE OF HAND MUTING(WITH THE PICKING HAND)
This technique is used to mute entire chords with the picking hand. The mute is performed with the sideor edge of the hand from the base of the little finger to the heel of the palm. The side of the hand must contactthe vibrating part of the strings, but it must do so as close to the bridge as possible. The more the side of the handis moved away from the bridge, the more the notes are sharpened (which is not desirable).
Muting causes the notes to sharpen very slightly, even if performed by muting as close to the bridge aspossible, since, to some degree, the string vibrates from the side of the hand to the headnut. Technically, to playa side-of-hand muted guitar part more perfectly in tune, you would need to tune the strings slightly flat incomparison to their unmuted pitch. This would compensate for the sharpening effect of the muting. AlthoughI have never heard of anyone doing so, I'm sure someone has been diligent enough to make this tuningcompensation in preparation for a recording.
It is difficult to manipulate the pick while performing this muting technique. Since the side of the pickinghand must remain in contact with the strings, you must develop the ability to move the pick with the thumb andindex finger, without moving the side of the hand which is muting. To do this, the pick must be held betweenthe thumb and the index finger. It should contact them on the “fingerprint” and “thumbprint” areas.
The picking motion is made by bending the thumb and index finger side of the hand without moving theside of the hand which is contacting the strings. While perfecting this technique, be very conscious of the baseof the little finger where it contacts the first string at the bridge. You should be able to feel the 90° angle wherethe first string meets the bridge piece, on the side of the first string opposite the second string. Be certain thatthe base of the little finger stays in consistent contact with the first string at the bridge.
Electric guitar tone for this technique usually contains more treble. Your tone control on the guitar wouldusually turned up higher (75% to full on). The electric guitar pickup selection for muting would more often bethe bridge and/or middle pickups, also to produce more treble. Muting reduces treble, so these settings areappropriate compensations.
Reverb and wah wah are often used along with this muting technique in Reggae. The wah wah is moveddown on the beat, which increases treble on the beat. Reverb helps to compensate for the shortness of the chordscaused by the muting. I still prefer the old fashioned spring reverb, maybe because that's what I've heard on theclassic recordings from the fifties through the seventies.
139
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.551
Ä !! 44â 44
Ω øΩΩ ø
Swing Eighths
1count: +
c7779
3+ +7779
2
tYttt7779
d c4
tttt+
tttt1 +
c999
3+ +
999
2
!tYtt999
d c4
ttt+
ttt1 +
c3345
3+ +3345
2
tYttt3345
d c4
tttt+
tttt æøææø
1 +
c2234
3+ +2234
2
tYt!tt2234
d c4
tttt+
tttt
Ä !!âΩ øΩΩ ø
1 +
c7779
3+ +
999
2 +
tYttt d c4
!tYtt d1 +
c7779
3+ +
999
2 +
tYttt d c4
!tYtt d1 +
c3345
3+ +3345
2
tYttt3345
d c4
tttt+
tttt æøææø
1 +
c2234
3+ +2234
2
tYt!tt2234
d c4
tttt+
tttt
Ä !!â 1 +
c7779
3+ +7779
2
tYttt7779
d c4
tttt+
tttt1 +
c7899
3+ +7899
2
tYttt7899
d c4
tttt+
tttt1 +
c7
1079
3+ +
71079
2
tYttt7
1079
d c4
tttt+
tttt1 +
c7899
3+ +7899
2
tYttt7899
d c4
tttt+
tttt
Ä !!â
æææ
17779
tYttt d c b
1
Bm VII
1
3
1
tec 1.551
1
3 3
E VII
32
1
G III
3
12
1
F# II
3
1
tec 1.551
1
Bm VII
1
3
1 1
3 3
E VII
3
1
Bm VII
1
3
1 1
3 3
E VII
32
1
G III
3
12
1
F# II
3
1
1
Bm VII
1
3
1
2
Em VII
3
1
4
Bm7 VII
3
1
4
11
2
Em VII
3
1
4
1
Bm VII
1
3
1
Reggae Side-Of-Hand Muting
140
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.610
INTRODUCTION TOBLUE NOTES AND BENDING
Melody is usually based on chord tones. It is commonly a decoration of chord tones, using other scaletones and chromatic tones as decoration.
Major chords sound happy. Minor chords sound sad. Certain notes of a chord can be lowered (by pitch)in the melody to suggest a feeling of sadness or other form of discontent. These lowerd notes are called bluenotes. When the accompaniment part (such as rhythm guitar) plays a major chord and the melody (vocal, leadguitar, etc.) plays a minor chord note against it, a “blue” feeling is expressed.
Blue notes may be slurred by hammering or bending up (in pitch) to the chord tone. This accounts formuch of the expression used in blues-related styles. Blue notes may be bent partially or completely to the chordtone.
To bend a note, keep the base of the first finger in contact with the lower edge of the fretboard. Bendthe string toward the middle of the neck. Notes on the first and second string should be bent up. Notes on thefifth and sixth string should be bent down. Notes on the two middle strings can be bent either way.
Bend the string by raising the side of the hand between the little finger and the wrist for the most part,not by straightening the finger. More detail to the bending technique, which differs when bending down andwhen bending up follows below.
During a downward bend (toward the first string side of the fretboard), move the side of the hand(between the little finger and the wrist) toward the front of the neck. Looking into your palm, you should seethe palm move toward in front of the neck as the hand rotates counter-clockwise.
During an upward bend (toward the sixth string side of the fretboard), move the side of the hand (betweenthe little finger and the wrist) toward the back of the neck. Looking into your palm, you should see the handrotating clockwise, as the palm moves behind the neck.
Blue Note Example. In the example below, the first note is a lowered version of a chord tone, whichis hammered into the chord tone that follows it. The notes with a sharp symbol below them (#) are slurred bybending slightly. They should be bent a half step or less.
=================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44Ûmmmm mmm mmmm
0
tH
1
!t2
t2
tmmmm mmmmm mmmm
2
t0
t Ûmmmm mmmm mmmm3
t0
t3
t æææ0
|mmmm b
140
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE 141
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.640
9
101112
8101112
7101112
8101112
89
1112
79
1112
79
1012
789
10
689
10
589
10
689
10
679
10
579
10
578
10
5678
4678
3678
4678
4578
3578
3568
3456
2456
1456
2456
2356
1356
1346
Dma7 IX
4
2
3
1
D7 VIII
4
2
3
1
D6 VII
4
2
3
1
D7 VIII
4
2
3
1
D7b5 VIII
4
2
3
1
Bm6 VII
4
2
3
1
D dim7 VII
4
2
3
1
Cma7 Vii
4
2
3
1
C7 VI
4
2
3
1
C6 V
4
2
3
1
C7 VI
4
2
3
1
C7b5 VI
4
2
3
1
Am6 V
4
2
3
1
C dim7 V
4
2
3
1
Bbma7 V
4
2
3
1
Bb7 IV
4
2
3
1
Bb6 III
4
2
3
1
Bb7 IV
4
2
3
1
Bb7b5 IV
4
2
3
1
Gm6 III
4
2
3
1
Bb dim7 III
4
2
3
1
Abma7 III
4
2
3
1
Ab7 II
4
2
3
1
Ab6 I
4
2
3
1
Ab7 II
4
2
3
1
Ab7b5 II
4
2
3
1
Fm6 I
4
2
3
1
Ab dim7 I
4
2
3
1
© 1998 Jim Gleason. All Rights Reserved.
Diagonal Thirds Stretching Exercisetec 1.640 tec 1.640
142
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.690
COORDINATED ATTACKOne of the most important technical requirements for speed on the guitar is a coordinated attack. The
two hands must work together so that the precise events that must occur to sound a note happen at the same time.
With the fretting hand the event is the completion of adequate pressure with the fretting finger(s). Asa finger is in the process of fretting a note, pressure is applied to the string as the finger gets closer to the fretboard.When the pressure is great enough to assure that the note will not buzz or be muted, the note is ready to be pickedor plucked. The action of picking or plucking should have already begun, so it is coordinated with the fretting.It is ideal to be sensitive to the point of when adequate pressure has been applied, so time and energy can beconserved.
The picking hand event is the precise moment that the pick or finger lets go of the string it has pickedor plucked. At that moment, the note(s) must be fretted with adequate pressure because the string is now goingto sound.
Your brain sends electric impulses to your nerves and muscles to control these events. Imagine a surgeof electrical energy moving down each arm to the fingers involved in the technique. Imagine the culminationof the electrical impulses as the point of adequate pressure with the fretting hand and the letting go of the stringwith the picking hand. By trial and error, align the impulses to in turn align the fretting and picking in time.
143
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.691
Ä !!!! 44â 44
fretting:
picking:
12
t4↓
11
t3↑
9
t1↓
12
t4↑
11
t3↓
9
t1↑
7
t1↓
11
t4↑
1
9
t2↓
7
t1↑
5
t1↓
9
t4↑
7
t2↓
5
t1↑
4
t1↓
0
t0↑
2
t1↓
0
t0↑
4
t3↑
0
t0↓
4
t3↑
0
t0↓
5
t2↑
0
t0↓
5
t1↑
0
t0↓
7
t3↑
0
t0↓
7
t1↑
0
t0↓
9
t3↑
0
t0↓
Ä !!!!â 12
t4↑
11
t3↓
9
t1↑
12
t4↓
11
t3↑
9
t1↓
7
t1↑
11
t4↓
5
9
t2↑
7
t1↓
5
t1↑
9
t4↓
7
t2↑
5
t1↓
4
t1↑
0
t0↓
2
t1↑
0
t0↓
4
t3↑
0
t0↓
4
t3↑
0
t0↓
5
t2↑
0
t0↓
5
t1↑
0
t0↓
7
t3↑
5
t1↓
4
t1↑
0
t0↓
4
t1↑
0
t0↓
Ä !!!!â 4
t1↑
0
t0↓
4
t1↑
0
t0↓
5
t1↑
0
t0↓
6
t2↑
0
t0↓
9
7
t1↑
0
t0↓
8
t2↑
0
t0↓
9
t1↑
0
t0↓
9
t1↑
0
t0↓
12
t4↑
0
t0↓
9
t1↑
0
t0↓
9
t1↑
0
t0↓
9
t1↑
0
t0↓
10
t4↑
0
t0↓
7
t1↑
0
t0↓
8
t2↑
0
t0↓
7
t1↑
0
t0↓
Ä !!!!â 4
t1↑
0
t0↓
4
t1↑
0
t0↓
5
t1↑
0
t0↓
6
t2↑
0
t0↓
13
7
t1↑
0
t0↓
8
t2↑
0
t1↓
9
t1↑
0
t0↓
9
t1↑
0
t0↓
Ω øΩΩ ø12
t4↑
0
t0↓
9
t1↑
0
t0↓
9
t1↑
0
t0↓
9
t1↑
0
t0↓
10
t4↑
0
t0↓
7
t1↑
0
t0↓
8
t2↑
0
t0↓
7
t1↑
0
t0↓
9
t4↑
0
t0↓
5
t1↑
0
t0↓
6
t2↑
0
t0↓
5
t1↑
0
t0↓
æøææø7
t4↑
0
t0↓
4
t1↑
0
t0↓
4
t1↑
0
t0↓
4
t1↑
0
t0↓
Ä !!!!â 5
t4↑
0
t0↓
1
t1↑
0
t0↓
5
t4↑
0
t0↓
1
t1↑
0
t0↓
19
4
t4↑
0
t0↓
2
t1↑
0
t0↓
4
t4↑
0
t0↓
2
t1↑
0
t0↓
2
t1↑
0
t0↓
3
!t2↑
0
t0↓
2
t2↑
0
t0↓
3
t2↑
0
t0↓
4
t3↑
0
t0↓
4
t3↑
0
t0↓
4
t3↑
0
t0↓
4
t3↑
0
t0↓
fretting hand
to Coda
Coordinated Attack Study #1Moto Perpetuo On The "B" and "E" Strings
This style of picking will be described soon. Pick alternately down-up when you stay on a string. Pick in the direction of a new string you are moving to.
tec 1.691 tec 1.691
144
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.692
Ä !!!! 44â 44picking:
fretting:
5
t4↑
0
t0↓
1
t1↑
0
t0↓
5
t4↑
0
t0↓
1
t1↑
0
t0↓
23
4
t3↑
0
t0↓
2
t1↑
0
t0↓
4
t3↑
0
t0↓
2
t1↑
0
t0↓
2
t1↑
0
t0↓
3
!t2↑
0
t0↓
2
t1↑
0
t0↓
3
t2↑
0
t0↓
4
t3↑
0
t0↓
2
t1↑
0
t0↓
4
t3↑
0
t0↓
4
t3↑
0
t0↓
1
A1↑
Ä !!!!
â11
t4↓
7
t1↑
0
t0↑
7
t1↓
12
t4↑
9
t1↓
0
t0↑
9
t1↓
28
14
t4↑
11
t1↓
0
t0↑
11
t1↓
12
t4↑
9
t1↓
0
t0↑
9
t1↓
11
t4↑
7
t1↓
0
t0↑
7
t1↓
9
t4↑
6
t1↓
0
t0↑
6
t1↓
7
t2↑
7
t2↑
0
t0↓
7
t2↑
7
t2↓
7
t2↑
0
t0↓
7
t2↑
Ä !!!!
â11
t4↓
7
t1↑
0
t0↑
7
t1↓
12
t4↑
9
t1↓
0
t0↑
9
t1↓
32
14
t4↑
11
t1↓
0
t0↑
11
t1↓
12
t4↑
9
t1↓
0
t0↑
9
t1↓
11
t4↑
7
t1↓
0
t0↑
7
t1↓
9
t4↑
6
t1↓
0
t0↑
6
t1↓
7
t2↑
7
t2↑
0
t0↓
4
t1↑
0
|0↓
Ä !!!!â 11
t4↓
7
t1↑
0
t0↑
7
t1↓
13
t4↑
9
t1↓
0
t0↑
9
t1↓
36
14
t4↑
11
t1↓
0
t0↑
11
t1↓
13
t4↑
9
t1↓
0
t0↑
9
t1↓
11
t4↑
7
t1↓
0
t0↑
7
t1↓
9
t4↑
6
t1↓
0
t0↑
6
t1↓
7
t2↑
7
t2↑
0
t0↓
7
t2↑
7
t2↓
7
t2↑
0
t0↓
7
t2↑
Ä !!!!
â11
t4↓
7
t1↑
0
t0↑
7
t1↓
12
t4↑
9
t1↓
0
t0↑
9
t1↓
40
14
t4↑
11
t1↓
0
t0↑
11
t1↓
12
t4↑
9
t1↓
0
t0↑
9
t1↓
11
t4↑
7
t1↓
0
t0↑
7
t1↓
9
t4↑
6
t1↓
0
t0↑
6
t1↓
7
t2↑
2
t2↓
0
t0↑
4
t1↓
0
|0↑
Coordinated Attack Study #1 (continued)
tec 1.692 tec 1.692
145
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.693
Ä !!!!â
Ω øΩΩ ø
fretting:
picking:
12
t4↓
0
t0↑
12
t4↑
0
t0↓
9
t1↑
0
t0↓
9
t1↑
0
t0↓
44
12
t4↓
0
t0↑
12
t4↓
0
t0↑
9
t1↓
0
t0↑
9
t1↑
0
t0↓
12
t1↓
0
t0↑
14
t3↑
0
t0↓
10
t2↑
0
t0↓
9
t1↑
0
t0↓
12
t1↓
0
t0↑
14
t3↑
0
t0↓
10
t2↑
0
t0↓
9
t1↑
0
t0↓
Ä !!!!â
1↓11
t0↑0
t2↑
12
t0↓0
t4↑
14
t0↑
0
t1↓
10
t0↑
0
t48
12
t4↓
0
t0↑
9
t1↓
0
t0↑
10
t4↓
0
t0↑
7
t1↓
0
t0↑
4
t1↓
0
t0↑
5
t2↑
0
t0↓
5
t1↑
0
t0↓
7
t3↑
0
t0↓
æøææø5
t1↑
0
t0↓
9
t1↑
0
t0↓
10
t2↑
0
t0↓
12
t4↑
Ä !!!!
â
5
t4↑
0
t0↓
1
t1↑
0
t0↓
2
t2↑
0
t0↓
2
t2↑
52
æææ0
Ab
1212
0↑
zzharm.
33
# # # #
Ä 44
â 44
d|
8
ip
tI
10
m
t
9
a
t
8
« « « d|3
ip
tI
5
m
t
4
a
t
3
« « « d|
5
ip
tI
7
m
t
5
a
t
5
« « « d|0
p i
tI
7
m
t
5
a
t
4
« « «p
d|1
i
tI
3
m
t
2
a
t1
« «« « d|
8
ip
tI
10
m
t
9
a
t
8
« « « æ
ææp
d|1
i
tI
3
m
t
2
a
t1
« « « d|3
ip
tI
5
m
t
4
a
t
3
« « «
(Go back to the beginning. At the Coda symbol: ,go to the ending section shown below).
To Coda
Coda
plucking hand
1
C VIII
43
2 1
G III
43
21
Am V
4
2 2
Em IV
21
4
1
F I
43
2 1
C VIII
43
2 1
C VIII
43
2 1
G III
43
2
Coordinated Attack Study #1 (continued)
Coordinated Attack Study #2excerpt from Pachelbel's Canon
tec 1.693 tec 1.693
146
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.694
Ä 44â 44
Û3
17
t1
15
t1
13
tÛ
3
15
t1
13
t1
12
tÛ
2
13
t1
12
t1
10
tÛ
3
12
t1
10
t1
8
t Û3
10
t1
8
t1
7
t Û2
8
t1
7
t1
5
t Û3
7
t1
5
t1
3
t Û3
5
t1
3
t1
1
t Û3
3
t1
1
t1
0
t Û2
1
t1
0
t1
3
t Û3
0
t1
3
t1
1
t Û3
3
t1
1
t0
0
t
ÄâÛ
1
1
t0
0
t2
2
t Û0
0
t2
2
t0
0
t Û2
2
t0
0
t3
3
t Û0
0
t3
3
t2
2
t æææ
Û
3
t3
2
t2
0
t0
Û
2
t2
0
t0
3
t3
Û
0
t0
3
t3
2
t2
0
t0
Äâ 2
Û17
t1
16
! t3
18
t1
Û16
t3
18
t2
17
t3
Û18
t2
17
t1
15
t3
Û17
t1
15
t1
13
t3
Û15
t1
13
t1
12
t2
Û13
t1
12
t1
10
t3
Û12
t1
10
t1
9
! t2
Û10
t1
9
t2
10
t1
Û9
! t2
10
t1
9
t2
Û10
t1
9
t1
7
t3
Û9
t1
7
t1
5
t3
Û7
t1
5
t1
4
t
Äâ 2
Û1
t1
0
t1
2
t3
Û0
t1
2
t1
1
! t2
Û
2
t1
1
t3
3
t1
Û1
t3
3
t2
2
t æææ
3
Û
3
t2
2
t0
0
t2
Û2
t0
0
t3
3
t0
Û0
t3
3
t2
2
t0
0
t
Speed Exercise:the 123 scale pattern beginning on one string
tec 1.694 tec 1.694
147
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.730
tec 1.730 tec 1.730
POSTURE EXERCISES FOR THEINDEX AND LITTLE FINGERS
These exercises train the the index and little fingers to stay separated from fingers next to them. Bytraining your “outside” fingers (index and little fingers) to stay separated at the middle knuckle, the tips of theoutside fingers can more easily reach to adjacent strings and frets.
Reaching To The Two Adjacent Frets With The Index FingerPlay the sequence indicated by each row of diagrams below in order, reading from left to right. Keep
the middle, ring and little fingers fretted, as shown. Play this sequence keeping the first finger very close to thestrings. When your hand or fingers tire, rest and massage them.
fretting the adjacent fret with the index finger
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
reaching two frets with the index finger
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
148
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.731
Reaching To The Two Adjacent Frets With The Little FingerPlay the sequence indicated by each row of diagrams below in order, reading from left to right. Keep
the index, middle, and ring fingers fretted, as shown. Play this sequence keeping the little finger very close tothe strings. When your hand or fingers tire, rest and massage them.
reaching one fret with the little finger
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
4 4 4 4 4
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
4 4 4 4 4
reaching two frets with the little finger
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
4 4 4 4 4
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
VIII
3
1
2
4 4 4 4 4
149
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.732
CLOSENESS AND CLEARING EXERCISEON ALL SIX STRINGS
This exercise was presented earlier, on strings 1 and 2 only. It trains your fretting hand to hover closeto the strings and to clear notes on adjacent smaller strings. Play the exercise exactly as written below, readingthe diagrams in sequence from left to right in each row, then down to the next row.
VIII1
VIII
1
VIII
2
1
VIII
2
3
1
VIII
4
2
3
1
As you begin to the next row, do not lift the middle, ring nor little fingers. From each diagram to the next,only move one finger.
VIII1
VIII
1
VIII
2
1
VIII
2
3
1
VIII
4
2
3
1
4
2
3
4
3
44
2
3
As you begin to the next row, do not lift the middle, ring nor little fingers. From each diagram to the next,only move one finger.
4
2
3
VIII1
VIII
1
VIII
2
1
VIII
2
3
1
VIII
4
2
3
1
4
2
3
4
3
44
2
3
As you begin to the next row, do not lift the middle, ring nor little fingers. From each diagram to the next,only move one finger.
4
2
3
VIII1
VIII
1
VIII
2
1
VIII
2
3
1
VIII
4
2
3
1
4
2
3
4
3
44
2
3
150
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.733
As you begin to the next row, do not lift the middle, ring nor little fingers. From each diagram to the next,only move one finger. One note is omitted on this string, so the exercise plays the chromatic scale, which isequivalent to an every-fret scale.
4
2
3
VIII
1
VIII
2
1
VIII
2
3
1
VIII
4
2
3
1
4
3
44
2
3
As you begin to the next row, do not lift the middle, ring nor little fingers. From each diagram to the next,only move one finger.
4
3
4
2
3
VIII1
VIII
1
VIII
2
1
VIII
2
3
1
VIII
4
2
3
1
4
2
3
4
3
4
2
151
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.810
SLURSSlurs are groups of two or more notes sounded in one picking of the string. In order from loudest, most
percussive attack to softest, they are: hammer-on, pull-off, slide, bend and tremolo bar bend. The slide techniquewas covered earlier. Slight bending was introduced earlier with blue notes. Much more detailed instruction onbending will be given in Level 2 of this course.
Hammer-on (abbreviated “hammer”)
A hammer-on is a slur executed by smashing a string onto the fretboard with a fingertip against the fretas with a normally fretted note. This is done where a lower-pitched, fretted note or open note on the same stringis already sounding. To minimize the distance from which your finger must start to hammer, place the fingertipaccurately and move it quickly.
Pull-OffA pull off is a slur performed by fretting and picking a note and then applying a downward tension,
scraping and plucking the string as you leave it with the fretting-hand finger. Curve the path in which the fingerleaves the fretboard to avoid sounding an adjacent string as you pass by it.
In my music notation upper case (capital) versions of “H” and “P” are used to represent hammer and pull-off.
OPEN STRING HAMMER, PULL OFF EXERCISE.
152
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.811
Ä 44
â 44
0231
«t «t «t «t
02220
«t «t «t «!t «t
022100
ttt!ttt tttttt
3
P
t
0
3
t
3
0P
t
0
3
t
2
0
t
0
2P
#t
2
0
t2
022100
«t «t «t «!t «t«t
355433
«t «t «#t «t«t «t
02220
ttt!tt ttttt
0
H
t
2
0
t
0
2
H
t
2
0
t
0
2
H
t
2
0
t
0
2
t0
Ä
â 0231
«t «t «t «t
02220
«t «t «t «!t «t
022100
ttt!ttt tttttt
3
P
t
0
3
t
3
0
P
"t
2
3
t
0
2
#t
2
0
t
0
2
P
t0
022100
«t «t «t «!t«t «t
355433
«t «t «#t «t «t«t
02220
ttt!tt æ
ææAAAAA
a
2
D I
3
1 4
A I
321
E I
32
1
E I
322
1
G I
3 44
A I
32
2
D I
3
1 4
A I
321
E I
32
1
E I
322
1
G I
3 44
A I
32
Open Pentatonic Slur Exercisetec 1.811 tec 1.811
153
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.812
Ä 44
â 44Ω ø
ΩΩ ø 4
!t
1
P
0
t
5
t
2
0
tP
6
! t
3
0
tP
7
t
4
0
tP
1
æø
ææø10
t
4
P
0
t
9
! t
3
P
0
t
8
# t
2
P
0
t
7
t
1
P
0
t Ω ø
ΩΩ ø 4
! t1
P
0
t5
t2
0
tP
6
" t3
0
tP
7
# t4
0
tP
æø
ææø10
t4
0
tP
9
! t3
0
tP
8
# t2
0
tP
7
t1
0
tP
Äâb
0
c d tY5
Ω øΩΩ ø
H
1
4
!t0
tH
2
5
t0
tH
3
6
! t0
t7
tH
4
0
t æøææø
H
10
t4
0
tH
3
9
! t
0
t8
# tH
2
0
tH
1
7
t0
t æææ
H
1
4
!t b c
Ä 44â 44Ω øΩΩ øÛ
4
!t1
0
tP H
4
t Û5
t2H
0
tHP
5
tH
Û6
! t3
0
tP H
6
tÛ
7
tH
4
0
tHP
7
t9
æøææø
Û10
t4
P
0
tH
10
tÛ
9
! tH
3P
0
tH
9
tÛ
H
8
# t2
P
0
tH
8
tHÛ
7
t1
P
0
tH
7
t
Ä
â
Ω ø
ΩΩ ø
Û
4
! t1
0
tHP
4
t Û
5
tH
2
P
0
tH
5
t Û
6
" tH
30
tHP
6
t Û
7
# tH4
0
tHP
7
t11
æø
ææø
ÛH
10
t4
0
tP
10
tH
Û
9
! tH P3
0
tH
9
t ÛH
8
# tP
20
tH
8
t Û
7
tH1
0
tP
7
tH
Open-String Slur Exercisestec 1.812 tec 1.812
154
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.813
Ä 34
â 3411
577555
tIttttt c
577555
3
tIttttt d tI
1
1
5
t4H
3
t1
5
t3
7
t3
S
5
t1
5777
tItt!t c
5777
5
tIttt d tI1 4
8
tH
1
5
t3
7
tH
1
5
t3
7
tH
Ä
â577555
tIttttt c
577555
5
tIttttt d tI
1
5
H
7
t3
5
t1
H
7
t3
5
t1
7
t3
H
5777
tItt!t c
5777
5
tIttt d tI1
7
t3
H
5
t1
7
t3
H
5
t1
H
8
t4
Ä
â577555
tIttttt c
577555 8
tIttttt d
tY4
9
1 4 1 3
PPP
5
t
8
t
5
t
7
t
5
t1
5777
tItt!t c7755777 8
tIttt d tY4 1 3 1 3 1
PPP
5
t
7
t
5
t
7
t
5
t
Ä
â577555
tIttttt c
577555
7
tIttttt d tY
3
1 3
1
5
t3
P
7
t1
5
t3
P
7
t1
5
tP
5777
tItt!t c
5777
7
tIttt d tI3
æ
ææP
5
t1
7
t3
5
t3
S
3
t1
5
t3
1 1
Am V
4
11
3 3
D V
33
1
Am D
Am D
Am D
Pentatonic Scale Slur Exercisestec 1.813 tec 1.813
155
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.814
Ä 128
â 128Ω ø
ΩΩ ø1
5
t1
5
t1
5
t
577555
«t «t «t «t «t«t
1
5
t4
8
tH
1
5
tP
1
5
t3
7
tH
1
5
tP
1 7
3
7
t3
7
t3
7
t
7675
«t «!t «t «t1
5
t3
7
tH
1
5
t1
P
5
#tH
3
7
t1
P
5
t
Ä
â 3
7
t3
7
t3
7
t
7555
«t «t «t «t1
5
tH
3
7
t1
P
5
t1
5
tH
4
8
t1
P
5
t1 9
3
7
t3
7
t3
7
t8767
«$t «t «!t «t4
8
t1
5
tP H
4
8
t4
8
t1
P
5
tH
4
8
t
Ä
â 1
5
t1
5
t1
5
t56575
«t «t «t «t «t3
7
t1
P
5
tH
3
7
t3
7
t1
5
tP
3
7
tH
2 1
æø
ææø5
t1
5
t1
5
t1
577555
«t «t «t «t «t«t
7
t3
P
5
t1
7
t3
6
"t2
P
5
t1P
8
t4
1 1
Am V
4
11
3 3
2
1
E7 V
4
1 1
Am V
32
1
4
E7#9 VI
3
1
2
Dm7 V
3
111 1
Am V
4
11
3
Pentatonic Scale Slur Exercises (continued)tec 1.814 tec 1.814
156
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Ä 44â 44
Ûfingers: 1
5
t2
6
! t3
7
t Û2
6
t3
7
t4
8
t Û2
7
t3
8
t4
9
! t Û3
8
# t4
9
! t1
5
t Û4
9
! t1
5
t2
6
!t Û1
5
#t2
6
!t2
7
t Û1
6
t2
7
t3
8
t Û2
7
t3
8
t4
9
!t
Äâ
Û
8
t3
9
!t4
5
t1
Û
9
t4
5
t1
6
!t2
Û
5
#t1
6
!t2
7
t2
Û
6
t1
7
t2
8
!t3
Û
7
t2
8
!t3
9
t4
Û
8
t3
9
t4
5
t1
Û9
t4
5
t1
6
!t2
Û5
#t1
6
!t2
7
t2
Äâ
Û6
!t1
7
t2
8
!t3
Û7
#t2
8
!t3
9
t4
Û8
t3
9
t4
6
t1
Û9
t4
6
t1
7
!t2
Û6
t1
7
!t2
8
t3
Û7
t2
8
t3
9
!t4
Û8
#t3
9
!t4
5
t1
Û9
t4
5
t1
6
! t2
Ä 44â 44
Û5
t1
6
! t2
7
t2
Û6
t1
7
t2
8
t3
Û7
t2
8
t3
9
! t4
Û10
t4
9
" t3
8
# t2
Û39
" t28
t17
" t Û28
# t17
" t16
" t Û27
# t16
" t4
10
t Û16
t4
10
t3
9
" t
Äâ
Û4
10
t3
9
" t2
8
t Û3
9
t2
8
t1
7
"t Û2
8
#t1
7
"t1
6
t Û2
7
t1
6
t4
9
t Û6
t1
9
t4
8
"t3
Û9
#t4
8
"t3
7
t2
Û8
t3
7
t2
6
"t1
Û7
#t2
6
"t1
10
t4
tec 1.841 tec 1.841Chromatic Scale Exercises
Technique 1.841
157
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Ä 44â 44
Û6
"t1
10
t4
9
t3
Û10
t4
9
t3
8
"t2
Û9
#t3
8
"t2
7
t1
Û8
t2
7
t1
6
"t1
Û2
7
t1
6
"t4
10
t Û1
6
t4
10
t3
9
"t Û4
10
#t3
9
"t2
8
t Û3
9
t2
8
t1
7
t
Äâ
Û
8
t2
7
t1
6
"t1
Û
7
#t2
6
"t1
10
t4
Û
6
t1
10
t4
9
"t3
Û
10
#t4
9
"t3
8
t2
æææ
Û
9
"t3
8
t2
7
t1
Û
8
t2
7
t1
6
" t1
Û
7
# t2
6
" t1
5
t1
6
t2
Ä 44â 44
5
t1
6
! t1
7
t2
8
t3
6
t1
7
t2
8
t3
9
! t4
7
t2
8
# t3
9
! t4
5
t1
8
# t3
9
! t4
5
t1
6
!t2
9
! t4
5
t1
6
!t2
7
t3
5
#t1
6
!t1
7
t2
8
t3
6
t1
7
t2
8
t3
9
!t4
7
t2
8
#t3
9
!t4
5
t1
Ä 44â 44
8
t3
9
!t4
5
t1
6
!t2
9
t4
5
#t1
6
!t2
7
t3
5
#t1
6
!t1
7
t2
8
!t3
6
t1
7
#t2
8
"t3
9
#t4
7
t2
9
t3
5
t4
6
!t1
8
!t3
9
t4
5
#t1
6
!t2
9
t4
5
#t1
6
!t2
7
t3
5
#t1
6
!t1
7
t2
8
!t3
Äâ 6
!t1
7
t2
8
!t3
9
t4
7
#t2
8
!t3
9
t4
6
t1
8
t3
9
t4
6
t1
7
!t2
9
t4
6
#t1
7
!t2
8
t3
6
t1
7
!t2
8
t3
9
!t4
7
t2
8
#t3
9
!t4
5
t1
8
#t3
9
!t4
5
t1
6
! t2
9
t4
5
# t1
6
! t2
7
t3
Chromatic Scale Exercises (continued)tec 1.842 tec 1.842
Technique 1.842
158
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.843
Ä 44â 44 5
t1
6
! t1
7
t2
8
t3
6
t1
7
t2
8
t3
9
! t4
7
t2
8
# t3
9
! t4
10
t4
9
" t3
8
# t2
7
t1
6
" t1 3
8
t2
7
t1
6
" t4
10
t2
7
# t1
6
" t4
10
t3
9
" t1
6
t4
10
# t3
9
" t2
8
t4
10
# t3
9
" t2
8
t1
7
"t
Äâ 9
" t3
8
t2
7
"t1
6
t1
8
#t3
7
"t2
6
t1
9
t4
7
t2
6
t1
9
t4
8
"t3
6
t1
9
#t4
8
"t3
7
t2
9
t4
8
"t3
7
t2
6
"t1
8
t3
7
#t2
6
!t1
10
#t4
7
t2
6
"t1
10
t4
9
t3
6
t1
10
t4
9
t3
8
"t2
Äâ 10
t4
9
t3
8
"t2
7
t1
9
#t3
8
"t2
7
t1
6
"t1
8
t3
7
#t2
6
!t1
10
#t4
7
t2
6
"t1
10
t4
9
"t3
6
"t1
10
t4
9
"t3
8
t2
10
#t4
9
"t3
8
t2
7
t1
9
t3
8
t2
7
t1
6
"t1
8
t3
7
#t2
6
"t1
10
t4
Äâ
7
t2
6
"t1
10
t4
9
"t3
6
t1
5
#t4
9
"t3
8
t2
10
#t4
9
"t3
8
t2
7
t1
9
t3
8
t2
7
t1
6
" t1
æææ8
t3
7
t2
6
" t1
5
t1
6
t2
b
Chromatic Scale Exercises (continued)tec 1.843 tec 1.843
159
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.844
Ä 44â 44fingers:picking:
8
t↓1
8
t↓1
9
! t↑2
9
!t↓2
10
t↑3
10
t↓3
11
!t↑4
11
!t↓4
7
t↑1
7
t↓1
8
t↑1
8
!t↓1
9
!t↑2
9
t↓2
10
t↑3
10
t↓3
11
!t↑4
11
!t↓4
7
t↑1
7
t↓1
8
!t↑1
8
!t↓1
9
t↑2
9
t↓2
↑3
10
t↓3
10
t↑4
11
!t↓4
11
!t↑1
7
t↓2
8
t↑1
8
!t↓2
9
!t
Äâ 9
t↑2
10
t↓3
10
t↑3
11
! t↓4
7
!t↑1
7
t↓1
8
t↑1
8
t↓1
9
!t↑2
9
! t↓2
10
t↑3
10
t↓3
11
! t↑4
11
! t↓4
t
11
" t↑4
11
" t↑4
10
t↓3
10
t↑3
9
" t↓2
9
" t↑2
8
t↓1
8
t↑1
7
t↓1
7
!t↑1
11
" t↓4
10
#t↑3
10
t↓3
9
t↑2
9
" t↓2
8
"t↑1
Äâ 8
t↓2
7
t↑1
11
"t↓4
11
"t↑4
10
t↓3
10
t↑3
9
t↓2
9
t↑2
8
"t↓1
8
"t↑1
7
t↓1
7
t↑1
11
"t↓4
11
"t↑4
10
t↓3
10
t↑3
9
t↓2
9
!t↑2
8
"t↓1
8
#t↑1
7
t↓1
7
t↑1
11
"t↓4
11
"t↑4
æææ10
t↓3
10
t↑3
9
"t↓2
9
"t↑2
8
t↓1
8
t↑1
7
t↓1
Ä 44â 44fingers:
picking:
8
t↓1
8
t↑1
9
!t↓2
9
! t↑2
10
t↓3
10
t↑3
11
!t↓4
11
!t↑4
7
t↓1
7
t↓1
8
"t↑1
8
t↑1
9
!t↓2
9
#t↓2
10
t↑3
10
t↑3
↓4
11
!t↓4
11
!t↓1
7
t↑1
7
t↓1
8
"t↓1
8
"t↑2
9
#t↑2
9
#t
10
t↓3
10
t↓3
11
!t↑4
11
!t↑4
7
t↓1
8
t↓2
9
!t↑2
8
!t↑1
Chromatic Perfect Fourths
Chromatic Perfect Fourths, Alternating Up And Down
More Rolling Technique Exercisestec 1.844 tec 1.844
160
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.845
Ä 44â 44fingers:
picking: ↓2
9
t↓3
10
t↑4
11
" t↑3
10
t↓1
7
!t↓1
7
# t↑1
8
t↑1
8
t↓2
9
!t↓2
9
! t↑3
10
t↑3
10
t↓4
11
" t↓4
11
" t t
11
" t↑4
11
" t↑4
10
t↓3
10
t↓3
9
! t↑2
9
!t↑2
8
#t↓1
8
# t↓1
↑1
7
t↑1
7
!t↑3
10
#t↓4
11
" t↑3
10
t↑2
9
t↓1
8
"t↓2
9
" t
Äâ 8
t↑2
7
t↑1
11
"t↑4
11
"t↓4
10
t↑3
10
t↑3
9
t↓2
9
t↓2
8
"t↑1
8
"t↑1
7
t↓1
7
t↓1
11
"t↑4
11
"t↑4
10
t↓3
10
t↓3
9
t↑2
9
!t↑2
8
#t↓1
8
"t↓1
7
t↑1
7
t↑1
11
"t↑4
11
"t↓4
æææ10
t↑3
10
t↑3
9
! t↓2
9
!t↓2
8
#t↑1
8
# t↑1
7
t↓1
Ä 44â 44fingers:picking:
8
t↓1
8
t↑1
11
"t↑4
10
t↓3
8
t↑1
8
"t↓1
10
t↑3
10
t↓3
8
"t↑1
8
"t↓1
10
t↑3
10
t↓3
8
t↑1
8
t↓1
10
t↑3
11
" t↓4
8
t↑1
8
t↓1
11
" t↑4
11
" t↓4
8
t↑1
8
t↑1
11
t↓4
10
t↑3
8
t↓1
8
"t↑1
10
t↓3
10
t↑3
8
t↓1
8
"t↑1
10
t↓3
10
t↑3
Äâ 8
"t↓1
8
t↑1
10
t↓3
11
"t↑4
8
t↓1
8
t↑1
6
t↓4
6
" t↑1
æææ8
A↓3
Pentatonic Scale In Perfect Fourths
More Rolling Technique Exercises: Chromatic Perfect Fourths (continued)
tec 1.845 tec 1.845
161
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.869
fingers:
6
4
P
3
1
3
1
6
4
P
3
1
3
1
6
4
P
3
1
5
3
6
4
P
5
3
3
1
1
4
2
H
5
3
3
1
4
2
5
3
H
3
1
5
2
S
7
2
6
1
8
3
P
6
1
7
2
6
1
8
3
P
6
1
8
3
P
6
1
7
3
6
2P
5
1
3
1
5
3P
3
1
5
3
4
2H
5
3
3
1
5
3P
3
1
5
3
4
2P
3
1
6
4
3
1
83
P
61
8
383
5
1
H
7
3
5
1
H
8
361
8
3
5
83
P
61
8
383
5
1
6
2
H
7
3
6
2
7
3
6
2
P
5
1
P
0
0
3
1
P
0
0
0
0
3
1
P
0
0
0
0
3
1
0
0
P
3
1
4
2
P
3
1
6
4
4
2
H
5
3
3
1
4
2
H
5
3
3
1
5
3
S
7
3
6
2
8
4
6
2
7
3
P
5
1
H
7
3
8
4
7
3
6
2
7
3
P
5
1
3
1
5
3
5
3
9
5
3
P
3
1
5
3
5
3
3
1
H
5
3
2
1
5
3
H
3
1
5
3
3
1P
0
0
0
0
3
1P
0
0
0
0
3
1P
0
0
3
1
4
2P
3
1
6
4
5
3
G7
C7 G7
D7 C7G7
tec 1.869 tec 1.869Pentatonic Slur Blues
162
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.880
TRAVIS FINGERPICKINGThis fingerpicking style was named after Merle Travis, who was most renowned for developing and
popularizing it. It involves a steady bassline on the beat, plucked with the thumb. Other notes are played on thelast half of various beats, or occassionaly along with a bass note. Most commonly, if a note is played with a bassnote, it is on the first beat.
fretting hand plucking hand
Symbols to represent the fingers of the plucking hand are typically shown below or around the notes theypertain to in music notation. Each symbol is the first letter of a Spanish word which represents the finger, sinceclassical guitar developed in Spain. The symbols are shown below. The Spanish word “anular” is relation tothe word “annual” and relates to the word ring in regard to the earths “annual ring” around the sun.
symbol Spanish word English word
p pulgar thumb
i indice index finger
m medio middle finger
a anular ring finger
The wrist should be about two fingers width from the body of the guitar. The thumb and fingers of theplucking hand should move independently of the hand, as much as possible. The thumb should bend at its base,and should be extended toward the guitar neck to avoid interference with the index finger. Each plucking fingershould bend mostly at the tip joint, less at the middle joint and very little at the joint where it joins the hand.
With the rest stroke, a plucking finger comes to rest against the next larger string after plucking. Thethumb would come to rest against the next smaller string. After plucking a string with the free stroke, pluckingfingers curve away from the next larger string. Travis fingerpicking uses the free stroke.
163
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.881
Ä ! 44â 44
320033
AAAAAA
32010
AAAAA
320033
AAAAAA
20023
AAAAA
Ä !â
022000||||||
020000||||||
32010
|||||2003
||||02210
|||||
32210
||||| æø
ææø20023
AAAAA æ
ææ320033
AAAAAA
Ä !â
Ω øΩΩ ø 3
t0
t3
t0
t3
t2
t3
t2
t3
t0
t3
t0
t2
t0
t2
t0
t
Ä !â
0
t2
t0
t0
t3
t2
t2
t0
t0
t2
t3
t2
t æøææø2
t0
t2
t0
t
2
1
G I
3 4
First, just strum the chords:
tec 1.881
4
2
1
C I
32
1
G I
3 4
2
D/F# I
4
3
tec 1.881
Em I
32
Now, finger the chords and pluck the bass notes with your thumb. Bend the thumb at its base, not at the tip segment.
Em7 I
2
3
2
1
C I
1
G/B I
3 4
1
Am I
32
1
Am7 I
32
4
2
D/F# I
4
3
2
1
G I
3 4
2
1
G I
3 4 4
2
1
C I
3 2
1
G I
3 42
D/F# I
4
3
Em I
32
Em7 I
2
3
2
1
C I
1
G/B I
3 4
1
Am I
32
1
Am7 I
32
42
D/F# I
4
3
Preparation For Travis Fingerpicking Exercise 1
164
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.882
Ä ! 44â 44
02210
AAAAA
332010
AAAAAA
20210
AAAAA
12210
#AAAAA
2322
AAAA3232
AAAA
Ä !â
20033
AAAAA
10033
"AAAAA
2100
A!AAA0100
A!AAA33210
A#AAAA22100
AA!AAA
Ä !â
02210
AAAAA20033
AAAAA
32010
AAAAA42000
!AAAAA0232
AAAA2010
AAAA
Ä !â 1
123
#AAA#A0124
AAAA320033
AAAAAA
40430
!AAAAA
02210
AAAAA
022100
AAA!AAA
02210
AAAAA æææ0
7410
AAAAA
First, just strum the chords:
1
Am I
32
tec 1.882
4
2
1
C I
32
D9/F# I
1
3
1
Fma7 I
2
43
Dm I
1
2
4
Dm7/C I
1
2
43
tec 1.882
1
G/B I
3 4
Gm/Bb I
3
1
4
1
E I
32
1
E7 I
2 2
1
Fma7 I
43
1
E I
32
1
Am I
32 1
G/B I
3 4 3
2
1
C I
4
2
C#m7b5 IDm I
1
2
4
2
1
C/E I
2
1
F I
3
1
4
2
F#m7b5 I
1
2
1
G I
3
3
1
E7/G# I
2
1
Am I
32
1
E I
32
1
Am I
321
Am/9 V
3
Preparation For Travis Fingerpicking Exercise 2
165
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.883
Ä ! 44â 44
0
t2
t0
t2
t3
t2
t3
t2
t2
t0
t2
t0
t1
# t2
t1
t1
t
Ä !â 0
t2
t0
t2
t3
t2
t3
t2
t2
t0
t2
t0
t1
" t0
t1
t0
t
Ä !â 2
t1
!t2
t0
t0
t1
!t0
t0
t3
t3
#t3
t3
t2
t2
t2
t2
t
Ä !â
0
t2
t0
t2
t2
t0
t2
t0
t3
t2
t3
0
t t4
! t2
t4
0
t t
1
Am I
32
Now, finger the chords and pluck the bass notes with your thumb. Bend the thumb at its base, not at the tip segment.
2
D9/F# I
1
3
1
Fma7 I
2
43
Dm I
1
2
4
Dm7/C I
1
2
43
1
G/B I
3 4
Gm/Bb I
3
1
4
1
E I
32
1
E7 I
2 2
1
Fma7 I
43
1
E I
32
1
Am I
32 1
G/B I
3 4 3
2
1
C I
4
2
C#m7b5 I
Preparation For Travis Fingerpicking Exercise 2 (continued)tec 1.883 tec 1.883
166
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.884
Ä !â 0
t2
t0
t2
t2
t0
t2
t1
t3
#t2
t3
t2
t4
t2
t4
t2
t
Ä !
â3
t0
t3
t0
t4
! t0
t4
t0
t0
t2
t0
t2
t0
t2
t0
t2
t
Ä !â
0
t2
t0
t2
t æææ0
A
Dm I
1
2
4
2
1
C/E I
2
1
F I
3
1
4
2
F#m7b5 I
1
2
1
G I
3
3
1
E7/G# I
2
1
Am I
32
1
E I
32
1
Am I
321
Am/9 V
3
Preparation For Travis Fingerpicking Exercise 2 (continued)tec 1.884 tec 1.884
167
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.885
Ä ! 44â 44
Ω øΩΩ ø3tp
0
tp
0
ti
3
tp
0
tp
3
tp
2
tp
0
ti
3
tp
2
tp
3
tp
0
tp
0
ti
3
tp
0
tp p
2
tp
0
ti
2
tp
2
tp
0
t
Ä !
â0
tp
2
tp
0
ti
0
tp
0
tp
3
tp
2
tp
0
ti
2
tp
0
tp
0
tp
2
tp
0
ti
3
tp
2
tp
æøææø2
tp
0
tp
2
ti
2
tp
0
tp
æææ3
20033
AAAAAA
Ä !
âΩ øΩΩ ø 3tp
0
tp
0
ti
3
tp
0
tp
0
ti
3
tp
2
tp
0
ti
3
tp
2
tp
0
ti
3
tp
0
tp
0
ti
3
tp
0
tp
0
ti
2
tp
0
tp
2
ti
2
tp
0
tp
2
ti
Ä !
â0
tp
2
tp
0
ti
0
tp
0
tp
0
ti
3
tp
2
tp
0
ti
2
tp
0
tp
0
ti
0
tp
2
tp
2
ti
3
tp
2
tp
2
ti
æøææø2
tp
0
tp
2
ti
2
tp
0
tp
2
ti
æææ3
20033
AAAAAA
2
1
G I
3 4
Adding one note to the end of the second beat.
3
2
1
C I
2
1
G I
3 42
D/F# I
4
3
Em I
32
Adding notes to the end of the second and fourth beats.
Em7 I
2
3
2
1
C I
1
G/B I
3 4
1
Am I
32
1
Am7 I
32
4
2
D/F# I
4
3
2
1
G I
3 4
2
1
G I
3 4 3
2
1
C I
2
1
G I
3 4
2
D/F# I
4
3
Em I
32
Em7 I
2
3
2
1
C I
1
G/B I
3 4
1
Am I
32
1
Am7 I
32
4
2
D/F# I
4
3
2
1
G I
3 4
Travis Fingerpicking Exercise #1tec 1.885 tec 1.885
168
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.886
Ä ! 44â 44
Ω øΩΩ ø p3t
p
0
ti
0
tp
3
tm
3
tp
0
ti
0
t
3
tp
2
tp
0
ti
3
tp
1
tm
2
tp
0
ti
3
tp
0
tp
0
ti
3
tp
3
tm
0
tp
0
ti p
2
tp
0
ti
2
tp
2
tm
3
tp
0
ti
2
t
Ä !
â0
tp
2
tp
0
ti
0
tp
0
tm
0
tp
0
ti
3
tp
2
tp
0
ti
2
tp
3
tm
0
tp
0
ti
0
tp
2
tp
2
ti
3
tp
1
tm
2
tp
2
ti
æøææø2
tp
0
tp
2
ti
2
tp
3
tm
0
tp
2
ti
æææ
AAAAAA
320033
Ä ! 44
â 44Ω ø
ΩΩ øa
3
3
ttp
0
tp
0
ti
3
tp
3
tm
0
tp
0
ti
a
3
0
ttp
2
tp
0
ti
3
tp
1
tm
2
tp
0
ti
3
3
ttpa
0
tp
0
ti
3
tp
3
tm
0
tp
0
ti
2
3
ttpa
0
tp
2
ti
2
tp
3
tm
0
tp
2
ti
Ä !
â0
0
ttpa
2
tp
0
ti
0
tp
0
tm
0
tp
0
ti
a
3
0
ttp
2
tp
0
ti
2
tp
3
tm
0
tp
0
ti
a
0
0
ttp
2
tp
2
ti
3
tp
1
tm
2
tp
2
ti
æø
ææø2
3
ttpa
0
tp
2
ti
2
tp
3
tm
0
tp
2
ti
æ
ææ320033
AAAAAA
2
1
G I
3 4
Adding notes to the end of the second through fourth beats.
tec 1.886
3
2
1
C I
2
1
G I
3 4
2
D/F# I
4
3
tec 1.886
Em I
32
Adding notes to the end of the second through fourth beats and playing two notes on the first beat.
Em7 I
23
2
1
C I
1
G/B I
3 4
1
Am I
32
1
Am7 I
32
4
2
D/F# I
4
3
2
1
G I
3 4
2
1
G I
3 4 3
2
1
C I
2
1
G I
3 42
D/F# I
4
3
Em I
32
Em7 I
23
2
1
C I
1
G/B I
3 4
1
Am I
321
Am7 I
32
4
2
D/F# I
4
32
1
G I
3 4
Travis Fingerpick Exercise #1 (continued)
169
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.887
Ä ! 44â 44
0
tp
0
ta
2
tp
2
ti
0
tp
1
tm
2
tp
3
tp
0
ta
2
tp
0
ti
3
tp
1
tm
2
tp
2
tp
0
ta
0
tp
2
ti
2
tp
1
tm
0
tp p
1
# ta0
tp
2
ti
2
tp
1
tm
1
tp
2
t
Ä !
â 0
tp
1
# ta
2
tp
3
ti
0
tp
1
tm
2
tp
3
tp
1
#ta
2
tp
3
ti
3
tp
1
tm
2
tp p
2
ta3
tp
0
ti
0
tp
2
tm
3
tp
0
tp
1
" ta3
tp
0
ti
0
tp
1
tm
3
tp
0
t
Ä !
â p
2
ta0
tp
1
!ti
0
tp
2
tm0
tp
1
tp
0
ta0
tp
1
!ti
0
tp
0
tm0
tp
1
t3
tp
0
ta
3
#tp
2
ti
3
tp
1
tm
3
tp
2
tp
0
ta
2
tp
1
!ti
2
tp
0
tm
2
tp
Ä !
ât0
p
t0a
t2
p
t2
i
t0
p
t1
m
t2
p
2
tp
3
ta
0
tp
0
ti
2
tp
3
tm
0
tp p
3
ta0
tp
2
ti
0
tp
3
tm
1
tp
2
tp
4
! ta0
tp
2
ti
0
tp
4
tm
0
tp
2
t
1
Am I
32
1
C/G I
3
2 2
D9/F# I
1
3
1
Fma7 I
2
43
Dm I
1
2
4
Dm7/C I
1
2
43
1
G/B I
3 4
Gm/Bb I
3
1
4
1
E I
32
1
E7 I
2 2
1
Fma7 I
43
1
E I
32
1
Am I
32 1
G/B I
3 4 3
2
1
C I
4
2
C#m7b5 I
Travis Fingerpicking Exercise #2tec 1.887 tec 1.887
170
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.888
Ä ! 44â 44 0
tp
2
ta
2
tp
3
ti
0
tp
3
tm
2
tp p
2
ta
0
tp
0
ti
1
tp
2
tm
0
tp
0
t3
#tp
1
#ta
2
tp
1
ti
3
tp
1
tm
2
tp p
4
ta
0
tp
2
ti
1
tp
4
tm
0
tp
2
t
Ä !
â3
tp
3
ta
0
tp
0
ti
3
tp
3
tm
0
tp
4
! tp
0
ta
0
tp
0
ti
4
tp
3
tm
0
tp
0
tp
0
ta
2
tp
2
ti
0
tp
1
tm
2
tp
0
tp
0
ta
2
tp
1
!ti
0
tp
0
tm
2
tp
Ä !
â0
tp
0
ta
2
tp
2
ti
0
tp
1
tm
2
tp
æ
ææp
0
tp
7
ti
5
tm
0
ta
0
|
Dm I
1
2
4
2
1
C/E I
2
1
F I
3
1
4
2
F#m7b5 I
1
2
1
G I
3
3
1
E7/G# I
2
1
Am I
32
1
E I
32
1
Am I
32
let ring___________
1
Am/9 V
3
Travis Fingerpicking Exercise #2 (continued)tec 1.888 tec 1.888
171
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.930
GENERAL CHARACTERISTICS OF THEFRETTING HAND
Index Finger (symbol: “1”).Advantages. The index is the finger used most often (1) as an “anchor” in hammers and pull-offs, (2)
as the barré, (3) for playing two notes in sequence on the same string to change position.
Disadvantages. It is usually used with its middle knuckle positioned out toward the head of the guitarand lying down toward the fretboard. Therefore, it has to move a great distance to form certain chords wherethe finger tips are bunched up in a small area.
Since it is the finger farthest toward the head of the guitar, bends with the index finger can not be aidedwith other fingers.
The Span Between The Index and Middle Fingers.Advantages. This is the widest span of the fretting hand fingers, allowing the index finger to reach far
out of position toward the head of the guitar. The span is especially wide if the middle knuckle of the index fingeris spread toward the head of the guitar.
Disadvantages. See disadvantages for the index finger above.
Middle Finger (symbol: “2”).Advantages. Bending may be aided with the index finger. The middle finger occasionally fingers two
consecutive notes on the same string to change position.
Disadvantages. Barréing is somewhat awkward with the middle finger. Even so, it is easier for thebeginning guitarist to bend the tip segment of the middle finger backwards than the tip segment of the ring finger.This flexibility allows the novice to do some barréing with the middle finger.
The Span Between the Middle and Ring Fingers.Advantages. This span is wider than that between the ring and little fingers. However, conventional
fingering avoids the use of the middle and ring fingers with an “empty” fret between them (spanning three frets).
Disadvantages. This span is smaller than that between the middle and index fingers.
Ring Finger (symbol: “3”).Advantages. This is the finger used most often for bends. It can be aided with the index and middle fingers
in bending.
The ring finger often fingers two consecutive notes on the same string to change position. It is the secondmost common finger used for barring (the index is most common).
Disadvantages. It is difficult for the beginning guitarist to bend the tip segment of the ring fingerbackwards. This inflexibility can make some third finger barréing difficult. Regular, gradual stretching will helpgreatly, but can take years.
172
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Example: C major chord in third position, including the first string:
The Span Between the Ring and Little Fingers.Advantages. This span is second most useful for reaching out of position notes (the index finger is the
most useful).
Disadvantages. This narrow span often causes fingering of an out-of-position note with the little fingerto be slow.
The Little Finger (Symbol: “4”).Advantages. The little finger is useful in reaching out-of-position notes. It is often useful in changing
position by using it to fret two notes in succession on the same string.
Disadvantages. The little finger is the smallest and weakest of the four fingers. The ring finger is oftensubstituted for the little finger for (1) bending notes, (2) sliding, and (3) changing position by fretting two notesin succession on the same string.
Technique 1.931
173
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.935
GENERAL CHARACTERISTICS OF THEPICKING HAND
The Thumb (symbol: “p” for pulgar in Spanish).Advantages. The picking-hand thumb can be versatile. Some players, such as Wes Montgomery have
used the picking-hand thumb almost exclusively to pluck notes. In conjunction with the pick, it can be used toplay harmonics. In Folk or Classical playing it plucks most of the bass notes. “Thumb” harmonics (taught later)can be performed by glancing the string with the side of the thumb (opposite the index finger) as you pick. “Slap”harmonics can be played with the thumb using a quick twist of the forearm (a technique common used on Funkelectric bass).
Disadvantages. Fingerpickers can accidentally hit and interrupt the movement of the index finger if theydon’t keep the thumb and index finger separated far enough.
Holding the Pick Between the Thumb and Index Finger.Advantages. This is the most common manner of holding the pick. For most techniques, holding the pick
between the ball of the thumb and the side of the index finger provides maximum stability, flexibility and control.It allows the other three fingers to be used for fingerpicking.
Disadvantages. Unless you use a thumb pick, the index finger and thumb cannot work independently.It is difficult to switch rapidly from picking notes to picking-hand fretting, unless the pick is held between thethumb and middle finger.
The Index Finger (symbol: “i” for indice in Spanish).Advantages. The index finger is usually the most agile of the four fingers. The pick is usually held
between the thumb and index finger.
Many harmonics techniques are performed with the index finger. The nail of the index finger can be usedto produce harmonics by glancing the string with it as you pick This must be done at fractions of the vibratingstring length: 1/2, 1/3, 1/4, 2/3, etc.
You can strum without using a pick by using the index finger relaxed, bending the joints of the indexfinger and not moving the back of the hand. Strum down with the fingernail and up with the fingertip.
The index finger usually works best for picking-hand fretting. By holding the pick solely with the middlefinger, you can hold onto the neck with the thumb on one side and the ring finger on the other. This providesmaximum stability for picking-hand fretting with the index finger.
Disadvantages. Holding the pick between the thumb and index finger will slow you down when tryingto switch from picking notes to picking-hand fretting. Fretting with the picking hand works better with pickednotes when the pick is held between the thumb and middle finger.
Holding the Pick Between the Thumb and Middle finger.Advantages. This aids greatly in switching quickly from picked notes to picking-hand fretting.
Disadvantages. General use of this pick grip prevents use of the first finger in fingerpicking whileholding the pick.
174
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.936
The Middle Finger (symbol: “m” for medio in Spanish).Advantages. Usually the longest finger, the middle finger has the greatest reach in fingerpicking. See
advantages above for holding the pick between the middle finger and thumb.
Disadvantages. See disadvantages above for holding the pick between the middle finger and thumb.
The Ring Finger (symbol: “a” for annular in Spanish).Advantages. Provides stability in picking-hand fretting with the index finger (see 5a above). The ring
finger is almost always free to fingerpick. The fingernail of the ring finger can be used to produce harmonicsby glancing the string with it as you pick.
Disadvantages. The ring finger is usually shorter and has less independent movement than the index andmiddle finger.
The Little Finger (“menique” in Spanish)The little finger is rarely used for fingerpicking. It is used in Flamenco techniques such as the Rasgueado
It is occasionally used to pluck strings, when all four fingers need to pluck notes simultaneously.
175
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.940
a pencil between your thumb and index fingers as you would apick, and draw tiny clockwise ovals around the string (shownabove).
Most guitarists used wrist picking. When playing at veryhigh speeds, they slightly rotated the forearm with a quivering(trembling) muscle action, which in turn moved the wrist andthe pick. A few used a quivering action where the forearm bendsat the elbow and the wrist generally didn't bend. These quiver-ing movements were best performed without tightness.
Alternate picking predominated and is the most widelyaccepted style of picking. Any continuous series of notes shouldbe picked alternately down-up-down-up, etc., or up-down-up-down, etc. These are illustrated in the example below withpicking directions (1) and (2).
Frank Gambale was the only one to use a refined sweeppicking style. With sweep picking, direction of the stroke andfingering is prepared. You alternate pick on each string. Whenyou move to another string, the note is picked in the samedirection used to approach it. This is shown above with pickingdirection (3).
Rockers sometimes picked consecutive strokes in the samedirection for arpeggios or in the context of a "flash" lick:
Right hand technique has been a mystery for many Rock guitar-ists. In the fifties and sixties, creativity came before technique.Speed was not so important as was expression of the sexual andpolitical revolutions occurring in American youth. When JohnMcLaughlin hit the scene in the early seventies, the demand forfaster, refined right hand technique rapidly increased.
Rock guitarists who began playing in the fifties were usuallytaught a Jazz or Bluegrass picking style. Although a goodfoundation, those picking styles eventually needed modificationfor modern Rock. The right wrist began to flatten down againstthe guitar and demands for speed pressed the anatomy to itslimits.
Since 1965, I've transcribed thousands of Rock guitar solos.While teaching and performing these solos, it became evidentthat right hand technique was usually the last thing in the wayof attaining the velocities emerging in Rock guitar solos in theseventies and eighties.
In 1986, I completely re-evaluated my right hand techniqueby pursuing my natural muscle movements, economy of motionand relaxation. In a few months, my speed and accuracy greatlyincreased!
In my continuing aspiration for better right hand tech-nique, I recently studied video footage of thirty top Rockguitarists. The aspects I looked for were:
manner of holding the pickwrist positionanchoringright hand tensiondependence on the left hand for speedcircle picking versus wrist pickingwrist quiver vs. elbow quiveralternate picking vs. sweep picking
Players respected for having the most control seemed tohave the least tension in the hand and arm. Those with lesscontrol appeared to depend on the left hand for speed withhammer-ons, pull-offs bends and slides.
Most held the pick between the thumb and first fingers.Some held it with the thumb, index and middle so they couldperform right hand tapping with the index finger in a phrase ofmostly picked notes. Others spread the index and middle fingersor pressed the middle finger against the index at the nail forsupport.
Metal players tended to use their wrist bent backwardsabout 15° and rested the heel or pinky side (between the pinkyand the wrist) of their hand on the bridge. Jazz or acoustic-influenced players tended to bend their wrist inward 5° to 15°and touch the pickguard with one or two free fingers.
Only one out of thirty used circle picking, which involvessmall movements in the fingers. To grasp this technique, drawa straight line on a piece of paper (representing the string), hold
RIGHT HAND TECHNIQUE OF POPULAR GUITARISTS
Take advantage of right hand characteristicsof great guitarists and be aware of how your naturaltendencies can bring your individual style and tech-niques to new heights.
The results of my study of the right handtechniques of popular guitarists is shown on thefollowing pages:
circlepicking
176
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.941
BELEW, ADRIANstrat
BERRY, CHUCKGibson 335
CAMPBELL, VIVIANstrat
CLAPTON, ERICLes Paul, strat
DiMEOLA, ALLes Paul type
EMMETT, RIKGibson type
FLACKE, RAYtele
GAMBALE, FRANKstrat type
GARCIA, JerryGibson type
GILBERT, PAULstrat type
GILLIS, BRADstrat
HENDRIX, JIMIstrat
LEE, ALBERTGibson, tele, acoustic
LEE, ALVINGibson 335
LEE, JAKE E.strat
LIFESON, ALEXstrat/Paul
Between thumb and 1st.
Between thumb and 1st.
Thumb & 1st.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.Keeps fingers 1, 2 and 3together in a half fist.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.
Between thumb and 1st.
Thumb and 1st.
Backbent 15°
Fairly straight.
Generally backbent 15-20°
Backbent 15°.
Backbent 15°.
Bent inward 15°.
Backbent 15°.
Backbent 15°.
Backbent 5-10°.
Backbent 15°.
Backbent 15°.
Bent 20°. Forearmrotated 45° so palm is inplayer’s view.
Backbent 15°.
Backbent 5-10°.
Backbent 15°.
Straight or slightly bentinward (5°).
Heel of hand on bridge.Touches pickguard withpinky and third.Sometimes no anchor.
Pinky on pickguard.Pinky side of handsometimes on bridge.
Base of thumb on guitarbody. Heel and pinky sideof hand on bridge. Pinky onpickguard during skips.
Pinky side of hand onbridge. Pinky onpickguard.
Heel of hand on bridge.
Pinky side of hand onbridge for faster passages.Often touches pickguardwith pinky and third.
Heel and pinky side ofhand on bridge.
Heel of hand on bridge
Pinky (sometimes with third) onpickguard. Side of hand (baseof pinky) sometimes on bridge.
Palm sometimes touchesbridge, particulary formuting or certain tones.
Pinky side of hand onbridge. Brushes againstpick- guard with pinkyand third.
Pinky side of hand onbridge. Pinky brushedagainst pickguard.
Pinky side of hand onbridge.
Heel of hand on bridge.2nd, 3rd and pink oftenrest on pickguard.
Side of hand (base ofthumb) on bridge.
Ring and pinky onpickguard.
Light.
Light.
Fairly tight.
Fairly light.
Light.
Light.
Fairly light.
Fairly light.
Light.
VERY light.
Light.
Light.
Fairly light.
Light.
Light.
Light, except when at topspeed.
None.
Speed is unimportant inhis style.
Heavy for variety (notfor speed).
Fairly heavy.
None.
None.
Heavy dependence foreffect, but not for speed.
Great, since fingeringsare prepared forsweeping.
Some dependence foreffect, but not for speed.
Some dependence foreffect, but not for speed.
Heavy dependence foreffect, but not for speed.
Fairly heavy.
Heavy dependence foreffect, but not for speed.
Some dependence foreffect, but not for speed.
Heavy dependence foreffect, but not for speed.
Little.
Artist/Guitar holds pick between wrist position anchoring right hand tension depends on left hand for speed.
177
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.942
BELEW, ADRIANstrat
BERRY, CHUCKGibson 335
CAMPBELL,VIVIAN strat
CLAPTON, ERICLes Paul, strat
DiMEOLA, ALLes Paul type
EMMETT, RIKGibson type
FLACKE, RAYtele
GAMBALE,FRANKstrat type
GARCIA, JerryGibson type
GILBERT, PAULstrat type
GILLIS, BRADstrat
HENDRIX, JIMIstrat
LEE, ALBERTGibson, tele, acoustic
LEE, ALVINGibson 335
LEE, JAKE E.strat
LIFESON, ALEXstrat/Paul
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
On slow andmoderate passages.
Only.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
On slow and moderate
passages.
Plucks arpeggios with pick,
2nd finger and 3rd finger.
On slow andmoderate passages.
Only.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
On slow and
moderate passages. Plucks
arpeggios with pick, 2nd
finger and 3rd finger.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
Unknown.
Generally doesn’tplay fast enough torequire it.
Performed byrotating the forearm& bending at theelbow.
Performed byrotation of theforearm.
Performed byrotation of theforearm.
Performed byrotation of theforearm.
Generally doesn’tplay fast enough torequire it.
Not needed with hissweeping style.
Generally doesn’tplay fast enough torequire it.
Performed by VERYslight rotation of theforearm.
see elbow quiver.
Performed byrotation of theforearm.
Generally doesn’tplay fast enough torequire it.
Performed byrotation of theforearm.
see elbow quiver.
see elbow quiver
Unknown.
NONE.
see wrist quiver
NONE.
NONE.
NONE.
NONE.
NONE
NONE.
NONE.
Performed bybending at the elbow.
NONE.
NONE.
NONE.
Performed bybending at the elbow
Performed bybending at the elbow
Generally, but playsphrases of predomi-nant downstrokes foremphasis.
Rare. Generallypicks alldownstrokes.
Generally
Generally, but playsphrases of predomi-nant downstrokes foremphasis.
Almost always.
Almost always.
Generally, but playsphrases of predomi-nant downstrokes foremphasis.
On each string, butalways picks in thedirection of approachto a new string.
Generally, but playsphrases of predominantdownstrokes and slursfor slower melodies.
Almost always.
Generally, exceptskims arpeggios.
Generally, but playedphrases of predomi-nant downstrokes foremphasis.
Generally, but playedphrases of predomi-nant downstrokes foremphasis.
Almost always.
Generally, exceptskims arpeggios.
Generally.
Probably.
NONE.
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
Probably not.
Probably not.
NONE
Definitely!! He worksout ONE fingering foreach scale to be used inALL positions.
Probably not.
Generally reservedfor apreggios.
On arpeggios.
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
NONE
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
On arpeggios.
Probably not.
Artist/Guitar circle picking wrist picking wrist quiver elbow quiver alternate picking sweep picking
178
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.943
LUKATHER, STEVEstrat
MALMSTEEN,YNGWIE - strat type
McLAUGHLIN, JOHNGibson type
METHENY, PATGibson type
MOORE, VINNIEstrat
MORSE, STEVEtele
PAGE, JIMMYLes Paul, tele, strat
RICE, TONYMartin dreadnought
SANTANA, CarlosLes Paul type
SATRIANI, JOEstrat type
SCHON, NEALPaul, strat type
SCOFIELD, JOHNGibson 335 type
VAN HALEN, EDDIEstrat type
WATSON, DOCMartin dreadnaught
WATSON, JEFFLes Paul
Thumb and 1st.
Thumb and 1st.
Thumb & 1st, withpressure from the 2ndagainst 1st at the nail.
1st & 2nd fingers spread.
Thumb and 2nd, pickingwith the round edge.Picks very lightly withVERY light pick.
Thumb and 1st.
Thumb and 1st,sometimes incl. 2nd.Sometimes 2nd pressesnail against nail of 1st.
Thumb and 1st.
Thumb and 1st. Thumb,index and middle beforearound 1986, thumb &index after.
Thumb and 1st.
Thumb and 1st.
Thumb and 1st.
Usually thumb & 1st.Thumb, 1st & 2nd whenmixing with right handhammers & pull offs.
Between thumb and 1st.
Between thumb and 1st.
Bent inward 15-20°,except straight to 5° onelbow quiver.
10-15° backbent.
Picking 1st to 6th: forearm rotated 15-
20° backward, little finger in player’s
view. Picking 6th to 1st: forearm rotated
inward15-20° so palm is in player’s view.
Picking 1st to 6th: forearm rotated 15-
20° backward, little finger in player’s
view. Picking 6th to 1st: forearm rotated
inward15-20° so palm is in player’s view.
Backbent 15°.
Fairly straight.
Backbent 15-20°. Guitarbody low and neck high, sohand & forearm are nearlyperpendicular to strings.
Backbent 5-10°.
Forearm rotated 45° sopalm is in player’s view.Predominant upstroke.
Straight to 10° backbent.
Backbent 15°.
Backbent 15°.
Generally backbent 15°.Palm turned up approx.45° when using wristquiver.
Backbent 5° so heel ofhand is parallel withinside of forearm.
Backbent 15°.
Palm sometimes touchesbridge, particulary formuting or certain tones.Pinky on pickguard.
Palm sometimes touchesbridge, particulary formuting or certain tones.
Sometimes at bridge,particularly for quiver.
Forearm only.
Heel of hand on bridge.
Pinky side of hand onbridge. Pinky laying onpickguard.
Pinky side of hand onbridge.
Pinky (sometimes with3rd) on pickguard.
Pinky side of hand onbridge before around1986, heel & side ofhand after.
Forearm nearly to wrist onguitar body. Often pinkyside of hand on bridge,pinky & 3rd on pickguard.
Pinky side of hand onbridge. Touchespickguard with pinky.
Touches pickguard andpickup cover with 2ndand 3rd fingers.
Side of hand on bridge.
Forearm only.
Heel of hand on bridge.
Light, except tight onelbow quiver
VERY light.
Slight.
VERY light.
Light.
Moderately light.
Moderately light.
Fairly light.
A little tight before 1986,light after.
Very light.
Light.
VERY light.
VERY light.
Moderate.
Light.
Heavy dependence foreffect, but not for speed.
Some dependence foreffect, but not for speed.
NONE.
Heavy dependence foreffect, but not for speed.
NONE.
None.
Some.
NONE
Moderate for variety (notfor speed).
Heavy dependence foreffect, but not for speed.
Heavy dependence foreffect, but not for speed.
Uses slurs to makepicking of arpeggiossmoother.
Generally high.
NONE
Some dependence foreffect, but not for speed.
Artist/Guitar holds pick between wrist position anchoring right hand tension depends on left hand for speed.
179
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.944
LUKATHER,STEVEstrat
MALMSTEEN,YNGWIE - strat type
McLAUGHLIN,JOHN Gibson type
METHENY, PATGibson type
MOORE, VINNIEstrat
MORSE, STEVEtele
PAGE, JIMMYLes Paul, tele, strat
RICE, TONYMartin dreadnought
SANTANA, CarlosLes Paul type
SATRIANI, JOEstrat type
SCHON, NEALPaul, strat type
SCOFIELD, JOHNGibson 335 type
VAN HALEN,EDDIE strat type
WATSON, DOCMartin dreadnaught
WATSON, JEFFLes Paul
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
NONE NOTED.
Mainly.
NONE NOTED.
NONE NOTED.
NONE NOTED.
Somewhat involvedin wrist picking.
NONE NOTED.
NONE NOTED.
NONE NOTED.
On slow passages
On slow andmoderate passages.VERY smallmovements.
On slow andmoderate passages.VERY smallmovements.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
Slight involvementof wrist in circlepicking.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
On slow andmoderate passages.
Most of the time.
Picks from theelbow!
On slow andmoderate passages.
Rarelly performed byrotating the forearm,usually by elbowquiver.
Performed by VERYslight rotation of theforearm.
Performed bybending wrist flatwithout muchforearm rotation.
Performed byrotating the forearm.
see elbow quiver.
see elbow quiver
see elbow quiver.
Generally doesn’tplay fast enough torequire it.
Performed byrotating the forearm.
Performed by slightrotation of theforearm.
Performed byrotation of theforearm.
Generally doesn’tplay fast enough torequire it.
Performed byrotating the forearm.
NONE
see elbow quiver
Performed bybending at the elbow
NONE.
see wrist quiver
see wrist quiver
Performed bybending at the elbow
Performed bybending at the elbow
Performed bybending at the elbow
NONE.
see wrist quiver
NONE.
NONE.
NONE
see wrist quiver
NONE
Performed bybending at the elbow
Almost always.
Almost always.
Almost always.
Generally, but playsphrases of predominantdownstrokes and slursfor slower melodies.
Generally, exceptskims arpeggios.
Almost always.
Generally.
Generally, but occasionallypicks twice in the samedirection in an approach toa new string.
Generally. Pickspassages of allupstrokes formelodic emphasis.
Almost always. Pickspassages of mostlydownstrokes formelodic emphasis.
Generally, but playsphrases of predomi-nant downstrokes foremphasis.
Generally, but playsphrases of predominantdownstrokes and slursfor slower melodies.
Generally
Religiously.
Generally, exceptskims arpeggios.
Yes, in the context of“flash” rock licks andarpeggios, but not devel-oped into a refined style.
Generally reserved forapreggios. However,usually picksarpeggios alternate.
Unknown.
Probably not.
On arpeggios.
Probably not.
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
None, except asnoted under alternatepicking.
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
Yes, in the context of“flash” rock licks &arpeggios, but not ina refined style.
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
Probably not.
Yes, in the context of“flash” rock licks,but not developedinto a refined style.
NONE
On arpeggios.
Artist/Guitar circle picking wrist picking wrist quiver elbow quiver alternate picking sweep picking
180
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.955
Ä ! 44â 44 p
2
t↓000
ttt↑000
tttp
2
t↑
000
ttt↓
000
ttt↑
000
ttt2
tp
000
ttt↓
000
ttt↑
2
tp
000
ttt↑
000
ttt↓
000
ttt↑ p
1
!t↓202
ttt↑202
tttp
2
t↑
202
ttt↓
202
ttt↑
202
tttp
1
!t↓202
ttt↑202
tttp
2
t↑
202
ttt↓
202
ttt↑
202
ttt
Ä !â 0
tp
232
ttt↓
232
ttt↑
0
tp
232
ttt↑
232
ttt↓
232
ttt↑
0
tp
232
ttt↓
232
ttt↑
0
tp
232
ttt↑
232
ttt↓
232
ttt↑ p
4
! t↓000
ttt↑000
tttp
5
t↑
000
ttt↓
000
ttt↑
000
tttp
4
! t↓000
ttt↑000
tttp
5
t↑
000
ttt↓
000
ttt↑
000
ttt
Ä !â
3
tp
010
ttt↓
010
ttt↑
3
tp
010
ttt↑
010
ttt↓
010
ttt↑
3
tp
010
ttt↓
010
ttt↑
3
tp
010
ttt↑
010
ttt↓
010
ttt↑
2
tp
330
ttt↓
330
ttt↑
3
tp
033
ttt↑
033
ttt↓
033
ttt↑
2
tp
330
ttt↓
330
ttt↑
3
tp
033
ttt↑
033
ttt↓
033
ttt↑
Ä !
â p
0
t↓012
ttt↑012
tttp
0
t↑
210
ttt↓
210
ttt↑
210
ttt
0
tp
012
ttt↓
012
ttt↑
0
tp
210
ttt↑
210
ttt↓
210
ttt↑ p
2
t↓202
ttt↑202
tttp
2
t↑
202
ttt↓
202
ttt↑
202
ttt æøææø
p
2
t↓202
ttt↑202
tttp
2
t↑
202
ttt↓
202
ttt↑
202
ttt æææ2
000
AAAA↓
Em I
32 2
1
B7 I
3 4
2
D I
3
1
A9 II
3
1
4
4
2
1
C I
3 2
1
G I
3 4
1
Am I
32 2
1
B7 I
3 42
Em I
32
Minor Progression With Descending Bass
Thumb Pluck and Index Strumtec 1.955 tec 1.955
181
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.956
Ä 44â 44 p
3
t↓
2010
tttt↑
2010
tttt d2010
↑
tIttt
2010
↓
tttt
2010
↑
tttt
0
tp
2100
t!ttt↓
2100
tttt↑
d2100
tIttt↑
2100
tttt↓
2100
tttt↑ p
0
t↓
2210
tttt↑
2210
tttt d
2210
↑
tIttt
2210
↓
tttt
2210
↑
ttttp
1
t↓1123
tttt↑1123
tttt d1123
↑
tYttt1123
↓
tttt1123
↑
tttt
Äâ p
3
t↓
2010
tttt↑
2010
tttt d2010↑
tIttt
2010↓
tttt
2010↑
tttt
0
tp
232
!ttt↓
232
ttt↑
d232
tYtt↑
232
ttt↓
232
ttt↑
1
tp
1123
tttt↓
1123
tttt↑
d1123
tYttt↑
1123
tttt↓
1123
tttt↑
æøææø3
tp
3300
tttt↓
3300
tttt↑
d3300
tYttt↑
3300
tttt↓
3300
tttt↑
Äâ
æææ
↓
32010
AAAAA
3
2
1
C I
1
E I
32
1
Am I
32 2
1
F I
43
11
3
2
1
C I
2
D I
3
1 2
1
F I
43
11
2
1
G I
3 4
3
2
1
C I
Thumb Pluck and Index Strum Techniquetec 1.956 tec 1.956
Pluck the bass notes with the thumb, bending it only at its base. Strum the chords with the index finger, using a flicking motion. Bend the index finger at the joint where it connects to the hand and at the middle joint. Leave the tip joint of the index finger very relaxed, so the tip segments acts like the bristle-end of a paint brush. Try to keep the main body of the plucking hand (other than the fingers) calm and un-involved.
182
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Ä ! 44â 44 2
t000
ttt000
ttt c000
ttt000
ttt2
t000
ttt000
ttt c000
ttt000
ttt1
!t202
ttt202
ttt c202
202
ttt ttt1
!t202
ttt202
ttt c202
202
ttt ttt
Ä !â 0
t232
ttt232
ttt c232
ttt232
ttt0
t232
ttt232
ttt c232
ttt232
ttt4
! t000
ttt000
ttt c000
ttt000
ttt4
! t000
ttt000
ttt c000
ttt000
ttt
Ä !â
3
t010
ttt010
ttt c010
ttt010
ttt3
t010
ttt010
ttt c010
ttt010
ttt2
t330
ttt330
ttt c330
ttt330
ttt2
t330
ttt330
ttt c330
ttt330
ttt
Ä !â
0
t012
ttt012
ttt c012
ttt012
ttt0
t012
ttt012
ttt c012
ttt012
ttt2
t202
ttt202
ttt c202
202
ttt ttt æøææø2
t202
ttt202
ttt c202
202
ttt ttt æææ2
000
AAAA
Em I
32 2
1
B7 I
3 4
2
D I
3
1
A9 II
3
1
4
4
2
1
C I
3 2
1
G I
3 4
1
Am I
32 2
1
B7 I
3 4
Em I
32
Minor Progression With Descending Bass
Pick Bass and Finger Pluck
ec 1.960 tec 1.960
Pick the bass notes with a guitar pick, holding it between the thumb and index finger. Pluck the chords with the three remaining fingers. The middle and ring fingers must bend more than the little finger, so the tips of all three of them are aligned. Mute after each pair of chords with the fretting hand, so it sounds like a reggae part.
Technique 1.960
183
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.961
Ä ! 44
â 44
Swing Eighths
2
3
t3
33
tt4
1
1
" t1
2
# t0
0
t34
33
tt1
2
t34
33
tt2
3
#t34
33
tt1
2
t3
33
tt4
0
0
t34
33
tt1
1
" t1
2
# t2
3
t3
33
tt4
1
1
" t1
2
# t0
0
t34
33
tt1
2
t34
33
tt2
3
# t3
33
tt1
2
t34
33
tt0
0
t34
33
tt1
1
" t1
2
# t
Ä !
â 2
3
t1
10
tt0
0
t2
2
tH
0
0
t101
tt2
2
t101
tt
3
"t3
01
tt1
2
t2
01
tt1
0
t0
10
tt1
0
t0
2
t2
H
3
t3
33
tt0
1
" t1
2
# t1
0
t0
33
tt3
2
t1
33
tt3 2
3
#t333
tt1
2
t333
tt0
0
t3
33
tt1
1
" t1
2
# t
Ä !
â 0
0
t123
tt3
4
t123
tt0
0
t132
tt3
4
"t3
3
t110
tt0
2
t210
t3
3
t110
tt1
1
" t2
2
# t3
tI3
d333
tt#t333
ttt322
t"tt322
ttt311
tt"t311
ttt æøææø3
00
ttt Û1
3
t2
4
! tS3
0
t t1 2
1
" t1
# t1.
Ä !
âæææ3
00
ttt232
!t! tt343
tt#t |||2.
G I
43
1
C I G I
4
G I
43
D I
2
1
1
C I G7 I
432
G dim7 I
32
Am7b5 I
4
11
G I
4
D7
G I
4
F#7 II
21
3
G7 III
21
3
Option 1: pluck the bass notes with the thumb and the two note chords with the index and middle.Option 2: pluck the bass notes with the pick and the two note chords with the middle and ring fingers.
Pick Bass, Finger Pluck Blues #1 tec 1.961 tec 1.961
184
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.962
Ä !!!! 44â 44
0
t0
100
ttt
4
t4
100
ttt
2
t2
100
ttt
4
t4
100
ttt
0
#t0
100
ttt
4
t4
100
ttt
2
t3
100
tttH
0
toI
2
t0 2
toI
0 2
t0 2
H
0
t0
100
ttt
4
t4
100
ttt
2
t2
100
ttt
4
t4
100
ttt0
0
#t100
ttt4
4
t100
ttt3
2
t100
tttH
0 2
0
toI
2
tH
0 2
0
toI
2
t
Ä !!!!
â0
t0
020
#ttt
4
t4
020
ttt
2
t1
020
ttt
4
t4
020
ttt
0
# t0
020
ttt
4
t4
020
ttt
2
t1
020
ttt
4
t4
2
t1
0
t0
100
ttt
4
t4
100
ttt
2
t2
100
ttt
4
t4
100
ttt
0
# t0
100
ttt
4
t4
100
ttt
2
t3
100
tttH
0
toI
2
t0 2
0
t0
Ä !!!!
â2
t2
202
ttt
0
t0
202
ttt
2
t2
202
ttt
2
t2
1
" t1
0
t0
020
#ttt
3
# t3
020
ttt
2
t1
020
ttt
1
# t1
0
t0
100
ttt
4
t4
100
ttt
0
t0
020
#ttt
1
! t1
020
ttt1.
æøææø2
t2
202
ttt
2
t2
202
ttt
0
t0
020
# ttt
3
# t3
020
ttt
Ä !!!!
â0
t0
100
ttt
4
t4
100
ttt
0
t0
020
#ttt
1
! t1
020
ttt2.
æææ2
202
tIttt d3123
#t# tt#t2012
tttt tIttt d c
1
E I
2
A7 I1
E I
2
1
B7 I
3 4 2
A7 I1
E I
2
A7 I
2
1
B7 I
3 4 2
A7 I
1
E I
2
A7 I
2
1
B7 I
3 41
F9 II
2
4
3
1
E9 I
2
4
3
Option 1: pluck the bass notes with the thumb and the two note chords with the index and middle.Option 2: pluck the bass notes with the pick and the two note chords with the middle and ring fingers.
Pick Bass, Finger Pluck Blues #2tec 1.962 tec 1.962
185
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.963
Ä ! 44â 44
022
ttt022
ttt00
tt
022
ttt022
ttt022
ttt022
ttt00
tt
022
ttt00
tt
022
ttt21
t!t12
tt20
tt21
tt21
tt21
t!t12
tt20
tt12
tt20
tt21
tt
Ä !â
00
tt00
tt232
ttt
00
tt00
tt00
tt00
tt232
ttt
00
tt232
ttt
00
tt542
t! tt542
ttt000
ttt
542
ttt542
ttt542
t! tt542
ttt000
ttt
542
ttt000
ttt
542
ttt
Ä !â
320
ttt320
ttt010
ttt320
ttt320
ttt320
ttt320
ttt010
ttt320
ttt010
ttt320
ttt200
ttt200
ttt33
tt200
ttt200
ttt200
ttt200
ttt33
tt200
ttt33
tt200
ttt
Ä !â
022
ttt022
ttt10
tt022
ttt022
ttt022
ttt022
ttt10
tt022
ttt10
tt022
ttt21
t!t12
tt20
tt21
tt21
tt æøææø2
1
t!t12
tt20
tt12
tt20
tt21
tt æææ2
2000
AAAAA
Em I
32 2
1
B7 I
3 4
2
D I
3
1
A9 II
3
1
4
4
2
1
C I
3 2
1
G I
3 4
1
Am I
32 2
1
B7 I
3 4
Em I
32
Minor Progression With Descending Bass
Thumb Strum, Fingers Plucktec 1.965 tec 1.965
Keep the wrist two or three fingers width from the guitar body. Strum the bass notes with the side of your thumb (the side opposite the index finger). Pluck the high notes (generally on strings 1 and 2) with the index and middle fingers.
186
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.970
Ä ! 44
â 44P
022
tttP
022
ttt↓
000
ttt↑
000
tttP
022
ttt↑
000
ttt↓
000
ttt↑
000
tttP
022
ttt↓
000
ttt
022
tttP
022
tttP
000
ttt↓
000
ttt↑
022
tttP
000
ttt↑
000
ttt↓
000
ttt↑
022
tttP
000
ttt↓ P
21
t!tP
21
tt↓
202
ttt↑
202
tttP
21
tt↑
202
ttt↓
202
ttt↑
202
tttP
21
tt↓
202
tttP
21
t!tP
21
tt↓
202
ttt↑
202
tttP
21
tt↑
202
ttt↓
202
ttt↑
202
tttP
21
tt↓
202
ttt
Ä !
â P
00
ttP
00
tt↓
232
ttt↑
232
tttP
00
tt↑
232
ttt↓
232
ttt↑
232
tttP
00
tt↓
232
tttP
00
ttP
00
tt↓
232
ttt↑
232
tttP
00
tt↑
232
ttt↓
232
ttt↑
232
tttP
00
tt↓
232
ttt
542
t! ttP
542
tttP
000
ttt↓
000
ttt↑
542
tttP
000
ttt↑
000
ttt↓
000
ttt↑
542
tttP
000
ttt↓
542
t! ttP
542
tttP
000
ttt↓
000
ttt↑
542
tttP
000
ttt↑
000
ttt↓
000
ttt↑
542
tttP
000
ttt↓
Ä !
â P
332
tttP
332
ttt↓
010
ttt↑
010
tttP
332
ttt↑
010
ttt↓
010
ttt↑
010
tttP
332
ttt↓
010
tttP
332
tttP
332
ttt↓
010
ttt↑
010
tttP
332
ttt↑
010
ttt↓
010
ttt↑
010
tttP
332
ttt↓
010
ttt
320
tttP
320
tttP
033
ttt↓
033
ttt↑
320
tttP
033
ttt↑
033
ttt↓
033
ttt↑
320
tttP
033
ttt↓
320
tttP
320
tttP
033
ttt↓
033
ttt↑
320
tttP
033
ttt↑
033
ttt↓
033
ttt↑
320
tttP
033
ttt↓
Ä !
â P
02
ttP
02
tt↓
210
ttt↑
210
tttP
02
tt↑
210
ttt↓
210
ttt↑
210
tttP
02
tt↓
210
ttt
02
ttP
02
ttP
210
ttt↓
210
ttt↑
02
ttP
210
ttt↑
210
ttt↓
210
ttt↑
02
ttP
210
ttt↓ P
21
t!tP
21
tt↓
202
ttt↑
202
tttP
21
tt↑
202
ttt↓
202
ttt↑
202
tttP
21
tt↓
202
ttt æø
ææø21
t!tP
21
ttP
202
ttt↓
202
ttt↑
21
ttP
202
ttt↑
202
ttt↓
202
ttt↑
21
ttP
202
ttt↓
æ
ææP
022000
AAAAAA
Em I
32 2
1
B7 I
3 4
2
D I
3
1
A9 II
3
1
4
4
2
1
C I
3 2
1
G I
3 4
1
Am I
32 2
1
B7 I
3 4
Em I
32
Minor Progression With Descending Bass
Thumb Strum and Index Strumtec 1.970 tec 1.970
187
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.975
Ä ! 44â 44 p
0
tp
2
ti
0
tp
2
tp
2
ti
0
tp
0
tp
2
ti
0
tp
2
tp
2
ti
0
tp
2
tp
1
!ti
2
tp
2
tp
1
ti
2
tp
2
tp
1
!ti
2
tp
2
tp
1
ti
2
t
Ä !
â p
0
tp
2
ti
3
tp
0
tp
2
ti
3
t
0
tp
2
tp
3
ti
0
tp
2
tp
3
ti p
0
tp
2
ti
0
tp
0
tp
2
ti
0
t
0
tp
2
tp
0
ti
0
tp
2
tp
0
ti
Ä !
â p
3
tp
2
ti
0
tp
3
tp
2
ti
0
t
3
tp
2
tp
0
ti
3
tp
2
tp
0
ti p
3
tp
0
ti
0
tp
2
tp
0
ti
0
t
3
tp
0
tp
0
ti
2
tp
0
tp
0
ti
Ä !
â p
0
tp
2
ti
2
tp
0
tp
2
ti
2
t
0
tp
2
tp
2
ti
0
tp
2
tp
2
ti p
2
tp
1
!ti
2
tp
2
tp
1
ti
2
t æøææø
p
2
tp
1
!ti
2
tp
2
tp
1
ti
2
t æææ0
000
AAAA
Em I
321 + 2 + 3 + 4 +6 4 34 3 5
picking patterncount:
strings:2
1
B7 I
3 421 + 2 + 3 + 4 +5 4 34 3 6
picking patterncount:
strings:
2
D I
3
11 + 2 + 3 + 4 +4 3 2 5 3 2
picking patterncount:
strings:3
A7 I
21 + 2 + 3 + 4 +5 4 34 3 6
picking patterncount:
strings:
4
2
1
C I
3
1 + 2 + 3 + 4 +5 4 34 3 6
picking patterncount:
strings:2
1
G I
3 4
1 + 2 + 3 + 4 +6 4 34 3 5
picking patterncount:
strings:
1
Am I
321 + 2 + 3 + 4 +5 4 34 3 6
picking patterncount:
strings: 2
1
B7 I
3 421 + 2 + 3 + 4 +5 4 34 3 6
picking patterncount:
strings:
Em I
32
Minor Progression With Descending Bass
Travis Fingerpicktec 1.975 tec 1.975
188
© 2000 Jim Gleason. All Rights Reserved.
TECHNIQUE
Technique 1.976
Ä ! 44
â 44Ω ø
ΩΩ øpa
0
0
tt
p
2
ti
0
tp
2
tm
0
tp
2
ti
0
tpa
0
0
tt
p
2
ti
0
tp
2
tm
0
tp
2
ti
0
tpa
2
2
ttp
1
!ti
2
tp
2
tm
0
tp
1
ti
2
tpa
2
2
ttp
1
!ti
2
tp
2
tm
0
tp
1
ti
2
t
Ä !
â pm
0
2
ttp
2
ti
3
tp
0
tm
2
tp
2
ti
3
t
0
2
ttpm
2
tp
3
ti
0
tp
2
tm
2
tp
3
ti p
a
0
0
ttp
2
ti
0
tp
0
tm
0
tp
2
ti
0
tpa
0
0
ttp
2
ti
0
tp
0
tm
0
tp
2
ti
0
t
0
Ä !
â pa
3
0
ttp
2
ti
0
tp
3
tm
1
tp
2
ti
0
t
3
0
ttpa
2
tp
0
ti
3
tp
1
tm
2
tp
0
ti p
a
3
3
tt
p
0
ti
0
tp
2
tm
3
tp
0
ti
0
t
3
3
ttpa
0
tp
0
ti
2
tp
3
tm
0
tp
0
ti
Ä !
â pa
0
0
ttp
2
ti
2
tp
0
tm
1
tp
2
ti
2
tpa
0
0
ttp
2
ti
2
tp
0
tm
0
tp
2
ti
2
tpa
2
2
ttp
1
!ti
2
tp
2
tm
0
tp
1
ti
2
t æøææø2
2
ttpa
1
!tp
2
ti
2
tp
0
tm
1
tp
2
ti
æææ0
000
AAAA
Em I
321 + 2 + 3 + 4 +
6 4 3 5 4 3
picking patterncount:
strings: 12
2
1
B7 I
3 421 + 2 + 3 + 4 +
5 4 3 6 4 3
picking patterncount:
strings: 12
2
D I
3
11 + 2 + 3 + 4 +
4 3 2 5 3 2
picking patterncount:
strings: 11
A9 n3 I
21 + 2 + 3 + 4 +
5 4 3 6 4 3
picking patterncount:
strings: 12
4
2
1
C I
3
1 + 2 + 3 + 4 +
5 4 3 6 4 3
picking patterncount:
strings: 12 2
1
G I
3 4
1 + 2 + 3 + 4 +
6 4 3 5 4 3
picking patterncount:
strings: 12
1
Am I
321 + 2 + 3 + 4 +
5 4 3 6 4 3
picking patterncount:
strings: 12
2
1
B7 I
3 421 + 2 + 3 + 4 +
5 4 3 6 4 3
picking patterncount:
strings: 12
Em I
32
Minor Progression With Descending BassTravis Fingerpicking (continued)
tec 1.976 tec 1.976
189
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.030
Fretboard Note NamesIf you know the names of the notes on the piano, the chart below should help you to learn the guitar note
names. You may already know that the two pairs of keys on the piano without a black key between them are“B, C” and “E, F”, the notes which are one fret apart on the guitar.
6 5 4 3 2 1
E A D G B E
middle Cin the center of the piano keyboard
Open (not fretted) Strings
E
AD
G B E
6 5 4 3 2 1
string numbers
Memorizing the Fretboard Note Names.Memorize the open-string note names with this sentence: Eat A Darn Good Breakfast Early. The first
letter of each word makes a list of the open-string names for the sixth through first strings.
Note names progress up each string in alphabetical order: A, B, C, D, E, F, G, A, etc. The distancebetween “B” and “C” and between “E” and “F” is one fret (not counting the fret on which you begin). All otheralphabetical pairs (A to B, C to D, F to G or G to A) are two frets apart.
After memorizing the open string note names, memorize fifth, tenth and twelfth fret note names.
Distances in pitch between notes are called intervals. A whole step is a two-fret interval (not countingthe fret on which you begin). A half step is a one-fret interval. One and one half steps is a three fret interval,
190
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.031
two steps is a four fret interval, and so on.
Use the sentences below to memorize the fifth and tenth fret note names (the first letter of each wordlists the names on the sixth through first strings. The twelfth fret note names are identical to the open-stringnames.
fifth fret: All Dogs Go Crazy Eating Ants
tenth fret: Don't Go Crazy For A Dog
D G BE EA
open strings
5th fret
12th fret
C
C
D
DD
D
F
G
G
G B
E
E E
AA
A
A
nut
frets withall natural names
10th fret
Next, memorize fretted notes on the sixth and fifth strings. If you have already memorized the note nameson the fifth, tenth and twelfth frets, you can locate all others by moving alphabetically up or down any string fromthese reference points.
D G BE EA
open strings
5th fret
12th fret
17th fret
C
C
C
C
D
DD
D
F
F
F
G
G
G
G
B
B
B
E
E
E E
AA
A
A
nut
C
CD
F
G
G
B
E AA
191
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.032
Chords are commonly named after notes on the fifth and sixth strings. By using the octave shapes youwill learn later in this section, you can identify note names on the fourth through first strings in reference to thoseyou have memorized on the sixth and fifth strings.
Natural notes have no sharp (#) nor flat (b). They are indicated with a plain letter “A” through “G”, orthe letter followed by the “ ” (natural) symbol. Notes with a sharp in their name are played one fret higher thanthe natural versions of the same letter-named note. Notes with a flat in their name are played one fret lowerthan the natural versions of the same letter-named note. Enharmonic notes are those which have two or morenames for the same note, such as A# and Bb, Cb and B or C# and Db.
Fretboard Note Names With Naturals and Flats
D G
10th fret 10th fret
BE EA
open strings
5th fret
12th fret
17th fret
Db
Db
Db
Db Db
Db
Db
Db
Db
Db Db
Db
Eb
Eb
Eb
Eb
Eb Eb
Eb
Eb
Eb
Eb
Eb Eb
Gb Gb
Gb
Gb
Gb
Gb
Gb Gb
Gb
Gb
Gb
Gb
Bb
Bb Bb
Bb
Bb
Bb
Bb
Bb
Bb Bb
Bb
Bb
C
C
C
C C
C
C
C
C
C C
C
D
D
D
DD
D
D
D
D
DD
D
F
F F
F
F
F
F
F F
F
F
F
G G
G
G
G
G
G G
G
G
G
G
B
B
B B
B
B
B
B
B B
B
B
E
E
E
E
E E
E
E
E
E
E E
Ab
Ab Ab
Ab
Ab
Ab
Ab
Ab Ab
Ab
Ab
Ab
AA
A
A
A
A
AA
A
A
A
A
nut
letter names are shown above the fret they name
D G BE EA
open strings
5th fret
12th fret
17th fret
C#
C#
C#
C# C#
C#
D#
D#
D#
D#
D# D#
F# F#
F#
F#
F#
F#
Bb
A# A#
A#
A#
A# C
C
C
C C
C
D
D
D
DD
D
D
F
F F
F
F
F
G G
G
G
G
G
G
B
B
B B
B
B
B
E
E
E
E
E E
E E
G#
G# G#
G#
G
G#
AA
A
A
A
A
A
nutD G BE EA
open strings
5th fret
12th fret
17th fret
C
C
C
C C
C
C
C
C
C C
C
D
D
D
DD
D
D
D
D
DD
D
F
F F
F
F
F
F
F F
F
F
F
G G
G
G
G
G
G G
G
G
G
G
B
B
B B
B
B
B
B
B B
B
B
E
E
E
E
E E
E
E
E
E
E E
AA
A
A
A
A
AA
A
A
A
A
nutD G BE EA
open strings
5th fret
12th fret
17th fret
C
C
C
C
D
DD
D
D
DD
D
F
F
G
G
G
G
G
G
B
B
E
E E
E
E E
AA
A
A
AA
A
A
nut
C#
C#
C#
C# C#
C#
D#
D#
D#
D#
D# D#
F# F#
F#
F#
F#
F#
Bb
A# A#
A#
A#
A# C
C
C
C C
C
D
D
D
DD
F
F F
F
F
F
G G
G
G
G
B
B
B B
B
E
E
E
E
G#
G# G#
G#
G
G#
AA
A
A
A
frets withall natural names
natural notes natural notesand flats
natural notesand sharps
10th fret 10th fret
192
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.061
Ä ! 44â 44
Ω øΩΩ ø 0
00
|||010
||| æøææø0
20
|!||010
|# || æææ2
000
AAAA
Ä !â
Ω øΩΩ ø 2
t000
ttt1
!t000
ttt0
t000
ttt4
! t000
ttt3
t000
ttt2
t0
t
Ä !â
æøææø4
t20
tt20
tt20
tt æææ2
000
AAAA
Em I C I
1
French Girl
Em6 I
2
SpiesC I
1
Em I
2
Em I
2
1
Em(ma7) I
Em I
2
Em7 I Em6 I
4
Cma7 I
3
1
B7 I
3
fin 1.061 fin 1.061
193
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.062
Ä !!!! 44â 44
Swing Eighths
10
02
tt10
02
tt30
04
tt30
04
tt10
02
tt10
02
tt30
04
tt30
04
tt
02
tt10
02
tt10
04
tt30
04
tt30
05
t#t40
05
tt40
04
tt30
04
tt30
02
tt10
02
tt10
04
tt30
04
tt30
02
tt10
02
tt10
04
tt30
04
tt30
02
tt10
02
tt10
04
tt30
04
tt30
05
t#t40
05
tt40
04
tt30
04
tt30
Ä !!!!
â10
02
#tt10
02
tt30
04
tt30
04
tt10
02
tt10
02
tt30
04
tt30
04
tt
02
#tt10
02
tt10
04
tt30
04
tt30
05
t#t40
05
tt40
04
tt30
04
tt30
02
tt10
02
tt10
04
tt30
04
tt30
02
tt10
02
tt10
04
tt30
04
tt30
02
tt10
02
tt10
04
tt30
04
tt30
05
t#t40
05
tt40
04
tt30
04
tt30
Ä !!!!
â 10
02
tt10
02
tt30
04
tt30
04
tt10
02
tt10
02
tt30
04
tt30
04
tt10
02
tt10
02
tt30
04
tt30
04
tt40
05
t#t40
05
tt30
04
tt30
04
tt02
tt10
05
t#t40
04
tt30
03
t#t20
æøææø0
2
tt10
02
tt10
02
tt10
02
tt10
02
tt10
02
tt10
02
tt10
1.
Ä !!!!
âæ
ææ10
02
tt21
045
tt!t0
21
056
t#tt0
|||2.
A7
pick this with all downstrokes
D7 A7
E A A7 Adim7 Bm7b5 A7 E7
A Adim7 A7
One Finger Blues in Afin 1.062 fin 1.062
194
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.064
Ä 44â 44
022000
AAAAAA
0
t3
t0
t2
t0
t2
t0
t2
t0
t3
t0
t3
t0
t3
t0
t2
t æææ0
t2
t0
t2
t0
t3
t0
t
Äâ
30003
AAAAA
3
t0
t2
t0
t2
t0
t2
t0
t3
t0
t3
t0
t3
t0
t2
t0
t æææ2
t0
t2
t0
t3
|
Open Position G Major 6/9 Pentatonic Scale
Open Position E Minor 7/11 Pentatonic Scale
3
2 2 2
3 3
fingeringnumbered tones
of an "E" major scale1 4 b7 b3 5 1
b3
5 1 4
b7 b3
3
2 2 2
3 3
fingering
numbered tonesof a "G" major scale
6 2 5 1 3 6
1
3 6 2
5 1
"E minor seven eleven" (E minor 7/11, or Em7/11) is a chord name. I use chord names for pentatonic scales, to standardize their names. Otherwise, various authors, music critics and interviewed musicians will collectively use a huge collection of confusing names for the scales. I realize "Em7/11" is a long name, but when you learn chord construction, this (or any of my other pentatonic scale names) will make perfect sense.
"G major six nine" (G 6/9) is a chord name. I use chord names for pentatonic scales, to standardize their names. See the note above regarding E minor 7/11 pentatonic scale.
195
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.110
Ä 44â 44Ω øΩΩ ø000ttt
000
ttt201
ttt201
ttt303
ttt303
ttt201
ttt201
ttt000
ttt000
ttt201
ttt201
ttt303
ttt303
ttt201
ttt201
ttt
Äâ 0
10
ttt010
ttt012
ttt012
ttt013
tt"t013
ttt012
ttt012
ttt000
ttt000
ttt201
ttt201
ttt303
ttt303
ttt201
ttt201
ttt
Äâ 0
21
ttt021
ttt043
ttt043
ttt550
ttt550
ttt043
ttt043
ttt000
ttt000
ttt303
ttt303
ttt æøææø2
02
"ttt202
ttt101
tt"t101
ttt
Äâ 0
00
|||202
!ttt303
ttt æææ
AAAa
G I
21
C I G7 I
2 32
1
C I G I
21
C I G7 I
2 32
1
C I
1
C I
1
C6 I
21
C7 I
3
1
C6 I
2
G I
21
C I G7 I
2 32
1
C I
D7n3 I
21
G III
21 1
D9 no3 III
23 4
G III
21
G I G7 I
2 3
G dim. 7 I
2 3
Am7b5 I
2 3
G I G dim. 7 I
2 3
G7 I
2 3
Two Finger Bluesstrum this with the pick or pluck with the thumb, index and middle fingers
fin 1.110 fin 1.110
196
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Ä 44
â 44 00
ttmp
0
ti
21
ttmp
0
ti
33
ttmp
0
ti
21
ttmp
0
ti
00
ttmp
0
ti m
p
21
tt0
ti m
p
33
tti
0
tmp
21
tti
0
t
Äâ 0
0
ttmp
1
ti
02
ttmp
1
ti
03
t"tmp
1
ti m
p02
tt1
ti
00
ttmp
0
ti
21
ttmp
0
ti
33
ttmp
0
ti
21
ttmp
0
ti
Ä
â 01
ttmp
2
ti
03
ttmp
4
ti
50
ttmp
5
ti
03
ttmp
4
ti
00
ttmp
0
ti
33
ttmp
0
ti
æø
ææø22
"ttmp
0
ti
11
t"tmp
0
ti
Ä
âmi
000
|||mi
p
202
!tttmi
p
303
tttp
æ
ææAAA
a
G I
2
1
C I G7 I
2 3
2
1
C I G I
2
1
C I G7 I
2 3
2
1
C I
1
C I
1
C6 I
21
C7 I
3
1
C6 I
2
G I
2
1
C I G7 I
2 32
1
C I
D7n3 I
21
G III
21 1
D9 no3 III
23 4
G III
21
G I G7 I
2 3
G dim. 7 I
2 3
Am7b5 I
2 3
G I G dim. 7 I
2 3
G7 I
2 3
Two Finger BluesPluck the pairs of notes with the thumb and middle fingers. Pluck the single notes with the index
finger. Pluck the three note chords at the end with the thumb, middle and index fingers.
fin 1.111 fin 1.111
Fingering 1.111
197
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.260
THE FIVE CHORD ROOT SHAPES
Each of these shapes represent the shape of the notes after which the chord is named.
C I G ID I A IE IE E
E
G#
B
D
D
A F#
C
C
E
EG
E A C#
A E G
GG
D B
B
3
2
1
C I
2
1
G I
4
2
D I
3
1 4
A I
32
1
E I
32
E E
E
D
D C
C
A
A G
GG
THE SEVEN OCTAVE FINGERINGSThe diagrams below can be played in any position (at any fret).
Numbers within the diagrams indicate fretting fingers.
3
1 4
1
1
4
1
3
Primary Octave FingeringsThese are "two string, two fret" octaves.
3
1
1
3
Secondary Octave FingeringThe only un-compensated "three string,-three fret" octave (compensated versionsare shown at the right).
These are "three string, three fret" octaves withcompensation for tuning on the smallest two strings.
1
4
These are "two string, two fret" octaves withcompensation for tuning on the smallest two strings.
Notes on the smallest two strings mustrelatively be moved up one fret (higher in pitch),when combined with the larger four strings..
Notes on the smallest two strings must relativelybe moved up one fret (higher in pitch), whencombined with the larger four strings.
198
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.261
THE FIVE OCTAVE SHAPES
By combining two pairs of the seven octaves and using the other three octaves unchanged, five octaveshapes are produced.
1
3
1
3
1
4
1
4
1
3
1
4
1
3
1
3 4
1
3
1
Notice how each of the five octave shapes occurs in one of the five chord root shapes shown below.
1
3
1 1
4
1
3
1
3
1
34
C I G ID I A IE IE E
E
G#B
D
D
A F#
C
C
E
EG
E A C#
A E G
GG
D B
B
The five octave shapes are named after either the strings on which they occur (641 shape) or the chordroot shape they represent (E form).
1
3
1 1
4
1
3
1
3
1
34
641 shapeE form
42 shapeD form
52 shapeC form
53 shapeA form
631 shapeG form
199
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.262
Here are is a full-fretboard diagram of “F” notes. Notice that they occur in octave shapes, in the cyclicorder “EDCAGE”.
F
F
F
F
F
F
F
F
F
E form, 641 shape
D form, 42 shape
C form, 52 shape
A form, 53 shape
G form, 631 shape
E form, 641 shape
F
F
D form, 42 shape
C form, 52 shape
first fret
fifth fret
ninth fret
twelfth fret
fifteenth fret
F
F
F
641, E form"F" notes I
F
F
F
641, E form"F" notes XIII
F
F
42, D form"F" notes III
F
F
52, C form"F" notes VI
F
F
53, A form"F" notes VIII
F
F F
631, G form"F" notes X
F
F
42, D form"F" notes XV
F
F
52, C form"F" notes VI
notice the order of shapes:"EDCAGE"
200
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.263
“G” notes occur in the same respective order of octave shapes, a whole step higher (two frets closer tothe guitar body).
G
G
G
G
G
G
G
G
G
E form, 641 shape
D form, 42 shape
C form, 52 shape
A form, 53 shape
G form, 631 shape
E form, 641 shape
G
D form, 42 shape
first fret
fifth fret
ninth fret
twelfth fret
fifteenth fret
G
G
G
641, E form"G" notes III
G
G
G
641, E form"G" notes XV
G
G
42, D form"G" notes V
G
G
52, C form"G" notes VIII
G
G
53, A form"G" notes X
G
G G
631, G form"G" notes XII
G
G
42, D form"G" notes XVII
G
G form, 631 shape
G
G G
631, G form"G" notes I
201
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.264
Every note occurs in the same series of octave shapes. Compare the diagrams below. “G” is a wholestep (two frets) above “F”, “A” is a whole step above “G” and “B” is a whole step above “A”.
F
F
F
F
F
F
F
F
F
F
F
first fret
fifth fret
twelfth fret
seventeenth fret
G
G
G
G
G
G
G
G
G
G
G
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
202
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.320
Ä 44â 44Ω øΩΩ ø 3t
2
t01
tt2
t3
tI21
tt tIt00
æøææø
tt
3
t2
t0
t3
t3
t2
t0
t æææ3
A
Ä 44â 44Ω øΩΩ ø 0t
2
t2
t1
t
3
t0
t0
t0
t æøææø3
t3
t2
t1
t2
t2
t1
!t0
t æææ0
221
AAAA
32
1
C I
C
Spanish Surf Ballad In Duple Time
42
1
F I
3
F
Sixties Rock Style
G
21
G I
4
C
1
Am I
32
Am
21
G I
4
G
42
1
F I
3
F
1
E I
2 3
E Am
Performance Notes Most of the chords involved in these examples should be held until another chord name appears.
Chord Diagram Reminders Roman numerals on the upper right of chord diagrams indicate the number of the top fret on the diagram. Circles shown above a string indicate the string is played open. Strings not marked are not played.
Performance Notes Most of the chords involved in these examples should be held until another chord name appears.
Chord Diagram Reminders Roman numerals on the upper right of chord diagrams indicate the number of the top fret on the diagram. Circles shown above a string indicate the string is played open. Strings not marked are not played.
Open-Position One Note-Per-String ArpeggiosOpen-Position One Note-Per-String Arpeggios
203
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.321
Ä 44â 44
3
t2
t0
t1
t2
t2
t1
!t0
t0
t2
t2
t1
t
3
t2
t0
t1
t3
t3
t2
t1
t
3
t0
t0
t0
t3
t3
t21
tt000
ttt |||
Äâ
3
t2
t0
t1
t2
t2
t1
!t0
t0
t2
t2
t1
t
3
t2
t0
t1
t3
t3
t2
t1
t
3
t0
t0
t0
t !!!
Ä !!!
âΩ øΩΩ ø 0t
2
t22
tt2
t0
t2
t12
tt2
t0
t2
t02
#tt2
t0
t2
t02
tt2
t æøææø0
t2
t3
t2
t
0
t1
t0
t0
t
3
# t3
#t21
t#t000
t#tt ||| # # #
ÄâΩ øΩΩ ø 3t
2
t0
t1
t
2
t2
t1
!t0
t
0
t2
t2
t1
t
3
t2
t0
t1
t
3
t3
t2
t1
t
3
t0
t0
t0
t æøææø3
t3
t21
tt000
ttt ||| æææ3
201
AAAA
32
1
C I
C
1
E I
2 3
E
Sixties Rock Style Ballad In Duple Time
1
Am I
32
Am
32
1
C/G I
C/G
42
1
F I
3
F
21
G I
4
G F G
C E Am C/G F G
4
A I
32
A
4
Ama7 I
12
Ama7
4
A7 I
2
A7
2
D I
31
D
1
E I
32
E F G
C E Am C/G F G F GC
Open Position One Note-Per-String Arpeggios (continued)fin 1.321 fin 1.321
204
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.322
Ä 128â 128
3
t2
t0
t1
t0
t2
t0
t2
t2
t1
t2
t2
t æøææø3
t3
t2
t1
t2
t3
t
3
t0
t0
t0
t0
t0
t æææ3
t2
tt0
ttt1
«t «t «t «t «| «| «| «|
Ä 128â 128
0
t2
t2
t1
t2
t2
t3
t0
t0
t0
t0
t0
t æøææø3
t3
t2
t1
t2
t3
t2
t2
t1
!t0
t1
t2
t æææ0
t2
tt2
ttt1
«t «t «t «t «| «| «| «|
Ä 128â 128
3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t2
t1
!t2
t0
t2
t1
t2
t1
t2
t0
t2
t1
t3
t2
t0
t1
t0
t2
t3
t2
t0
t1
t0
t2
t0
t2
t0
t2
!t0
t2
t0
t2
t0
t2
t0
t2
t
32
1
C I
C
Spanish Surf Style Ballad In Triple Time
Am
1
Am I
32
Fifties Style Ballad In Triple Time
F
21
F I
3 4 21
G I
4
G C
1
Am I
32
Am
21
G I
4
Sixties Style Ballad in Triple Time
G
21
F I
3 4
F
1
E I
32
E Am
21
G I
4
G
21
B7 I
3 4
B7
32
1
C I
C
3
A7 I
2
A7
Open Position One Note-Per-String Arpeggios (continued)fin 1.322 fin 1.322
205
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.323
Ä 128â 128
3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t0
t2
t0
t2
!t0
t2
t0
t2
t0
t2
t0
t2
t3
t0
t0
t0
t0
t0
t3
t2
t0
t1
t0
t2
t3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t
Äâ 0
t2
t3
t2
!t3
t2
t0
t2
t3
t2
t3
t2
t3
t0
t1
t0
t1
t0
t3
t0
t1
t0
t1
t0
t0
t2
t3
t2
!t3
t2
t0
t2
t3
t2
t3
t2
t3
t0
t1
t0
t1
t0
t3
t0
t1
t0
t1
t0
t
Äâ
2
t1
!t2
t0
t2
t1
t2
t1
t2
t0
t2
t1
t0
t2
t3
t2
!t3
t2
t0
t2
t1
t2
t1
t2
t3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t2
t1
!t2
t0
t2
t1
t2
t1
t2
t0
t2
t1
t
Äâ
3
t2
t0
t1
t0
t2
t3
t2
t0
t1
t0
t2
t0
t2
t0
t2
!t0
t2
t0
t2
t0
t2
t0
t2
t3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t0
t2
t0
t2
!t0
t2
t0
t2
t0
t2
t0
t2
t
21
G I
4
G A7
3
A7 I
22
1
G I
4
G
32
1
C I
C
21
G I
4
G
2
D I
31
D
32
1
C I
C
2
D I
31
D
32
1
C I
C
B7 D
3
D7 I
12
D7 G B7
C A7 G A7
Open Position One Note-Per-String Arpeggios (continued)fin 1.323 fin 1.323
206
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.324
Ä 128â 128
3
t0
t0
t0
t0
t0
t3
t2
t0
t1
t0
t2
t3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t3
t0
t0
t0
t0
t0
t0
t2
t0
t2
!t0
t2
t0
t2
t0
t2
t0
t2
t
Äâ
3
t0
t0
t0
t0
t0
t3
t2
t0
t1
t0
t2
t æææ3
t0
t0
t0
t0
t0
t3
«|
G C G A7
G C G
Open Position One Note-Per-String Arpeggios (continued)fin 1.324 fin 1.324
207
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.351
Ä !!! 44â 44
Swing Eighths
0
t222
tYtt d222
ttt222
ttt000
d tYt#t ttt
0 0
t3
t3
# t4
t! t0
t222
tYtt d222
ttt222
ttt000
d tYt#t ttt0 0
t3
t3
# t4
t! t
Ä !!!
â 0
t777
tYtt d777
ttt777
ttt555
d tYt#t ttt
0
t0
t3
# t3
t4
! t0
t222
tYtt d222
ttt222
ttt d000
tYt#t ttt0
t0
t1
! t1
t2
t
Ä !!!
â0
t999
tYtt d999
ttt999
ttt777
d tYtt ttt
0 0
t3
t3
# t4
t! t0
t222
tYtt d222
ttt222
ttt d000
tYt#t æøææø
AAAa
1
A6 I
11
A9 I
1
A6 I
11
A9 I
3
D6 VII33 1
D9 V11
1
A6 I
11
A9 I
3
E6 IX33 1
E9 VII11
1
A6 I
11
A9 I
fin 1.351 fin 1.351Three String Barre Blues With Bass
208
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.380
Ä 44â 44
0
t1
t2
! t3
t4
! t0
t1
! t2
t3
t4
! t0
t1
!t2
t3
t4
!t0
t1
!t2
t3
"t0
#t1
t2
!t3
t4
"t0
t1
t2
!t3
t4
" t3
t2
t1
#t
Äâ 0
t4
"t3
t2
"t1
t0
t3
"t2
t1
"t0
t4
"t3
t2
t1
"t0
t4
"t æøææø3
t2
t1
" t0
t4
" t3
t2
" t1
t æææ0
A
Ä 34â 34Ω øΩΩ ø
Û
1
t2
! t3
t Û
4
! t0
t1
! t Û
2
t3
t4
! t Û0
t1
!t2
t Û
3
t4
!t0
t Û
1
!t2
t3
!t
Äâ
Û0
t1
t2
!t Û3
t4
!t0
t Û1
t2
!t3
t Û4
" t3
t2
"t Û1
t0
t4
"t Û3
t2
"t1
t
Äâ
Û0
t3
"t2
t Û
1
"t0
t4
"t Û
3
t2
t1
"t æøææø
Û0
t4
"t3
t Û
2
t1
" t0
t Û
4
" t3
t2
" t æææ1
A
Open-Position Chromatic Scalefin 1.380 fin 1.380
209
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.385
Ä 44â 44
Ûfretting:
0
t0
2
! t2
4
! t4
Û
1
" t1
3
t3
0
t0
Û
2
t2
4
!t4
1
!t1
Û3
"t3
1
t1
3
t3
Û0
t0
2
!t1
4
!t2
Û6
" t4
4
t2
2
t1
Û0
t0
3
t3
1
t1
Û3
"t3
1
!t1
4
!t4
2424
æøææø
Û
2
t2
0
t0
3
t3
Û
1
" t1
4
! t4
2
! t2
Ä 44â 44
0
t0
2
! t2
4
! t4
1
" t1
3
t3
0
t0
2
t2
4
!t4
1
!t1
3
"t3
1
t1
3
t3
0
t0
2
!t1
4
!t3
2
t1
3434
æøææø0
t0
3
t3
1
t1
3
"t3
1
!t1
4
!t4
2
t2
0
t0
3
t3
1
" t1
4
! t4
2
! t2
0
t0
fin 1.385 fin 1.385Open Position Whole Tone ScalesYou can use these later for weird jazz, film score or progressive stuff.
210
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.430
Ä 44â 44
02210
AAAAA0
t3
t0
t2
t0
t2
t1
t3
t0
t3
t5
t3
t0
t3
t1
t2
t0
t2
t0
t3
t0
t3
t0
t3
t æææ0
A
Äâ
32010
AAAAA3
t0
t2
t0
t2
t1
t3
t0
t3
t0
t3
t1
t2
t0
t2
t0
t æææ3
t0
t3
t0
t3
|
Open Position A Minor 7/11 Pentatonic Scale
3 32 2
3 3
fingering
1
numbered tones in relation toan "A" major scale
1 4 b7
b3
5 5
b3b7
5 1
4 b7
Open Position C Major 6/9 Pentatonic Scale
3 32 2
3 3
fingering
1
numbered tones in relation toa "C" major scale
6 2 5
1
3 3
15
3 6
2 5
211
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.445
Ä 34
â 34Ω ø
ΩΩ ø!
Û
8
t™
9
! t#
10
t¢
Û
11
!t¡
7
t!
8
t™
Û
9
!t#
10
t¢
11
!t¡
Û
7
t!
8
!t™
9
t#
Û10
t¢
11
!t¡
7
t!
Û8
!t™
9
t#
10
t¢
Û11
!t¡
8
t@
9
!t£
Û10
t$
11
! t¡
7
t!
Û8
t™
9
! t#
10
t
Ä
âÛ
11
" t¢
10
t#
9
" t™
Û8
t!
12
t$
11
" t¢
Û10
t#
9
" t™
8
t!
Û11
"t$
10
t£
9
t@
Û8
"t¡
12
t$
11
"t¢
Û10
t#
9
t™
8
"t!
æø
ææø
Û
12
t$
11
"t¢
10
t#
Û
9
"t™
8
t!
12
t$
Û
11
"t¢
10
t#
9
"t™
æ
ææ8
«|!
Ä 44
â 44Ω ø
ΩΩ ø 8t!
9
! t™
10
t#
11
!t¢
7
t¡
8
t!
9
!t™
10
t#
11
!t¢
7
t¡
8
!t!
9
t™
10
t#
11
!t¢
7
t¡
8
!t!
9
t™
10
t#
11
!t¢
8
t¡
9
!t@
10
t£
11
! t$
7
t¡
8
t!
9
! t™
10
t#
11
! t¢
12
t$
11
" t£
10
# t@
9
" t¡
Ä
â !
8
t$
12
t¢
11
" t#
10
t™
9
" t!
8
t$
11
"t£
10
t@
9
t¡
8
"t$
12
t¢
11
"t#
10
t™
9
t!
8
"t$
12
t 2424
æø
ææø¢
11
"t#
10
t™
9
"t!
8
t$
12
t¢
11
"t#
10
t™
9
"t æ
ææ8
A!
one-position chromatic scale fingering
one-position chromatic scale fingering
fin 1.445 fin 1.445All-Fretted Chromatic Scale Fingering
212
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.446
Ä 44â 44Ω øΩΩ øÛ
8
t!
9
! t™
10
t#
Û
11
!t¢
7
t¡
8
t@
Û
9
!t£
10
t$
6
!t¡
Û
7
t@
8
!t£
9
t$
Û¡
5
t@
6
!t£
7
t Û$
8
!t¡
5
t@
6
t Û£
7
!t$
8
t¡4
!t Û@5
t£6
! t$7
t
Äâ
Û8
t¢
7
t#
6
" t™
Û5
t!
9
" t$
8
t£
Û7
"t@
6
t¡
9
t$
Û8
"t£
7
t@
6
"t¡
5
æøææø
Û10
t$
9
t£
8
"t@
Û
7
t¡
11
"t$
10
t£
Û
9
"t@
8
t¡
12
t$
Û
11
"t£
10
t@
9
"t¡
æææ8
A!
ÄâΩ øΩΩ ø 8t!
9
! t™
10
t#
11
!t¢
7
t¡
8
t@
9
!t£
10
t$
6
!t¡
7
t@
8
!t£
9
t$
5
t¡
6
!t@
7
t£
8
!t$
5
t¡
6
t@
7
!t£
8
t$
4
!t¡
5
t@
6
! t£
7
t$
8
t¢
7
t#
6
" t™
5
# t!
9
" t$
8
#t£
7
"t@
6
#t¡
Äâ
æøææø9
t$
8
"t£
7
t@
6
"t¡
10
t$
9
t£
8
"t@
7
t¡
11
"t$
10
t£
9
"t@
8
t¡
12
t$
11
"t£
10
t@
9
"t¡
æææ8
A!
four note-per-string chromatic scale fingering
four note-per-string chromatic scale fingering
Chromatic Scale Fingering (continued)fin 1.446 fin 1.446
213
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.521
Ä 44â 44
Û0
t4
! t2
tÛ
2
t1
!t0
t Û0
t4
! t0
t Û0
t1
t2
t Û0
t4
! t3
2
t11
Û
2
t2
!t1 4
5
t Û5
t44
5
t2
t Û2
t2
t4
t Û2
! t0
t0
tÛ
4
! t2
t3
t Û2
!t3
t2
t Û4
t0
t0
t
Äâ
Û3
t2
t0
tÛ
0
t0
t3
t Û3
t3
t0
t Û0
t0
t2
t Û0
t3
t3
tÛ
2
t0
t1
tÛ
0
t1
t0
t Û2
t3
t3
t æøææø
Û2
2
! t2
2
t1
1
! tÛ
4
!t3 3
4
t3
4
!t Û1
2
! t3
4
t3
4
t3
Û4
t1
1
t2
t2
æææ0
A
ÄâΩ øΩΩ øÛ
0
t3
t2
tÛ
2
t0
t0
t Û0
t3
t0
t Û0
t0
t2
t Û0
t3
t3
2
t2
Û
2
t2
1
t1
0
t Û5
t4
0
t1
t Û2
t2
t3
t Û1
t0
t0
tÛ
3
t2
t3
t Û1
t3
t2
t Û3
t0
t0
t
ÄâÛ
3
t1
" t0
tÛ
0
t3
" t3
3
t3
Û3
t3
3
t3
3
t3
Û0
t0
t1
t Û
3
t3 3
3
t1
" t1
Û3
5
t3
5
t2
4
" t Û13
t4
t32
5
t Û3
5
t1
1
t3
3
t æøææø2
Û2
! t2
t2
1
! t1
Û
4
! t3
4
t3 3
4
!t1
Û2
! t4
t3 3
4
t Û4
t3 1
1
t2
t2
æææ0
A
E
First and Second Position Major Arpeggios
A D
G
First and Second Position Minor Arpeggios
C B E
Em Am Dm
Gm Cm B Em
fin 1.521 fin 1.521
214
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.522
Ä ! 128â 128 2
t0
t0
t0
t0
t0
t0
t0
t2
t0
t2
t2
t0
t2
t1
t0
t1
t2
t1
t2
t2
t2
t2
t0
t2
t0
t0
t0
t0
t0
t0
t0
t2
t0
t2
t2
t2
t0
t0
t0
t0
t0
t0
t0
t2
t0
t2
t2
t
Ä !â
0
t2
t1
t0
t1
t2
t1
t2
t2
t2
t2
t0
t0
t2
t1
t0
t1
t2
t1
t2
t2
t2
t2
t0
t2
t2
t0
t2
t0
t2
t0
t2
t1
!t2
t1
t2
t2
t2
t0
t2
t0
t2
t0
t2
t1
!t2
t1
t2
t
Ä !â 2
t0
t0
t0
t0
t0
t0
t0
t2
t0
t2
t2
t2
t0
t0
t0
t0
t0
t0
t0
t2
t0
t2
t2
t0
t2
t1
t0
t1
t2
t1
t2
t2
t2
t2
t0
t3
t3
"t1
t0
t1
t3
t1
t3
t2
t3
t2
t3
t
Em I
321
Am I
32
Minor BluesEm I
32
1
Am I
32 21
B7 I
3 4
Em I
321
Am I
323
21
C7 I
4
Open-Position One Note-Per-String Arpeggioswith patterned arpeggios and bass lines
Performance Notes Most of the chords involved in these examples should be held until another chord name appears.
Chord Diagram Reminders Roman numerals on the upper right of chord diagrams indicate the number of the top fret on the diagram. Circles shown above a string indicate the string is played open. Strings not marked are not played.
fin 1.522 fin 1.522
215
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.523
Ä !â 2
t0
t0
t0
t0
t0
t0
t0
t2
t0
t2
t2
t2
t2
t0
t2
t0
t2
t0
t2
t1
!t2
t1
t2
t2
t0
t0
t0
t0
t0
t0
t2
t1
t0
t1
t2
t æøææø2
t0
t0
t0
t0
t0
t2
t2
t0
t2
«t æææ0
22000
«A «A «A «A«A «A #
Ä 34â 34 0
t2
t3
t2
t2
!t3
t3
t3
t0
t3
t3
t2
!t0
t2
!t2
t2
t0
t2
t4
!t3
!t2
!t3
t0
t2
t4
!t4
t3
t4
t3
t4
t
Äâ 5
t4
t3
t4
t3
t4
t2
t0
t1
t0
t1
t0
t3
t3
t2
t3
t1
t2
t3
t2
t0
t2
t1
t0
t3
t2
t0
t3
t2
t0
t2
t1
t0
t
Äâ 0
t2
t3
t2
t1
t3
t
3
t0
t3
t0
t3
t3
t3
t3
t2
t3
t1
t2
t3
t2
t0
t2
t1
t0
t3
t2
t0
t2
t1
t0
t0
t2
t0
t2
t0
t0
t
Em I
32 21
B7 I
3 4
Em I
321
Am I
32
Em I
32 21
B7 I
3 4
Em I
32
2
D I
31
21
G I
3 4
Sixties Style Folk Song
4
A I
323
21
F#7 II
32
Bm III
1
3
G III
12
32
1
C I
42
1
F I
3 32
1
C I
32
1
C I
1
Dm I
32
21
G I
3 4 42
1
F I
3 32
1
C I Em I
32
Open Position One Note-Per-String Arpeggios (continued)fin 1.523 fin 1.523
216
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.524
Äâ
0
t2
t2
t2
t1
t2
t0
t2
t3
t2
t2
!t3
t
3
t0
t3
t0
t3
t3
t
3
t0
t0
t0
t0
t0
t3
t2
t0
t2
t1
t0
t3
t3
t2
t3
t1
t2
t
Äâ
3
t3
t2
t3
t1
t2
t3
t2
t0
t2
t1
t0
t0
t2
t2
t2
t1
t2
t0
t2
t3
t2
t2
!t3
t
3
t0
t3
t0
t3
t3
t3
t2
t0
t2
t1
t0
t
Äâ
3
t3
t2
t3
t1
t2
t3
t0
t0
t0
t0
t0
t3
t2
t0
t2
t1
t0
t3
t3
t2
t3
t1
t2
t3
t0
t0
t0
t0
t0
t0
t2
t1
!t2
t0
t1
t
Äâ
0
t2
t2
t2
t1
t2
t3
t0
t0
t0
t0
t0
t3
t2
t0
t2
t1
t0
t æææ3
«|
1
Am I
32 2
D I
31
21
G I
3 4 21
G I
4 32
1
C I
42
1
F I
3
32
1
C I
1
Am I
32 2
D I
31
21
G I
3 4 32
1
C I
42
1
F I
3 21
G I
43
21
C I
42
1
F I
3 21
G I
4
1
E I
2 3
1
Am I
322
1
G I
4 32
1
C I
Open Position One Note-Per-String Arpeggios (continued)fin 1.524 fin 1.524
217
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.525
Ä 44â 44Ω øΩΩ ø 3t
0
t1
t0
t2
t0
t1
t0
t0
t0
t1
t0
t3
t0
t1
t0
t3
t2
t1
t2
t2
t2
t1
t2
t0
t2
t1
t2
t3
t2
t1
t2
t
Äâ 0
t0
t3
t0
t3
t0
t3
t3
t2
t0
t3
t2
t0
t0
t3
t0
t3
t0
t1
t0
t3
t2
t1
t2
t æøææø0
t3
t
3
t0
t0
t0
t2
t0
t æææ3
A
Ä 44â 44Ω øΩΩ ø 0t
2
t10
tt
0
t3
t2
t10
tt
3
t2
! t2
t10
tt
2
t1
# t2
t01
tt2
t0
t2
t31
tt
0
t3
t2
t31
tt
3
t2
t0
t33
tt
2
t1
" t0
t33
tt
1
t
32
1
C I
21
C/B I
21
Am7 I
Major Classic Rock
32
1
C/G I
21
F I
3
1
Am I
32
Dm7n3 I
12 2
1
F I
3 4
G I
4
G7 I
43
G6 I
42
Minor Classic Rock
G I
4 32
1
C I
21
F I
3
G I
4 32
1
C I
1
Am I
321
Am I
32
4
1
F#m7b5 I
2 32
Fma7 I
13
Dm I
12
4
Dm7 I
12
431
G/B I
3 4
1
Gm I
3 4
Open Position One Note-Per-String Arpeggios (continued)fin 1.525 fin 1.525
218
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.526
Ä 44â 44 2
t1
!t00
tt2
t0
t1
t00
tt0
t3
t3
t21
tt3
t2
t2
t10
!tt2
t0
t2
t12
tt0
t2
t0
t30
tt2
t3
t2
t01
tt3
t4
! t2
t00
tt4
t
Äâ 0
t2
t13
tt
0
t2
t0
t01
tt2
t3
t2
t11
tt3
t4
!t2
t01
tt2
t0
t0
t3
t0
t1
!t0
t0
t0
t æøææø2
t1
t0
t1
t2
t1
!t0
t1
t1.
Äâ 2
t1
t0
t1
t
0
t4
t0
t3
t2.
æææ0
t5
t3
t0
t
0555
||||
1
E I
21
E7 I
21
F I
3 4
1
E I
321
Am I
32
G/B I
42
32
1
C I
2
C#m7b5 I
4
Dm I
12
32
1
C/E I
21
F I
32
F#m7b5 I
4
1
G I
3
1
E/G# I
1
Am I
321
E I
2
1
Am I
321
E7n3 III
21
Am add4 III
3
Am III
3 3 3
Open Position One Note-Per-String Arpeggios (continued)fin 1.526 fin 1.526
219
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
1 2 3
A I
2 3
1
Am I
2 3 4
B7 I
2
3
1
C I
1
1
4
2
Bm II
3
21
D I
32
1
D7 I
1
2
3
Dm I
2
3
1
C7 I
4
2 3
E I
3
4
2
1
F I
1
1
4
G I
1
3
1
3
2
1
F I
1
4
1 1
Fm I
1
3
1
2
1
3 4
G I
2
2
E7 I
1
2 3
Em I
First Nineteen Chord Fingerings
1
fin 1.603 fin 1.603
2 3
A7 I
1
3 3
B II
3
1
4
2
Cm III
34
2
1
G III
1
3
1
4
1 1
Gm III
1
3
1 1 1
3 3
C III
3
1
4
2
Dm V
34
2
1
A V
1
3
1
4
1 1
Am V
1
3
1 1 1
3 3
D V
3
The chords below are movable.Each chord is named after its circled note.
Fingering 1.603
220
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.630
Ä !! 44
â 44Ω ø
ΩΩ ø 77tt
99
tt c
77
tt
99
tt c1 d
77
tYt
99
tt
7
t
77
tt
99
tt
77
tt
99
tt c
77
tt
99
tt c æø
ææød
77
tYt
99
tt
0
t77
tt
99
tt
Ä !!
âΩ ø
ΩΩ ø99tIt d
99
tt
99
tt
99
tt
77
tt tt5
æø
ææøtt
99
tt
99
tt
77
tt
99
tt
99
tt
77
tt tt # # ""
Ä ""
â13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
0
t7
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
35
tt
35
tt
35
tt
35
tt
35
tt
35
tt
35
tt
35
tt
13
tt
13
tt
0
t
0
t
3
t
3
t
1
t
0
t
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
0
t
Ä ""
â13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt
13
tt12
35
tt
35
tt
35
tt
35
tt
35
tt
35
tt
35
tt
35
tt
02
tt
02
tt
02
tt
02
tt
02
tt
02
tt
02
tt
02
tt
13
tt
13
tt
0
t
0
t
3
t
3
t
1
t
0
t æ
ææ13
tt
13
ttcc
bb # #
Bb F Gm Eb Bb
F Gm D Eb Bb
Quick-Changing Two Finger Chordsfin 1.630 fin 1.630
221
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.631
Ä 44â 44
0
t7
t9
t10
t10
tS
9
t7
t t17
0
t6
!t9
t0
t0
t7
t6
t t0
t5
t7
t0
t0
t7
t5
t t æææ0
t4
!t7
t0
t0
t5
t4
t t
Äâ
0
t3
t5
t0
t0
t5
t3
t t21
0
t3
t4
t0
t0
t0
t3
t t0
t2
t2
t0
t t0
t0
t2
t æææ0
t2
t2
t0
t |
Ä 44â 44
079
ttt
0
t0
t07
10
ttt
0
t0
t079
ttt
0
t25
069
t!tt
0
t0
t069
ttt
0
t0
t067
ttt
0
t057
ttt
0
t0
t079
ttt
0
t0
t057
ttt
0
t æææ0
47
t!tt
0
t0
t047
ttt
0
t0
t045
ttt0
t
Äâ
035
ttt0
t0
t057
ttt
0
t0
t035
ttt0
t29
034
ttt0
t0
t034
ttt0
t0
t030
ttt0
t022
ttt0
t0
t022
ttt0
t0
t000
ttt æææ0
2200
AAAAA!!!
A5 VII
3
1
F VII
4
1
A5 VII
3
1
E/A VI
4
1
E7/A VI
21
Em7/A V
3
1
D/A IV
4
1
D9/A IV
21
Fma7/A III
2
1
Fma7b5/A III
21
Fma7 sus.2A III
1
A sus.2 III
2 3
A5 VII
3
1
F VII
4
1
A5 VII
3
1
E/A VI
4
1
E7/A VI
21
Em7/A V
3
1 1
A no5 VII
3
Em/A V
3
1
D/A IV
4
1
D/A IV
21
F III
3
1
G/A V
3
1
F III
3
1
Fb5 III
3
1
Fsus.2 III1
A5 I
32
G/A I Asus.2 I
32
Quick-Changing Two Finger Chords (continued)fin 1.631 fin 1.631
222
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.632
Ä !!! 44
â 44Ω ø
ΩΩ ø 22tt
22
tt
42
tt
0
t54
tt
0
t
0
t22
tt33
æø
ææøtt
22
tt
42
tt
0
t54
tt
76
SS
tt
0
t
0
t Ω ø
ΩΩ ø 79tt
79
tt
57
tt
0
t47
tt
0
t
0
t57
tt æø
ææøtt
57
tt
47
tt
0
t57
SS
tt
79
tt
0
t
0
t# # # !
Ä ! 44
â 4402
ttd
13
" tI#t
02
«t «t
02
tI# t37 d
02
tIt
13
d
02
" tI#t ||
02
ttd
13
" tI#t
02
«t «t
35
tIt tt
0
t
23
tt
0
t
23
tt
35
tt
23
tt
02
tt
Ä !
âtt
13
02
d " tI#t «t «t
02
tI# t41 d
02
tIt
13
d
02
" tI#t ||
02
ttd
13
" tI#t
02
«t «t
35
tIt tt
0
t
23
tt
0
t
23
tt
30
tt
23
tt
02
tt æ
ææAAa
#
Ä 44
â 44 12
tt34
tt
55
tt tYt
34
tt46
12
tYt
00
tt
22
tIt ||
32
tt
00
tt
21
tt tt
00
00
tt tt æ
æætIt
32
«t «t || !!!
Quick-Changing Two Finger Chords (continued)fin 1.632 fin 1.632
223
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.633
Ä !!! 44
â 44 22
tt
0
t
0
t43
tt
0
t
0
t56
tt50
Ω ø
ΩΩ ø 77tt
0
t
0
t77
tt
0
t
0
t77
tt
0
t1011
tt
0
t
0
t99
tt
0
t
0
t77
tt
77
tt
0
t
0
t56
tt
0
t
0
t56
tt d
22
tt
0
t
0
t43
tt
0
t
0
t22
tt
Ä !!!
â 10
tt
0
t
0
t10
tt
0
t
0
t10
tt
0
t55
10
tt
0
t
0
t22
tt
0
t
0
t43
tt1.
56
tt
0
t
0
t56
tt
0
t
0
t56
tt
0
t æø
ææø22
tt
0
t
0
t43
tt
0
t
0
t56
tt
10
tt
0
t
0
t22
tt
0
t
0
t10
tt2.
Ä !!!
â 22
tt
0
t
0
t
22
tt
0
t
0
t
22
tt
0
t60
22
AA
990
ttt99
tt
99
tt d
77
tYt
56
tYt d
440
ttt
2
t
2
t t
2
t
2
t
0
t
2
t
2
t
44
tt d
56
tYt c
Ä !!!
â 990
ttt
0
t
9
t t
9
t
9
t d65
990
ttt99
tt
1011
tt tt
99
tYt d
0
99
ttt
7
t
7
t t
7
t
7
t
065
ttt
56
tt
56
tt
56
tt
45
"t#t
34
tt d æ
ææ022
AAA
Quick-Changing Two Finger Chords (continued)fin 1.633 fin 1.633
224
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.635
G9nr II
1
3 4
2
2 3 4
A I
2 3
A7 I
1 1 1
A7 I
2 3
1
Am I
2
1
Am7 I
1
3 3
B II
1
3
1
B7 II
2 3 4
B7 I
3
2
3
1
C I
3 4
1 1
4
2
Bm II
3
1 1
2
Bm7 II
3
2 3 3
B9 I
1
3
21
D I
3
1
2
D II
32
1
D7 I
2 3
4
D/F# I
1
2
3
Dm I
2
3
1
C7 I
4
2 3
E I
3
1
4
2
Dm7 I
11
4
2
1
F I
1
1
4
G I
1
3
1
3
2
1
F I
1
4
1 1
Fm I
1
3
11
2
1
F7 I
1
3
1
2
1
3 4
G I
2
1
4
G/B I
2
1
G7 I
3
2 3
E7 I
1
4
2
E7 I
1
2 3
Em7 I
4
2
Em7 I
2 3
Em I
First Thirty-Five Chord Fingerings
1
1 1
Fm7 I
3
111
1
fin 1.635 fin 1.635
225
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.700
Ä 44â 44 12
1212141412
AAAAAA12
t15
t12
t14
t12
t14
t12
t14
t12
t15
t12
t15
t12
t15
t12
t14
t æææ12
t14
t12
t14
t12
t15
t12
t
Äâ 12
13121415
AAAAA15
t12
t14
t12
t14
t12
t14
t12
t15
t12
t15
t12
t15
t12
t14
t12
t æææ14
t12
t14
t12
t15
|
1
3
1 1 1
4
Em XII
Twelfth Position G Major 6/9 Pentatonic Scale
Twelfth Position E Minor 7/11 Pentatonic Scale
1
4
1
3
1 1 1 1
3 34 4
fingering XII1
3
1
2
1 1 1 1
2 23 3
fingering XIIalternate
numbered tonesof an "E" major scale
1 11
4
G XII
1
4
1
3
1 1 1 1
3 34 4
fingering XII1
3
1
2
1 1 1 1
2 23 3
fingering XIIalternate
numbered tonesof a "G" major scale
Compare the fingerings below to the open position E minor 7/11 and open position G maor 6/9 fingerings you learned earlier. They have the same pattern, but the open strings are replaced with "first finger notes" and the notes fretted with second and third fingers may be changed to third and fourth fingers.
226
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.716
Ä !!! 44â 44
A022
tt43
tt65
tt77
tt A099
tt1110
tt1312
tt1414
tt
0
A1312
tt1110
tt99
tt77
tt0
A65
tt43
tt22
tt10
tt æææ0
22
AAA!!!!
Ä !!!!
âA021
tt42
tt64
tt76
tt A098
tt
119
tt
1311
tt
1413
ttA0
1311
tt
119
tt
98
tt
76
tt «|064
tt
242
tt21
tt t4
t æææ0
21
AAA# # # # !!
Ä !!â 3
2
tt0
A53
tt75
tt87
tt109
tt
0
A1210
tt1412
tt1514
tt
1412
tt
0
A1210
tt109
tt87
tt75
tt0
A53
tt32
tt02
tt æææ2
30
AAA
"A" major scale-tone thirds with "A" pedal tone (repeating bass)
Major Scale-Tone Thirds
"D" major scale-tone thirds with "D" pedal tone (repeating bass)
"E" major scale-tone thirds with "E" pedal tone (repeating bass)
Pluck the open-string bass notes with the the thumband the remaining notes with the index and middle fingers.
fin 1.716 fin 1.716
227
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.723
Ä 44â 44Ω øΩΩ ø 9
99
!ttt1099
ttt
0
t0
t0
t0
t555
(ttt ( ttt655
ttt555
ttt
0
t777
tt!t877
ttt777
ttt
0
t
Äâ 9
99
!ttt1099
ttt
0
t0
t0
t0
t121212
t#tt æøææø
ttt131212
ttt121212
ttt
0
t121212
ttt101112
t!tt
0
t0
t
Ä 44â 44Ω øΩΩ øc
131214
121212
tYtt555
d tYtt d d tYtt d555
tYtt657
d657
tYtt ttt555
tYtt d c131214
121212
tYtt555
d tYtt d d tYtt æøææø
d555
tYtt657
d657
tYtt657
ttt555
ttt ttt d
Ä 44â 44b
0777
0555
d tIÛ
tt!t t ttt Ω øΩΩ ø 7
65
t!tt0
t0
t0
t0
t0
t555
t#tt777
tt!t æøææø7
65
t!tt0
t0
t0
t0
t0
tÛ
777
tt!t0
t555
t#tt æææ0
765
tIt!tt d c b
Hard Rock
1
E IX11 1
E sus.4 .IX112
1
C .V11 1
C sus.4 .V112
1
C .V11 1
D VII11 1
D sus.4 .VII112
1
D VII11
Classic Rock
1
E IX11 1
E sus.4 .IX112
1
G XII11 1
Gsus.4 XII112
1
G XII11 1
G XII11
D X1
32
1
C .XII112
3
1
G XII11 1
C .V11 1
F .V112
3
1
C .V11 1
C .XII112
3
1
G XII11 1
C .V11 1
F .V112
3
1
C .V11
Blues
3
D .VII33 1
C .V11
2
1
A V
3
1
C .V11 3
D .VII33
2
1
A V
3
3
D .VII33 1
C .V11
2
1
A V
3
Three String Barré Examplesfin 1.723 fin 1.723
228
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.725
MAJOR AND PERFECT INTERVALSUP TO A FIFTH
Play the “A” major scale on the fifth string, as shown below.
=============================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 440
tmmmmm21
2
tmmmm3
4
! tmmmm
5
tmmmm4 1765
7
tmmmm
9
!tmmmm
11
!tmmmm
12
tmmmm
12
tmmmm1
11
!tmmmm7
9
!tmmmm6
7
tmmmm5
5
tmmmm4
4
! tmmmm3
2
tmmmm2
0
tmmmmm1
BA C# D E F# G# A A G# F# E C#D B A
In each of the four bars of examples below, “A” is followed another of the major scale tones. Then “A”is played on the sixth string, fifth fret at the same time as the other scale tone. When two notes are played at thesame time, they are called an interval.
=============================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 1
0
tmmmmm2
tmmmm2
52
|mmmmm|1
0
tmmmmm4
! tmmmm3
54
|mmmmm|1
0
tmmmmm4
5
tmmmm
55
|mmmmmm|1
0
tmmmmm7
tmmmm5
57
|mmmmmm|A B major
second A C#
third major A D perfect
fourth A E
fifth perfect
Intervals are relative. A perfect fourth represents the interval from scale tone one to scale tone four inany major scale. In the example below, a perfect fourth is constructed from the “A” and “D” major scales.Likewise, any interval conceived in one major scale can be conceived in another.
=============================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 440
tmmmmm1
2
tmmmm2 3
4
! tmmmm5
tmmmm4
æææ0
tmmmmm1 4
5
tmmmm
55
|mmmmmm|0
tmmmm1
2
tmmmm32
4
!tmmmm
5
tmmmm æææ
1
0
tmmmm41
5
tmmmm
55
|mmmmmm|"A" major scale tones one through four
A B C# D A D perfectfourth
"D" major scale tones one through four
D F#E G D G
fourth perfect
During a piece of music you should get a sense of which chord the music is moving toward, the chordyou would expect it to end on. The key is the name of the note you would expect as the bass note at the end ofthe musical example and is the note after which the last chord is named.
Transposing is the changing of a musical example from one key to another. In the interval diagramsbelow, intervals are shown on various different combinations of strings. In comparing interval fingeringsgraphically, they don't always look the same. Wherever a note on one of the the first two strings is combinedwith a note on strings three through six, the note on the first or second string must be moved up one fret to
229
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.726
compensate for the fact that the first two strings are tuned down a half step (one fret) compared to the other strings.Remember, for example that you can tune each string fretted at the fifth fret to the next smaller string open exceptthe third string must be fretted at the fourth fret to tune it to the second string, open. This illustrates that the firsttwo strings are tuned down one half step.
DIAGRAMS OF INTERVALS THAT
REPRESENT THE FIRST FIVE TONES OF A MAJOR SCALE
INTERVALS MEASURED IN FRETS DO NOT COUNT THE FRET ON WHICH YOU BEGIN
Major second (M2) = 1 step = 2 fretsEqual to the interval from major scale tone one to major scale tone two in any key.
major third (M3) = 2 steps = four fretsEqual to the interval from major scale tone one to major scale tone three in any key.
perfect fourth (P4) = 2 1/2 steps = five fretsEqual to the interval from major scale tone one to major scale tone four in any key.
perfect fifth (P5) = 3 1/2 stepsEqual to the interval from major scale tone one to major scale tone five in any key.
A minor second interval is an alteration of the major second, where the higher pitch is lowered by a halfstep (one fret).
Minor second (m2) = 1/2 step
230
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.727
Major second (M2) = 1 step = 2 frets
A minor third interval is an alteration of the major third, where the higher pitch is lowered by a half step(one fret).
minor third (m3) = 1 1/2 steps = 3 frets
major third (M3) = 2 steps = 4 fretsEqual to the interval from major scale tone one to major scale tone three in any key.
An augmented fourth interval is equal to a diminished fifth interval. The augmented fourth interval isan alteration of the perfect fourth, where the higher pitch is raised by a half step (one fret). The diminished fifthinterval is an alteration of the perfect fifth, where the higher pitch is lowered by a half step (one fret).
perfect fourth (P4) = 2 1/2 steps = five fretsEqual to the interval from major scale tone one to major scale tone four in any key.
augmented fourth (aug4) = diminished fifth (dim5) = 3 steps = 6 frets
perfect fifth (P5) = 3 1/2 steps = 7 fretsEqual to the interval from major scale tone one to major scale tone five in any key.
231
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.735
POSTURE EXERCISES FOR THEINDEX AND LITTLE FINGERS
These exercises train the the index and little fingers to stay separated from fingers next to them. Bytraining your “outside” fingers (index and little fingers) to stay separated at the middle knuckle, the tips of theoutside fingers can more easily reach to adjacent strings and frets.
Reaching To The Two Adjacent Frets With The Index FingerPlay the sequence indicated by each row of diagrams below in order, reading from left to right. Keep
the middle, ring and little fingers fretted, as shown. Play this sequence keeping the first finger very close to thestrings. When your hand or fingers tire, rest and massage them.
fretting the adjacent fret with the index finger
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
reaching two frets with the index finger
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
VIII1
4
2
3
232
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.736
Parallel Fourths Blues Example 1. Repeat between the repeat signs and end on the last chord.
441
G7
44
4
C7
8
G7
D7
C7
12
G7
233
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.740
PARALLEL FIFTHSRHYTHM GUITAR EXAMPLES
Parallel Fifths Metal Example 1. Repeat and end on the last chord.
911
911
911
911
911
911
911
911
911
79
57
57
57
57
57
57
57
57
57
57
57
46
24
24
24
24
24
24
02
02
02
4 0 24
24
24
24
24
24
24
24
24
24
Parallel Fifths Metal Example 2. Repeat and end on the third chord.
At the beginning of the second bar, the low “E” to “F#” is a combination hammer and slide.
234
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.835
FUNDAMENTALS OF FINGERING
STRICT VERTICAL POSITION
Review the five octave shapes. "6-4-1" indicates that the notes are on the sixth, fourth and first strings."4-2" indicates notes on the fourth and second strings.
“Position” is the numbered fret at which the first (index) finger is placed:
Strict vertical position is used for single note patterns such as scales and arpeggios, not for chords orintervals. It is a concept of fingering, used to define which position you are in during any part of a phrase. Itshould not be restrictive. The position is numbereed after the fret at which the first finger is placed.
In strict vertical position, the fretting hand fingers are assigned to four consecutive frets, with twoexceptions:
1. The first finger can reach out of position one fret toward the head of the guitar.
2. The fourth finger can reach out of position one fret toward the bridge.
The diagram below illustrates the two exceptions mentioned above. The arrow to the left of the diagramindicates the strict vertical position:
The Roman numeral on the upper right of a fretboard diagram does not necessarily indicate the strictvertical position. When the first finger reaches one fret out of position to the left, the diagram must include the
235
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.836
next fret below the strict vertical position:
this strict verticalposition is fourth position,not third as you might thinkby the Roman numeral above.
SURVEYING THE FRETBOARD
Learn to finger all scales, arpeggios (chords played one note at a time) and chords with at least one versionin each octave area.
Find the fingerings that you will use most often. Regardless of how many fingerings you memorize,you’ll be able to play certain ones faster and smoother. After studying principles of fingering, choose fingeringsaccording to the (1) shape and flexibility of your hand, and (2) the contours of patterns on the fretboardcharacteristic of the styles you play.
PRINCIPLES OF FINGERING
General rules. When one rule conflicts with another, weigh the advantages and disadvantages of each.
Practice difficult fingerings such as:
• reaching out of position with the fourth finger
• rapid use of the fourth finger
• bends with the first (index) or fourth finger
• spans leaving a fret between the second (middle) and third (ring) fingers
• consecutive use of the same finger on different strings
• wide skips in position
Avoid difficult fingerings when speed or clarity is needed. Use smooth, easy fingerings for speed andclarity. This often involves avoiding use of the little finger.
In playing the example below, most guitarists would find it easier to avoid the use of the little finger,since playing the upper positions tends to involve a rotation of the palm where the index finger reaches closerto the bridge and the little finger is pulled down. This is especially true in playing uppper positions on acousticguitars where the hand has to reach over the guitar body at the twelfth or fourteenth fret when the guitar has nocutaway.
236
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.837
===============Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44æææ
Û1
15
tmmmmmmm18
tmmmmmmmY13
Ûmmmmmmmmmmm mmmmm
15
t
18
t3
17
t2
Ûmmmmm mmmmm mmmm18
" t3 2
17
t
15
" t11
15
# tmmmmm
Avoid using the second and third fingers spanned apart to leave an empty fret between them Exception:Allan Holdsworth’s style incorporates this commonly avoided span.
Avoid using the same finger for two different notes on the same string, unless to slide, change position,or reach out of position.
Avoid using the same finger on different frets of two adjacent strings:
Changing Position.Avoid changing position until you have to when improvising diagonally across the fretboard. Continue
using a convenient fingering area until it presents a difficulty. This simplifies your position changes.
237
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.838
Shifting: changing position by playing two consecutive notes on the same string with the same finger.This is usually done with the first or fourth fingers. The following example is an exercise and would usually betoo long of a scale run to be used in its entirety within a solo.
Sliding. Changing position by sliding from one note to another is usually done with the first or fourthfingers.
Skipping from one position to another wastes time in movement, but can save time by using familiarfingering patterns which require little thought.
238
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.839
Compressing: changing position where notes are played in a lesser span than the fingers usually occupy,such as two consecutive frets fingered by the first and third fingers. In the example below, the first and fourthfingers span three frets instead of four frets (the second and third to last notes in the example).
Out-Of-Position Notes.Reach out of position with the outside fingers. Out-of-position notes can usually be reached to the left
with the first finger or to the right with the little finger:
Use the following guidelines for fingering out-of-position notes:
(1) First finger out-of-position reaches are better than those with the fourth, because of the wider spanbetween the first and second fingers.
239
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.840
(2) When playing intervals involving five fret spans on two or more strings, choose a fingering optionwith a whole step between the first and second finger. Otherwise, the whole step will probably occurbetween the third and fourth fingers
(3) Identical fingering patterns on adjacent strings are desirable for ease of memorization and to conservemotion in the left wrist.
(4) Hammers and pull-offs sometimes determine which out of position version of a note will be used.
240
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.890
Ä 34
â 34Ω ø
ΩΩ ø↓4
12
t↓1
9
! t↑2
10
t↓4
12
t↓1
9
!t↑3
11
!t↓4
12
t↓1
9
t↑3
11
!t↓4
12
t↓1
9
t↑3
11
!t æø
ææø↓1
9
!t↑2
10
t↓4
12
t↓1
9
! t
↑4
12
t
↓1
9
t
↑2
10
t↑1
9
t↑3
11
!t↑4
12
t↑4
12
t↓1
9
! t æ
ææ↓4
12
«|
Ä 44
â 44Ω ø
ΩΩ ø↓4
Ût↑1
! t↓2
t↓4
Ût↑1
!t↓3
!t↓4
Ût↑1
t↓3
!t↓4
Ût↑1
t↓3
!t
aæø
ææø↑1
Û!t↓2
t↓4
t↑1
Û! t
↓4
t
↑1
t
↑2
Ût
↑1
t↑3
!t↑4
Ût↑4
t↓1
! ta
æ
ææ↓4
Aa
Ä 34
â 34Ω ø
ΩΩ ø↓4
12
t↑1
9
! t↓4
12
t↓4
12
t↓3
11
!t↓1
9
t↓2
10
t↓1
9
! t
↑4
12
t
↓2
10
t
↑1
9
t
↑4
12
t æø
ææø↓2
10
t↑1
9
!t↑3
11
!t↓1
9
t↑4
12
t↓3
11
!t↑1
9
t↑4
12
t↓3
11
!t↑1
9
!t↑4
12
t↓1
9
! t æ
ææ↓4
12
«|
Ä 44
â 44Ω ø
ΩΩ ø↓4
Û
12
t↑1
9
! t↓4
12
t↓4
Û12
t↓3
11
!t↓1
9
t↓2
Û10
t↓1
9
! t
↑4
12
t
↓2
Û10
t
↑1
9
t
↑4
12
t æø
ææø↓2
Û10
t↑1
9
!t↑3
11
!t↓1
Û9
t↑4
12
t↓3
11
!t↑1
Û
9
t↑4
12
t↓3
11
!t↑1
Û
9
!t↑4
12
t↓1
9
! t æ
ææ↓4
12
A
A major scalefingers IX
11 1 1 1 12 2 2
33 344 4 4 4 4
A major scaleformula IX
A major arp.fingers IX1 1 1
23
4 44
A major arp.formula IX
A Major Scale andA Major Arpeggio Exercise
arpeggios fingered as subsets
fin 1.890 fin 1.890
241
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.925
Ä 44â 44 12
13141412
AAAAA12
t15
t12
t15
t12
t14
t12
t14
t13
t15
t12
t15
t12
t15
t13
t14
t æææ3
t0
t3
t1
t2
t0
t2
t
Äâ 12
13121415
AAAAA15
t12
t14
t12
t14
t13
t15
t12
t15
t12
t15
t13
t14
t12
t14
t12
t æææ15
t12
t15
t12
t15
|
1 1
2
3 4
Am chordfingering XII
Am7/11 scalefingering XII
11 1 1 12
3 34 4 4 4
Twelfth Position C Major 6/9 Pentatonic Scale
Twelfth Position A Minor 7/11 Pentatonic Scale
Am7/11 scalealternate
fingering XII11 1 1 1
1
3 2
4 4 3 3
Am7/11 scalealternate
fingering XII11 1 1 1
1
3 2
4 4 3 3
numbered tonesof an A major scale
1
2
3
C chordfingering XII
1
4
C6/9 scalefingering XII
11 1 1 1
2
3 3
4 4 4 4
C6/9 scalealternate
fingering XII11 1 1 1
1
3 2
4 4 3 3
numbered tonesof a C major scale
Compare the fingerings below to the open position A minor 7/11 and open position C maor 6/9 fingerings you learned earlier. They have the same pattern, but the open strings are replaced with "first finger notes" and the notes fretted with second and third fingers may be changed to third and fourth fingers.
242
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.9461
Ä " 44
â 44Ω ø
ΩΩ øÛ
1↓
3
t4↑
6
t1↓
3
t Û3↑
5
t1↓
3
t3↑
5
t Û1↓
3
t3↑
5
t1↓
3
t Û4↑
6
t1↓
3
t4↑
6
t1
æø
ææøÛ
3
t1↓
6
t4↑
3
t1↓
Û6
"t4↑
5
t3↓
3
t1↑
Û
5
t3↑
3
t1↓
5
t3↑
Û
4
"t2↓
3
t1↑
6
t4↑
3434Ω ø
ΩΩ øt
3
1↓
t
6
4↑
t
3
1↓
t
5
3↑
t
3
1↓
t
5
3↑
t
3
1↓
t
5
3↑
t
3
1↓
t
6
4↑
t
3
1↓
t
6
4↑
æø
ææø1↓
t
3
4↑
t
6
1↓
t
3
4↑
"t
6
3↓
t
5
1↑
t
3
3↑
t
5
1↓
t
3
3↑
t
5
2↓
"t
4
1↑
t
3
4↑
t
6
Ä " 44â 44
Ω øΩΩ øÛ
1
3
t4
6
t1
3
t Û3
5
t1
3
t3
5
t Û1
3
t3
5
t1
3
t Û3
6
t1
3
t3
6
t5
Û3
8
t1
6
t3
8
tÛ
1
6
t2
7
t1
5
t Û4
8
t1
5
t4
8
t Û1
5
t4
8
t2
6
t 3434Ω øΩΩ ø
1
3
t4
6
t1
3
t3
5
t1
3
t3
5
t1
3
t3
5
t1
3
t3
6
t1
3
t3
6
t æøææø
3
8
t1
6
t3
8
t1
6
t2
7
t1
5
t4
8
t1
5
t4
8
t1
5
t4
8
t2
6
t
Ä " 44â 44
Ω øΩΩ øÛ
1
3
t4
6
t1
3
t Û3
5
t1
3
t3
5
t Û1
3
t3
5
t3
7
t Û1
6
t3
8
t1
6
t9
æøææø
Û3
8
t1
6
t3
8
tÛ
1
6
t3
7
t1
5
t Û1
3
t3
5
t1
3
t Û3
5
t1
3
t4
6
t 3434 1
3
t4
6
t1
3
t3
5
t1
3
t3
5
t1
3
t3
5
t3
7
t1
6
t3
8
t1
6
t æøææø
3
8
t1
6
t3
8
t1
6
t3
7
t1
5
t1
3
t3
5
t1
3
t3
5
t1
3
t1
6
t
Ä " 54â 54
Ω øΩΩ øÛ
1
t1
3
t3
1
t1
Û
3
t3
5
t3
3
t1
Û
5
t3
3
t1
5
t2
Û7
t2
6
t1
8
t3
Û6
t1
8
t3
10
t4
13
æøææø
Û8
t3
6
t1
8
t3
Û6
t1
7
t3
6
"t2
Û5
t1
3
t1
5
t3
Û
3
t1
5
t3
4
"t2
Û
3
t1
1
t1
3
t3
Ä " 44â 44
Ω øΩΩ ø1t1
3
t3
1
t1
3
t3
5
t3
3
t1
5
t3
3
t1
5
t2
7
t2
6
t1
8
t3
6
t1
8
t3
10
t4
8
t3
15 3434
æøææø6
t1
8
t3
6
t1
7
t2
5
t2
3
t1
5
t3
3
t1
0
t3
3
t1
1
t1
3
t3
Gm7/11 III1
4
1
4
1 1 1 1
3 3 3
4
Fingering 1
Gm7/11 III1
3
1
3
1 1 1 1
3 3 3
4
Fingering 1 Fingering 2 1
Gm7/11 V
4
112
1
24 4 3 3
1
Gm7/11 III1
3
1
3
1 1 1 1
3 3 3
4
Fingering 1 Fingering 2 1
Gm7/11 V
4
112
1
24 4 3 3
1
1
Gm7/11 III
4
11 1
23 3
Fingering 1 Fingering 2
2
Gm7/11 V
1
23 3
1
1
Gm7/11 V
1
23 3
1
Fingering 2
1
Gm7/11 III
4
11 1
13 3
Fingering 1
1
Gm7/11 III
4
11 1
23 3
Fingering 1 Fingering 2
2
Gm7/11 V
1
23 3
1
1
Gm7/11 V
1
23 3
1
Fingering 2 Fingering 1
1
Gm7/11 III
4
11 1
13 3
Linear Minor Pentatonic Scale Exercises fin 1.9461fin 1.9461
243
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.9462
Ä " 44â 44
Ω øΩΩ øÛ
1
10
t4
13
t1
10
t Û4
13
t1
10
t3
12
t Û1
10
t3
12
t2
11
t Û4
13
t1
10
t4
13
t17
æøææø
Û1
10
t4
14
" t4
13
tÛ
2
11
t3
12
t1
10
t Û3
12
t2
11
"t1
10
t Û3
13
t1
10
t4
13
t 3434Ω øΩΩ ø
1
10
t4
13
t1
10
t4
13
t1
10
t3
12
t1
10
t3
12
t2
11
t4
13
t1
10
t4
13
tæøææø
1
10
t4
14
" t4
13
t2
11
t3
12
t1
10
t3
12
t2
11
"t1
10
t3
13
t1
10
t4
13
t
Ä " 44â 44
Ω øΩΩ øÛ
6
t1
8
t3
10
t3
Û
8
t1
10
t3
8
t1
Û10
t3
12
t3
10
t1
Û12
t3
11
t1
13
t3
21 3434Û
15
t3
13
t1
15
t3
Û18
t4
15
t3
13
t1
Û15
t3
13
t1
11
t1
æøææø
Û12
t3
10
t1
12
t3
Û
10
t1
8
t1
10
t3
Û
8
t1
10
t3
8
t1
Ä " 44â 44
Ω øΩΩ ø6t1
8
t3
10
t3
8
t1
10
t3
8
t1
10
t3
12
t3
10
t1
12
t3
11
t1
13
t3
15
t3
13
t1
15
t3
13
t1
24 3434
æøææø15
t3
13
t1
11
t1
12
t3
10
t1
12
t3
10
t1
8
t1
10
t3
8
t1
10
t3
8
t1
4
X
3
211 1 1 1
4
3
44
Fingering 4
4
X
3
2
11 1 1 1
4
3
444
2
Fingering 4
Linear Minor Pentatonic Scale Exercises (continued)
Fingering 4
4
X
3
211 1 1 1
4
3
44 4
X
3
2
11 1 1 1
4
3
444
2
Fingering 4
fin 1.9462fin 1.9462
244
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.993
AN OVERVIEW OF PENTATONIC SCALESPentatonic scales have five tones per octave (not counting the octave). The most common forms are the
minor 7/11 pentatonic and major 6/9 pentatonic. I name these scales after the chords which have the same notes.
The major 6/9 chord is a sixth chord with an added ninth. The major scale tones used in a 6/9 chord are1, 2, 3, 5, 6. That is, a 6/9 chord is made up of the first, second, third, fifth and sixth tones of a scale named afterthe chord root. As you can see below, those tones of a C major scale are C, D, E, G and A.
The minor 7/11 chord is a minor seventh chord with an added eleventh. A minor 7/11 chord uses majorscale tones 1, b3 (a flatted version of major scale tone 3), 4, 5, b7 (a flatted version of major scale tone 7). So,a minor 7/11 chord is made up of the first, flatted third, fourth, fifth and flatted seventh tones of a scale namedafter the chord root. Those tones (or altered tones) of an A major scale are A, C, D, E and G. Notice that theflatted third and flatted seventh each lower the original scale tone by one fret (moving to the player’s left).
The scales shown above are the most common pentatonic scales. Minor 7/11 pentatonic is the mostfundamental and common scale in blues music. Major 6/9 is common to American styles of Anglo-Saxon origin,such as bluegrass, ragtime and country music.
Both minor 7/11 and major 6/9 pentatonic scales can be enhanced with the use of chromatics, as is shownin the fingerings at the end of this chapter.
Major 6/9 pentatonic works melodically against most major type chords, but is usually most effectivewhen used against major, sixth or add nine chords (major, 6th, add 9, 6/9). Minor 7/11 pentatonic works againstmost minor type chords, but is most effective against minor seventh types (m7, m9, m11, m7/11).
245
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.994
MOVABLE PENTATONIC SCALE FINGERINGS
Minor 7/11 and major 6/9 pentatonic scale fingerings are both taken from the same pattern. Each of thetwo scales has its own pattern of tone centers within the pattern. Before illustrating the respective tone centersfor each scale, let’s look at the pattern which is common to both.
The pattern is movable. It can be placed anywhere on the fretboard and would be named according tothe present location of the tone centers, which will be shown later.
The thirteen fret diagram at the rightdisplays the complete twelve fret pentatonicscale pattern. The top fret on the diagram hasa note on every string, as does the thirteenthfret. If the diagrams were to continuedownward, it would repeat the entire pattern,beginning at the 13th fret on the bottom.
The smaller diagrams illustrate thetwelve fret pattern broken into five smaller,single position fingering patterns. Fingering“1” is the most common, and the others arenumbered in order up the fretboard from it.
GRAPHIC VIEW OF PENTATONIC SCALES
The Pentatonic Fingering Cycle. Notice that as you circle to the next fingering in this cycle in eitherdirection, only two or three notes in the pattern change and that the notes that change are in one of the five octaveshapes (see Chapter 2).
246
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.995
Pentatonic “Lines”. Connecting the notes across the fretboard, “lines” are created. Each pentatonicscale fingering is made up of two consecutive lines.
VARIATIONS ON FINGERINGS
The top row is easiest to fret without bending. The middle row is best suited for bending notes on strings1, 2 and 3 and fretting notes on the lower strings. The bottom row of fingerings work best in the higher positionsor for bending notes on all six strings.
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5
247
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.996
RELATIVE MAJOR 6/9 AND MINOR 7/11 PENTATONIC SCALES
Compare the major 6/9 and minor 7/11 pentatonic scale fingerings below. As illustrated by the boldrectangle, they share the same pattern.
b3
1
1
1
1
b3
5
5
5 1
b3
1
1
b3
5
55
5
b3
1 1
b3
5
5 1
b3
minor 7/11pentatonic
b3
b7 b7
b7
b7
b7
b7
b7b7
b7
4
4
4
44
4
4
4
4
1
1
1
3
5
5
5 1
3
1
1
33 5
55
5 1 3
1 1
3
5
5 1
3
3
major 6/9pentatonic6 6
6
6
6
6
66
6
6
2 2
2
2
2
2
2
22
2 3
1
3
5 1
5 1
1
5
1
3
1
315
1
5
1
3
1 35
1
1 b3 5 1
5 1
1
5
b3
b3
1
b3
1
5
5
1
5
5
b3
1
b3
5
5
33
majorchord
minorchord
1 1 1 1
4
3 3
4
1
3
1
3
4
2 1
1
2
3
4
1
3
4
1
3
1
3 3
4
1
1
33
2
1
3
1 1
3
4
44
1
1
1 1
3 3
1
1
4 44
1 1
3
2 1
4 4
1
1 1 1 1
4
3 3
4
1 1
3
4
1
3
1
3
4
2 1
44
1
1
3
1
2
3
4
1
3
1
4 44
1 1
1
3
1
3 3
4
11 1
3 3
1
4
1
33
2
1
3
2 1
4 4
1
major6/9
minor7/11
248
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.997
To align the tone centers and play in the same key, the major 6/9 pentatonic pattern would have to beplayed three frets toward the head of the guitar in relation to the major 7/11 pattern.
b3
1
1
1
1
b3
5
5
5 1
b3
1
1
b3
5
55
5
b3
1 1
b3
5
5 1
b3
minor 7/11pentatonic
b3
b7 b7
b7
b7
b7
b7
b7b7
b7
4
4
4
44
4
4
4
4
1
1
1
3
5
5
5 1
3
1
1
33 5
55
5 1 3
1 1
3
5
5 1
3
3
major 6/9pentatonic6 6
6
6
6
6
66
6
6
2 2
2
2
2
2
2
22
2 3
249
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.9971
641 shape 42 shape 52 shape 53 shape 631 shapeoctave only
minor chordmake up fingeringsfrom arpeggios withat least one of each:
1, b3, 5
minorarpeggio
majorarpeggio
major chordmake up fingeringsfrom arpeggios withat least one of each:
1, 3, 5
minor 7/11pentatonic
major 6/9pentatonic
Common Scales, Chords and FormulasFormulas express a scale or chord with the numbered tones of a major scale or the chord's root or a scale's tone center.
1 1
1
1
1
1
1
1
1
1
1
1
1 b3 5 1
b3
5 1
b3
1
1
5
5
b3
b3 b3
1
b3
1
b3
5
5
1
1
1
5
5 5
b3
b3
1
1b3
b3
5
5
1 b3 5 1
b3
5 1
b3
1
1
5
5
b3
b3 b3
1
b3
1
b3
5
5
1
1
1
5
5 5
b3
b3
1
1b3
b3
5
5
1 b3 5 1
5 1
1
5
b3
b3
1
b3
1
5
5
1
5
5
b3
1
b3
5
5
5
4 b7
4
b7 b74
4
b7 4 b7
4 b7
4
5
b7 b74
4 b7
1
3
5 1
5 1
1
1
5
53
1
315
1
1
1
5
3
15
1
3
5 1
5 1
1
1
5
53
1
1
3
5
5
1
1
1
5
5 5
3
1
1
3
3
5
5
5
3
3
3
3
1
3
5 1
3
5 1
1
1
5
53
1
1
3
5
5 1
1
1
5
5 5
3
1
1
3
3
5
5
5
3
3
32
6 2
6 2
2
6 2
6
3
2
3 6 2
6
2 6 6
3
3
6 2 6
6 2
6
2
3 3
b3
4
b7 b7
4 b7
4
fingering 2 fingering 4 fingering 5 fingering 1fingering 3
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5
E formE E
E
D
D
A
A
G
G
G
C
C
D form C form A form G form
B
BD
C#
E
E
EG
EF#A
G#
B
B
250
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
Fingering 1.9972
1
1
1
3
3
5
5
5 1
3
1
1
33 5
55
5 1 3
1 1
3
5
5 1
3
1
1
1
1
b3
5
5
5 1
b3
1
1
b3b3
5
55
5
b3
1 1
b3
5
5 1
b3
major minor
3
b3
1
1
1
1
1
1
1
1
1 1
1
octaves
631 G shape
641 E shape
42 D shape
52 C shape
53 A shape
631 G shape
641 E shape
1 1 1
4
2
1
3
4
3
4
dim. 7finger numbers
2
1 1
3
1
2
4
dim. 7finger numbers
2
4
3
1 1
4
1
2
3
dim. 7finger numbers
2
3
1
1
1
1
1
b3
5
5
5 1
b3
1
1
b3b3
5
55
5
b3
1 1
b3
5
5 1
b3
minor 7/11pentatonic
b3
1
b7 b7
b7
b7
b7
b7
b7b7
b7
4
4
4
44
4
4
4
4
1
1
1
3
3
5
5
5 1
3
1
1
33 5
55
5 1 3
1 1
3
5
5 1
3
3
major 6/9pentatonic6 6
6
6
6
6
66
6
6
2 2
2
2
2
2
2
22
full fretboard arpeggios and scalesfin 1.9972 fin 1.9972
251
© 2000 Jim Gleason. All Rights Reserved.
FINGERING
4
6
7
2
3
41
7 3
1
5
4
1
2 5
63
4
7 3
1
2 5
2 15
6 2 53
4
67 3
44
6 2
1
53
67
2 5
3
15 4
6
7
3
4
67
2 5
3
6
7
315
4
7
5
6
4
6
7
3
4
1
72
15
15
6 2 5
67 3
4
7
1
2
6 2 15
67 2
5
3
1 4
6
7 3
6 2
15
3
6
7
2
3
2 15 4
7 3
2
4
1 4
2
41
7
1
1
7
1
2 7
7
6
3
6
6
5
5
4
4
( 3 )
1
1
7
1
7 3
6
6
5
5
4
7
fingering 1reach with
index finger
fingering 2reach with
index finger
fingering 3no
reaches!
fingering 4reach with
index finger
fingering 5reach with
index finger
fingering 6reach withlittle finger
fingering 7no
reaches!
4
MAJOR SCALE
2 3
2
3 2
2
IN-POSITION FINGERINGS
fingering 1/2 fingering 2/3 fingering 3/4 fingering 4/5 fingering 5/6 fingering 6/7 fingering 7/1
1
2
3
4 5
6
7
1
2
3
45
6
7
1 2
3( 5 )
6 7
7
1
1
52
5
2
3
6
23 3
4
4 4
(6)
7
1
7
1
6
6 6
2
2 5
5
3
5
3
4 4
4
( 1 )
1
7
1
7
2
6
6 6
5 5
5
4
4
2
( 2 )
7
7
6
6
1
1
5
5 52
23 3
3
4
4 4
( 7) 3
7
3
1
1
1
3
3
5
5
5 1
3
1
1
33 5
55
5 1 3
full-fretboardmajor scale
3
6 2 6
7 6 2
4
7
2 4 6 2
6 2 7
4
7
6
2
4 4
6 2 6
1 1
3
5
5 1
3
7 6 2
4
7
2 4 6 2
© 1997-1999 Jim Gleason. All Rights Reserved.
4
7
7
7
4
7 AND 8 TONE SCALE formulasIV Lydian 1 2 3 #4 5 6 7I major 1 2 3 4 5 6 7V Mixolydian 1 2 3 4 5 6 b7II Dorian 1 2 b3 4 5 6 b7VI Aeolian 1 2 b3 4 5 b6 b7III Phrygian 1 b2 b3 4 5 b6 b7VII Locrian 1 b2 b3 4 b5 b6 b7harmonic minor 1 2 b3 4 5 b6 7Phrygian Major 1 b2 3 4 5 b6 b7melodic minor 1 2 b3 4 5 6 7Lydian b7 (mel min IV=13#11) 1 2 3 #4 5 6 b7Locrian b4 (mel.minVII -7b5#5b9#9) 1 b2 b3 b4 b5 b6 b7dimin. half/whole (13#11b9#9) 1 b2 #2 3 #4 5 6 b7
CHORD FORMULASmajor 1 3 5minor 1 b3 5diminish.1 b3 b5sus. 4 1 4 5sus. 2 1 2 5augment. 1 3 #5maj 7 (∆7)1 3 5 77 (dom 7) 1 3 5 b7m7 1 b3 5 b7m7b5 1 b3 b5 b7dim 7 1 b3 b5 6ma 9 (∆9) 1 3 5 7 9 (=2)9 1 3 5 b7 9 (=2)m9 1 b35 b7 9 (=2)
PENTATONIC SCALE formulas7/11 1 3 4 5 b7m7/11 1 b3 4 5 b7m7/11b5 1 b3 4 b5 b7m6/11 1 b3 4 5 6m6/11b6 1 b3 4 b5 66/9 1 2 3 5 6m6/9 1 2 b3 5 6
6 1 3 5 6m6 1 b3 5 6add 9 1 2 3 5m add 9 1 2 b3 5
major scale tone sevenths, up in P4: VIIm7b5 IIIm7 VIm7 IIm7 V7 Ima7 IVma7major scale tone modes, up in P4 Locrian Phrygian Aeolian Dorian Mixolydian major Lydian b73625 b7362 b736 b73 b7 #4
major scale tone triads, stepwise: I maj II min III min IV maj V maj VI min VII dimmajor scale tones to construct triads: 135 246 357 461 572 613 724formula in major scale on chord root: 1 3 5 1 b3 5 1 b3 5 1 3 5 1 3 5 1 b3 5 1 b3 b5
major scale tone sevenths, stepwise: Ima7 IIm7 IIIm7 IVma7 V7 VIm7 VIIm7b5major scale tones to construct sevenths: 1357 2461 3572 4613 5724 6135 7246formula in major scale on chord root: 1 3 5 7 1 b3 5 b7 1 b3 5 b7 1 3 5 7 1 3 5 b7 1 b3 5 b7 1 b3 b5 b7major scale tone modes, stepwise major Dorian Phrygian Lydian Mixolydian Aeolian Locrian b3b7 b2b3b6b7 #4 b7 b3b6b7 b2b3b5b6b7
13
5
72
4
6 M
M
M
m
m
m
m
thirds
THREE NOTE-PER-STRING FINGERINGS
fin 1.9973fin 1.9973
252
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.070
AN INTRODUCTION TOREADING RHYTHM
BEATS AND METERThe beat is the regular pulse to which music is played. Meter is the measurement and grouping of
beats. The most common meter is four. Meter in four is counted “one, two, three, four, one, two, three, four, etc.”, thought or spoken at regular intervals in time. Meter in three is counted regularly “one, two, three, one, one, two, three, etc.”. In music notation, these groups are divided into measures or bars (the meanings are virtually identical) by bar lines.
In standard music notation, there are two numbers near the beginning of a piece of music, one written over the other. This pair of numbers is called the time signature. The top number defi nes the grouping of beats. When the top number is “four”, there are four beats to a bar. When it is three, there are three beats to a bar, when it is seven, there are seven beats to a bar. I'll defi ne the bottom number later. For now, I’ll give all musical examples with a four as the bottom number. Each note in music notation is represented by an oval notehead. Most notes also have a stem, which may be drawn up or down from the notehead.
notehead
stem
stem
notehead
time signature barline ending barlines
measure or bar==========Ä 44 tmmmm tmmmm tmmmm tmmmm ætmmmm tmmmm tmmmm tmmmm
In the exercises below, each note has a time value of one beat. Notice that in the 4/4 time signature, there are four beats per bar, and three beats per bar in the 3/4 time signature. In 4/4, count “1, 2, 3, 4” evenly as you play. In 3/4, count “1, 2, 3” evenly as you play.
Ä 441
t2
t3
t4
t t1
t2
t3
t4
t1
t2
t3
t4
æt1
t2
t3
t4
Ä 34 t1
t2
t3
t1
t2
t3
t1
t2
t3
æt1
t2
t3
253
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.071
Metric AccentBeginning Accents. Most music is performed in regular groups of beats called bars or measures
(above). While performing these regular groups, we tend to emphasize the beginning of each group, beat “1”. This is an implied emphasis and is not a heavy accent, but a light, subtle one. The “>” symbol below indicates the implied metric accent.
=====================Ä 441
¿tmmmm
2
tmmmm3
tmmmm4
tmmmm1¿tmmmm
2
tmmmm3
tmmmm4
tmmmm1¿tmmmm
2
tmmmm3
tmmmm4
tmmmm æ1¿tmmmm
2
tmmmm3
tmmmm4
tmmmm
=====================Ä 341¿tmmmm
2
tmmmm3
tmmmm tmmmm1¿
tmmmm2
tmmmm3
tmmmm1¿
tmmmm2
tmmmm3
æ1¿tmmmm
2
tmmmm3
tmmmm
Half-Way Accents. When measures have even numbers of beats, the beat which begins the last half of the measure is given a slight accent, one lesser than that on the fi rst beat. The “≥” symbol below indicates the strongest implied metric accent, and the “>” symbol indicates the next weaker accent.
In four-beat measures, the next to the strongest metric accent is on "3", since it begins the last half of the measure:
=====================Ä 441÷tmmmm
2
tmmmm3
tmmmm¿4
tmmmm1÷tmmmm
2
tmmmm3
tmmmm4
¿tmmmm
1÷tmmmm
2
tmmmm3
tmmmm4
¿tmmmm æ
1÷tmmmm
2
tmmmm3¿tmmmm
4
tmmmm
In six-beat measures, the next to the strongest metric accent is typically on "4", since it begins the last half of the measure:
=====================Ä 64 ÷1
tmmmm2
tmmmm3
tmmmm ¿4
tmmmm5
tmmmm6
tmmmm ÷tmmmm1
tmmmm2
tmmmm3¿tmmmm4
tmmmm5
tmmmm6
÷tmmmm1
tmmmm2
tmmmm3¿tmmmm4
tmmmm5
tmmmm6
æ÷tmmmm1
tmmmm2
tmmmm3¿tmmmm4
tmmmm5
tmmmm6
Last Beat Accents. The last beat in the measure is often lightly accented to “lead-in” to the fi rst beat of the next measure.
In three-beat measures, the “last beat” accent on "3" would mean a lesser accent on “2”.
=====================Ä 341÷tmmmm
2
tmmmm3¿tmmmm
1÷tmmmm
2
tmmmm3
tmmmm¿1÷tmmmm
2
tmmmm3
tmmmm¿ æ1÷tmmmm
2
tmmmm3
tmmmm¿
254
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.072
In four-beat measures, the “last beat” accent on "4" would mean a lesser accent on “2”.
=====================Ä 441
¿tmmmm
2
tmmmm3¿tmmmm
4
tmmmm1¿tmmmm
2
tmmmm3
tmmmm4
¿tmmmm
1¿tmmmm
2
tmmmm3¿tmmmm
4
tmmmm æ1¿tmmmm
2
tmmmm3¿tmmmm
4
tmmmm(>) (>) (>) (>)
In six-beat measures, the “last beat” accent on "6" would mean a lesser accents on “2”, “3”, and “5”.
=====================Ä 64 ÷1
tmmmm2
tmmmm3
tmmmm ¿4
tmmmm5
tmmmm6
tmmmm ÷tmmmm1
tmmmm2
tmmmm3¿tmmmm4
tmmmm5
tmmmm6÷tmmmm1
tmmmm2
tmmmm3¿tmmmm4
tmmmm5
tmmmm6
æ÷tmmmm1
tmmmm2
tmmmm3¿tmmmm4
tmmmm5
tmmmm6
TEMPOThe rate at which beats are played is called tempo. The tempo is commonly measured in beats per
minute. A typical dance tempo is 120 beats per minute (BPM). To pratice estimating 120 BPM, watch a clock and count twice per second. Tempo is indicated in music notation by showing the type of note that represents one beat, followed by a number representing beats per minute. This is traditionally shown at the beginning of a piece of music, and wherever there is a change in tempo.
Ä 44C = 120t t t t t t t t tC = 160t t t æt t t t
255
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.080
SUBDIVISION OF THE BEATBeats can be subdivided. When there are two notes per beat, the rhythm is called duple time. Three notes
per beat is called triple time. Four notes per beat are usually classifed as duple time, since they are pairs of twonotes per beat.
A drummer typically plays all or most of the subdivisions of a beat on their ride or high hat cymbals. The“ride” cymbal is the large, softer sounding one. The louder crash cymbal is played on accents. The high hatcymbals are a pair of cymbals mounted on a shaft, with the bottom one upside-down. In addition to being playedwith the drumsticks, the high hat cymbals are opened and closed (moved apart and together on the shaft) witha foot pedal, making a “shoop” sound. If you listen to the ride or high hat cymbals, you’ll usually hear somethinglike a metronome (a beat-emitting device, used to practice rhythm).
In triple time, the drummer may play “one, two, three, one, two, three” on their cymbals. Or, they maythink “one, two, three, one, two, three”, and only play the “one, three, one, three” part of it (with a space in timeto represent “two”). “One, three” is called a shuffle or swing.
In duple time, the drummer may play “one, two, one, two” on their cymbals. Or, they may think “one,two, one, two”, and only play the “one, one, two, one, one, two” parts (with a space in time to represent themissing “two”). I call this rhythm the gallop, where every second of four regular parts is not played.
========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
mmmm mmmm0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t
0
tmmmm0
tmmmm0
tmmmm0
tmmmmmmmm mmmm
0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t0
tmmmm0
tmmmm0
tmmmm0
tmmmm
========================Ä
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ
Ûmmmmm mmmmm mmmmm0
t0
t0
tÛmmmmm mmmmm mmmmm
0
t0
t0
tÛmmmmm mmmmm mmmmm
0
t0
t0
tÛmmmmm mmmmm mmmmm
0
t0
t0
t0
tmmmmmm
0
tmmmmmm
0
tmmmmmm
0
tmmmmmm
Ûmmmmm mmmmm mmmmm0
t0
t0
tÛmmmmm mmmmm mmmmm
0
t0
t0
tÛmmmmm mmmmm mmmmm
0
t0
t0
tÛmmmmm mmmmm mmmmm
0
t0
t0
tÛmmmm mmmm mmmm
0
t0
t0
tÛmmmm mmmm mmmm
0
t0
t0
tÛmmmm mmmm mmmm
0
t0
t0
tÛmmmm mmmm mmmm
0
t0
t0
t
========================Ä 34
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 34
mmmm mmmm0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t0
tmmmm0
tmmmm0
tmmmm0
tmmmm0
tmmmm0
tmmmm mmmm mmmm0
t0
t mmmm mmmm0
t0
t mmmm mmmm0
t0
t
========================Ä
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ
Ûmmmm mmmm mmmm
0
t
0
t
0
tÛmmmm mmmm mmmm
0
t
0
t
0
tÛmmmm mmmm mmmm
0
t
0
t
0
t
0
tmmmm
0
tmmmm
0
tmmmm
0
tmmmmm
0
tmmmmm
0
tmmmmm Ûmmmmmm
mmmmmmmmmmmm
0
t0
t0
tÛmmmmmmmmmmmmmmmmmm
0
t0
t0
tÛmmmmmmmmmmmmmmmmmm
0
t0
t0
t
duple subdivision (based on two notes per beat)
triple subdivision (based on three notes per beat)
duple subdivision (based on two notes per beat)
triple subdivision (based on three notes per beat)
rhy 1.080 rhy 1.080
256
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.100
ENDINGS AND REPEATS
Repeat signs
Repeating the previous beat(s). This slash / indicates that:
(1) The previous beat should be repeated once for each slash; or
(2) The chord indicated above the staff should be played one beat for each slash.
Repeating the previous measure(s). When this slash with dots is shown in a measure, the previousmeasure is repeated. The measure may be repeated several times by repeating the slash and dots to indicate thedesired number of repetitions. See the example below.
Two bar repeats. Two measures (or bars) may be repeated as a group by writing the slash and dots (above)over the bar line and writing the number “2” over the bar line.
Left and right repeat signs. The repeat signs shown in the example below are used to indicate repetitionof everything between them. In the example below, bars four through eight would be repeated.
257
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.101
Right repeat sign inly. When a right repeat sign is shown without a matching left repeat sign, repeat fromthe beginning.
Ending bar lines. At the end of the last bar (or measure) in a song, there is a double bar line and the secondbar line is especially thick.
First And Second EndingsFirst ending. The bracket shown over the last two bars of the example below indicates that the bars within
the bracket should be played only the first time through. Then you should go back to the beginning of the sectionto be repeated, indicated with double bar lines and dots on their right. If no double bar lines exist with dots ontheir right, repeat from the beginning of the song.
Second, third, etc. endings. Like the first ending, additional ending sections (under their numberedbrackets) should be played only once. If an ending section is completed with a repeat sign (a double barline withdots on its left), you should go back to the beginning of the section to be repeated. The beginning of the repeatedsection is indicated with double bar lines and dots on their right. If no double bar lines exist with dots on theirright, repeat back to the beginning of the song. The last numbered ending (under a bracket) will not be repeated.
258
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.200
INTRODUCTION TO TIME SIGNATURESAND HALVING VALUES
Most of the time values used in music notation fall into one of the following three categories:
• halving: halved and re-halved values in relation to the whole note
• dotted notes, which multiply values by one and one half (explained in a later section)
• tuplets, which change the subdivision of the beat
When the bottom number in the time signature is “4”, the whole note has a value of four beats. The halfnote is half the value of the whole note: two beats. The quarter note is one quarter the value of the whole note:one beat. Though they aren't used in the examples below, eighth notes would have one eighth the value of thewhole note and sixteenth notes would have one sixteenth the value of the whole note. The whole note is onlyassigned values that are the positive powers of two (2, 4, 8, 16, 32). or or or or
whole note value half note quarter note eighth note sixteenth note
4 beats 2 beats 1 beat 1/2 beat 1/4 beat
8 beats 4 beats 2 beats 1 beat 1/2 beat
When the top number on the time signature is “4”, there are four beats per measure. The example belowuses the first string open, “E”.
========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 0
A4321 1
0
|mmmm32
0
|mmmm4 1
0
tmmmm2
0
tmmmm3
0
tmmmm4
0
tmmmm1
0
tmmmm2
0
tmmmm3
0
tmmmm4
0
tmmmm
When the top number on the time signature is “3”, there are three beats per measure. The example belowuses the second string open, “B”.
========================Ä 34
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 341
0
tmmmm
0
tmmmm2
0
tmmmm3 1
0
|mmmm32
0
tmmmm1
0
tmmmm2
0
|mmmm3 1
0
tmmmm2
0
tmmmm
0
tmmmm3
259
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.201
Upward or downward stems indicate the same rhythmic value. They generally are drawn downwardfrom noteheads above the middle line of the staff and upward from noteheads below the middle line of the staff.Notes on the middle line are drawn either up or down.
=============Ä tmmmm tmmmm tmmmm tmmmm ætmmmm tmmmm tmmmm tmmmmExceptions are made when drawing the stem opposite the protocol will avoid collision with other music
characters.
==================Ä 44 mmmmmmmmmmmmmmmmmmmt ! t tmmmmmmmmmmmmt tmmmmmmmmmmmmmmmmmmmmmmmmt t t t|mmmmmm||
|mmmmmmm|| æ!|mmmmmmm||#|mmmmmmm||
Em Em C/E C/EEm6
When two instrument parts are written on the same staff, one part is usually written with all stems up andthe other with all stems down.
========================Ä d|mmmmtmmmmImmmm mmmmt t« « « d|mmmmtmmmmImmmm mmmmt t« « «
d|mmmmtmmmmImmmm mmmmt t« « « d|mmmmtmmmmImmmm mmmmt t« « « d
|mmmmtmmmmImmmm mmmmt t« « « d|mmmm
tmmmmImmmm mmmmt t« « « d
|mmmmtmmmmImmmm mmmmt t« « «d|mmmmtmmmmImmmm mmmmt t« « «
C G Am Em F C F6 G
The ornate curved line attached to the stem of eighth, sixteenth or notes of lesser time is called a flag.A single flag modifies a quarter note to make it an eighth note, two flags make a sixteenth note, three flags makea thirty-second note, and so on. Flags are never used on open-headed notes (whole nor half notes).
flag
flag
two flags
two flags
A beam is a thick line connecting the end of the stem (opposite the notehead). Beams have the same effectas flags. A single beam modifies a quarter note to make it an eighth note, two beams make a sixteenth note, andso on. Like flags, beams are never used on open-headed notes.
260
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.202
Ä 44 c t t t t t t d t t t t t t b=============Ä 44 c mmmm mmmmt t mmmm mmmm mmmm mmmmt t t t d mmmm mmmmt t mmmm mmmm mmmm mmmmt t t t b
a single beam indicates eighth notes
two beams indicate sixteenth notes
Beams usually group notes by the beat. In shorter time values, beams can be connected to a group noteswhich total half a beat where the nature of the rhythm dictates that the beats are divided in half; or one third ofa beat, where the nature of the rhythm is three subdivisions to the beat.
=======================Ä 44count: 1
mmmm mmmm mmmm mmmmÛt t t t
2
mmmm mmmmt t3
mmmm mmmm mmmm mmmmÛt t t t
4
tmmmm æmmmm mmmm mmmmÛ
1
t t t2
mmmm mmmmÛt t mmmm mmmm mmmmÛt t t
3
mmmm mmmm mmmm mmmm mmmm mmmm mmmmÛtÛt t t
Ût t t mmmm mmmm
4
t t
Stems on beamed groups of notes are drawn according to the average location of the noteheads. If theaverage notehead in a beamed group is above the center line, the stems are drawn downward. If the averagenotehead in a beamed group is below the center line, the stems are drawn upward.
========================Ä 44 mmm mmmm mmmm mmmmt t t t mmmm mmmt t tmmmm mmmmm mmmm" t t tmmmm mmmm mmmmt " t tmmmm mmm mmmm mmmm mmmmt t t t mmmm mmm mmmm
mmmmmt t t t mmmmm mmmm mmm mmmmmt t t t |mmmm
261
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.205
INTRODUCTION TO RHYTHMIC WORDSLike words in a spoken language, rhythmic words are groups of characters which have meaning as a unit.
When we see the word “apple” we don't think of the letters “a-p-p-l-e”, but rather of a kind of fruit or computer.A musician reads of notes in groups, which have become familiar.
Four pulse rhythmic words are groups of notes which represent a choice from four pulses. The four pulsesare of equal length in time. One choice would be to play all four of the pulses. Another choice would be to playon the first, third and fourth of the four pulses, which, as you will hear, sounds like the gallop of a horse. TheJingle Bells four-pulse rhythmic word is a choice of the first three of four parts and is the thematic rhythm ofthe familiar Christmas song. Proud Mary chooses first, second and fourth of the four pulses, and is the primaryrhythmic idea in the Creedence Clearwater rhythm guitar part.
========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44
Ω ø
ΩΩ ø0
tmmmm0
tmmmm0
tmmmm0
tmmmm æø
ææø0
tmmmm0
tmmmm0
tmmmm0
tmmmm Ω ø
ΩΩ ø 0
tmmmm0
tmmmm0
|mmmm æø
ææø0
tmmmm0
tmmmm0
|mmmm
========================Ä
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâΩ ø
ΩΩ ø 0
|mmmm
0
tmmmm
0
tmmmm æø
ææø0
|mmmm
0
tmmmm
0
tmmmm Ω ø
ΩΩ ø 0
tmmmm0
|mmmm0
tmmmm æø
ææø0
tmmmm
0
|mmmm
0
tmmmm
"all four" "Jingle Bells"
"gallop" "Proud Mary"
Here are some exercises with combinations of four pulse rhythmic words:
========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 0
tmmmm0
tmmmm0
tmmmm0
tmmmm0
tmmmm0
tmmmm0
|mmmm0
|mmmm
0
tmmmm
0
tmmmm0
tmmmm0
tmmmm0
tmmmm0
tmmmm
========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 0
tmmmm0
|mmmm0
tmmmm0
tmmmm0
|mmmm0
tmmmm0
tmmmm0
tmmmm0
|mmmm æ
ææ0
tmmmm0
|mmmm0
tmmmm
combinations
262
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.206
Three pulse rhythmic words are groups of notes which represent a choice from three equal pulses.Common choices are all three, first and third (called shuffle or swing), and first and second. Combinations areshown afterward for further practice.
========================Ä 34
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 34
Ω ø
ΩΩ ø0
tmmmm0
tmmmm0
tmmmm æø
ææø0
tmmmm0
tmmmm0
tmmmm Ω ø
ΩΩ ø 0
|mmmm0
tmmmm æø
ææø0
|mmmm0
tmmmm Ω ø
ΩΩ ø 0
tmmmm0
|mmmm æø
ææø0
tmmmm0
|mmmm
========================Ä
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 0
tmmmm0
tmmmm0
tmmmm0
tmmmm
0
|mmmm
0
tmmmm0
tmmmm0
tmmmm0
|mmmm0
tmmmm æ
ææ0
tmmmm0
|mmmm
"all three" "shuffle" "first two of three"
combinations
263
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.319
Ä 44
â 44
Straight Eighths
1
0
t+
0
t2
0
t+
0
t3
0
t+
0
t4
0
t+
0
t æ
ææ1
0
t+
0
t2
0
t+
0
t3
0
t+
0
t4
0
t+
0
t
Ä 44
â 44
Swing Eighths
1
0
tlettrip
0
t2
0
tlettrip
0
t3
0
tlettrip
0
t4
0
tlettrip
0
t æ
ææ0
t1
0
t+
0
t2
0
t+
0
t3
0
t+
0
t4
0
t+
INTRODUCTION TO SWING EIGHTHS Eighth notes are played at a rate of two-per-beat. Straight eighth notes are played literally one have beat
each. Swing eighth notes are played two per beat, but unevenly.
The fi rst note on a beat with swing eighths gets two thirds of a beat. The second note gets one third of a beat. If you were to count “1, 2, 3” on each beat, to illustrate three parts per beat, the two swung eighth notes would occur on “1” and on “3”.
Both straight and swing eighths can be counted with “1, and, 2, and, etc.”. In swing eighths, the numbered part of the beat (“1, 2, 3, 4, etc.”) would get fi rst two thirds of the beat and the “and” (+) would get the last third. The syllables “1, and 2, and, 3, and, 4, and” must be spoken with such a rhythm to express the time relationship
264
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.325
INTRODUCTION TO DOTTED NOTES
A dotted note receives one and one half times its normal value. Dotting multiplies time value of a noteby a factor of one and one half. Dotting a note adds half again the value, not necessarily adding a half beat.Dotting a one beat note changes its value to one and one half beats, but dotting a two beat note changes its valueto three beats. If a note without a dot receives four beats, dotting it would change the value to six beats.
DOTTED NOTE VALUES
FOR TIME SIGNATURES WITH “4” ON THE BOTTOM
one whole note = 4 beats
one dotted whole note = three half notes:
= 6 beats
one half note = 2 beats
one dotted half note
= three quarter notes:
= 3 beats
one quarter note = 1 beat
one dotted quarter note
= three eighth notes:
= 1 and 1/2 beats
one eighth note = 1/2 beat
one dotted eighth note
= three eighth notes:
= 3/4 beat
DOTTED NOTE VALUES
FOR TIME SIGNATURES WITH “8” ON THE BOTTOM
one whole note = 8 beats
one dotted whole note = three half notes:
= 12 beats
one half note = 4 beats
one dotted half note
= three quarter notes:
= 6 beats
one quarter note = 2 beat
one dotted quarter note
= three eighth notes:
= 3 beats
one eighth note = 1 beat
one dotted eighth note
= three eighth notes:
= 1 and 1/2 beats
265
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.326
In the Dotted Whole Notes Exercise below, a dotted whole note receives six beats. The notes continueto be open strings, so you'll learn where they are written. Count “1, 2, 3, 4, 5, 6, 7, 8” as you play, assigning onebeat to a quarter note (
) , two beats to a half note (
) and six beats to a dotted whole note ( ).
=================Ä 84
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 84 0
«A7654321
0
|mmmm8 1
0
tmmmm2
0
tmmmm0
«A876543
æ
ææ1
0
|mmmm2
0
«A876543
Dotted Whole Notes
In the Dotted Half Notes Exercise below, a dotted half note receives six beats. Count “1, 2, 3” as youplay in 3/4 time and count “1, 2, 3, 4” as you play in 4/4 time. Assigning one beat to a quarter note (
) , two
beats to a half note ( ) and three beats to a dotted half note (
).
Dotted Half Notes
========================Ä 34
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 341
0
«|mmmm32 1
0
tmmmm0
tmmmm2
0
tmmmm3 1
0
«|mmmm32
0
tmmmm1
0
|mmmm32 1
0
«|mmmm32 1
0
«|mmmm32
æ
ææ0
|mmmm21
0
tmmmm3
========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 0
«|mmmm321
0
tmmmm4
0
tmmmm1
0
«|mmmm432 1
0
«|mmmm32 4
0
tmmmm æ
ææ0
«|mmmm321
0
tmmmm4
266
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.400
TIME SIGNATURESTime signatrues are shown at the beginning of a piece of music to indicate the number of beats per
measure and the value of the whole note. The top number indicates the number of beats per measure.
The bottom number indicates the value of the whole note in beats. If the bottom number is “4” the wholenote has a value of four beats, the half note is two beats, the quarter note one beat, and so on.
========================Ä 44
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 44 0
tmmmm1
0
tmmmm2
0
tmmmm3
0
tmmmm4
0
|mmmm21
0
|mmmm43
0
A4321
æææ0
«|mmmm321
0
tmmmm4
========================Ä 34
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 341
0
tmmmm
0
tmmmm2
0
tmmmm3
0
«|mmmm31 2
æææ0
|mmmm21
0
tmmmm3
24=24nnnnnnnnnnnnnnnnnn 1
0
tmmmm2
0
tmmmm æææ
1
0
|mmmm2
count:
count:
If the bottom number is “8” the whole note has a value of eight beats, the half note is four beats, the quarternote two beats, the eighth note one beat, and so on.
========================Ä 88
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 881
mmmm mmmm mmmm mmmm0
t2
0
t3
0
t4
0
t mmmm mmmm mmmm mmmm5
0
t6
0
t
0
t7
0
t8 1
0
tmmmm2 3
0
tmmmm4
0
tmmmm65
0
tmmmm87 1
0
|mmmm432
0
|mmmm8765
æææ
1
0
A8765432
========================Ä 68
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 68
mmmm mmmm mmmm0
t1
0
t32
0
t mmmm mmmm mmmm4
0
t0
t65
0
t0
tmmmm21 3
0
tmmmm4
0
tmmmm65
æææ
1
0
|mmmm3
mmmm mmmmt t542
0
6
0
count:
count:
Alternately, the bottom number in the time signature could be thought of as indicating the kind of notethat receives one beat. If the bottom number is “4”, the quarter note gets one beat. “8” would indicate an eighthnote getting one beat. Thinking in this manner, “3/4” indicates three quarter notes per measure, or anythingequivalent. 4/4 means four quarter notes per measure or an equivalent. 6/8 indicates six eighth notes or anyequivalent.
267
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.401
Seemingly equivalent time signatures such as 2/2 and 4/4 or 6/8 and 3/4 may be able to contain the samenotes in a measure, but are counted differently. Four quarter notes in 2/2 would be counted “1, and, 2, and”.Since they represent half beats, only the first and third quarter note would be numbered. Four quarter notes in4/4 would be counted “1,2,3,4”, since they represent whole beats.
========================Ä 22 tmmmm1
tmmmm2
tmmmm tmmmm tmmmm1
tmmmm tmmmm2
tmmmm 44= tmmmm21
tmmmm3
tmmmm4
tmmmm tmmmm1
tmmmm2
tmmmm3
tmmmm4
Four quarter notes may occur in 2/2 or in 4/4 time, but have more “drive” in 4/4, since each one has animplied metric accent. In 2/2, the second and fourth quarter notes are less accented and contribute to a morerelaxed feeling.
========================Ä 22 tmmmm÷1
tmmmm¿2tmmmm tmmmm tmmmm
÷1tmmmm tmmmm
¿2tmmmm 44= tmmmm
÷ 21 ¿tmmmm¿3tmmmm¿4tmmmm
÷tmmmm1
tmmmm¿2
tmmmm¿3
tmmmm¿4
268
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.410
SUMMARY OF WHOLE BEAT NOTE VALUES
WITH THE ADDITION OF RESTSA rest is a silence. It is just as important as a note. Miles Davis proved it. Begin and end a rest as acurately
in time as you would a note.
Notice that the whole rest is placed in the extreme upper portion of the second space from the top of thestaff, and the half rest is place in the extreme lower portion of the same space.
TIME SIGNATURES WITH “4” ON THE BOTTOM
dotted whole note or dotted whole note rest = 6 beats
whole note or whole note rest = 4 beats
dotted half note or dotted half note rest = 3 beats
half note
or half note rest = 2 beats
quarter note
or quarter note rest = 1 beat
TIME SIGNATURES WITH “8” ON THE BOTTOM
dotted whole note or dotted whole note rest = 12 beats
whole note or whole note rest = 8 beats
dotted half note or dotted half note rest = 6 beats
half note
or half note rest = 4 beats
quarter note
or quarter note rest = 2 beats
34 4
4
68 12
8
269
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.411
Ä 44
â 44
Ω ø
ΩΩ ø1
0
t
0
t2
0
t43
c
0
|4321
b
0
«|4321
c1
0
t0
t2
0
t3
0
t4
æø
ææø
a
a
Ä 34
â 34
Ω ø
ΩΩ ø 0
t1
0
t32
c
0
t321
b
0
«|321
æø
ææø21 3
b«
a
Ä 54
â 54
Ω ø
ΩΩ ø0
t1
0
t32
0
t54
c c
0
t1 2
0
t4
c
0
3
t
0
5
t1
c0
«|542 3
c æø
ææø2
c0
1
|43
05
c t
Ä 44
â 44
Ω ø
ΩΩ ø 0
t1
0
t2
0
t3
0
t4 1 2 3 4
a
a
3434 0
t1 2 3
b æø
ææø0
t1 2
c
0
t3
count:
count:
count:
count:
Whole, Half, Dotted Half And Quarter Restsperform each rest to accurately end the previous note
270
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.500
THE TIE ANDAN INTRODUCTION TO SYNCOPATIONA tie is a curved line which connects two written notes of the same pitch. It has three uses:
(1) To connect two notes separated by a bar line. Notice how the tie continues the note from one lineof music to the next.
(2) To produce note values that cannot be written with a single note. The first two notes below total twoand a half beats. There is no single note that has that value, so two or more notes have to be added togetherby using a tie.
(3) To connect two notes representing a continuous sound which has been divided with an “imaginarybar line.” Measures with four or more beats are easier to read when divided into groups of two orthree beats. The “imaginary bar line” shown in example 1 below with a dotted line divides themeasure of 4/4 into two sections of two beats each. Example 2 would sound exactly the same, butis more difficult to read.
Whole Beat SyncopationSyncopation is accenting of the part of the bar that is normally unaccented. Without any written
indication of a particular accent, the first beat of a bar is usually played loudest because it begins the bar. Theremaining beats are usually played louder than notes between the beats.
Sustain syncopation is where the accent on a normally unaccented part of the bar is sustained onto thenormally accented part of the bar that follows it. Rest syncopation is where the accent on a normally unaccentedpart of the bar is immediately followed by a rest on the normally accented part of the bar.
The standard hierarchy of metric accent is that the first beat is loudest, the beat halfway through the barnext loudest, then the last beat, and finally the remaining beats. If this is contradicted, syncopation has occurred.Playing the fourth of four beats louder than the first beat that follows it is syncopation. Even playing the thirdbeat louder than the first of four is syncopation.
271
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.501
Ä 44 Ω ø t t t t t t t t t | t æøt | t
Ä 34 Ω ø t t t t t t | t æø| t
Ä 44 Ω ø t t t t t t t t t t c t æøc t c t
Ä 34 Ω ø t t t t t t | t æøc |
Ä 44 Ω ø t t t t t | t t t t t æøt | t
Ä 44 Ω ø t t t t t t c t t t t t æøt t c t
Ä 44 Ω ø c | t t | t t | t æøt | t
Ä 34 Ω ø c t t | t t t t æøt |
Ä 44 Ω ø c t c t c t c t 34 c t t b t t t t æøc |
quarter notes versus sustain-syncopated quarter notes
quarter notes versus rest-syncopated quarter notes
quarter notes versus sustain-syncopated quarter notes
quarter notes versus rest-syncopated quarter notes
sustain-syncopated quarter notes
rest-syncopated quarter notes
Quarter and Half NotesWith Sustain Syncopation and Rest Syncopation
play this exercise on any one note
rhy 1.501rhy 1.501
272
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.510
Ä 44
â 44
æø
ææø
Ω ø
ΩΩ ø 0
t0
t0
t0
t æø
ææø
Ω ø
ΩΩ ø 3
t3
t3
| æø
ææø
Ω ø
ΩΩ ø 2
|2
t2
t æø
ææø
Ω ø
ΩΩ ø 0
t
0
|
0
t
Äâ
æøææø
Ω øΩΩ ø 0
«|0
t æøææø
Ω øΩΩ ø
0
t0
«| æøææø
Ω øΩΩ ø
3
|3
|
Ä 34â 34
æøææø
Ω øΩΩ ø 0
t0
t0
t æøææø
Ω øΩΩ ø 3
|3
t æøææø
Ω øΩΩ ø 2
t c
2
t æøææø
Ω øΩΩ ø 2
t2
|
Äâ
æøææø
Ω øΩΩ ø 1
t1
t c æøææø
Ω øΩΩ ø
c0
t0
t æøææø
Ω øΩΩ ø
c1
|
Äâ
æøææø
Ω øΩΩ ø 2
t c c æøææø
Ω øΩΩ ø
c
2
t c æøææø
Ω øΩΩ ø
c
0
ct
"all four" "Jingle Bells" "gallop" "Proud Mary"
"1 through 3 and 4" "1 and 2 through 4" "1 thru 2, 3 thru 4"
"all three" "shuffle" "first and last of 3" "first and 2 thru 3"
"first two of 3" "last two of 3" "2 thru 3 of three"
"first of 3" "second of 3" "last of 3"
The First Seven Four-Pulse Rhythmic Words in Whole Beatsthis exercise plays an E minor arpeggio
The First Ten Three Pulse Rhythmic Words in Whole Beatsthis exercise plays an A minor arpeggio
273
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.520
Ä 44â 44 0
A
3
|
0
|
2
«|0
t
2
t0
«|2
t0
t3
|0
|3
t0
t
Ä 34â 34
2
t0
t2
t0
|2
t0
«|0
|3
t
0
t
3
| æææ0
|
2
t
Ä 44 Ω ø t t t t | t t «| t t | t
Ä t | t t t t t A æøt | t
Ä 34 Ω ø | t | t t t t «|
Ä t t t t | t | æø| t
Review With No Syncopation, No rests. This exercise plays an E minor pentatonic scale (Em7/11 pentatonic, to be exact).
Sustain SyncopationPlay this exercise on any one note.
Quarter, Half, Dotted Half and Whole NotesWith Sustain Syncopation
fin 1.520fin 1.520
274
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.530
Ä 44â 44
3
t2
t0
t c
0
t b« b0
t c aa
Äâ 3
t c3
|
3
t c0
c t
0
|
0
t2
t æææ3
|b
Ä 44 c t c t b« t b t t c «|
Ä b t t A b c t t | t
Ä 34 c | c t t b t «|
Ä c | c t t t | æøc |
Review With Rests, No SyncopationThis exercise plays a G major arpeggio.
Rest SyncopationPlay this exercise on any one note.
Quarter, Half, Dotted Half and Whole NotesWith Rest Syncopation
275
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.600
Ä 44
â 44count:
0
t1
3
t+
0
t2
2
t+
0
t3
2
t+
1
t4
3
t+ 1
0
t+ 2
3
t
+
0
t
3
t4+3
1
t+
2
t
0
t+1
2
t
3
t+2
0
t3
3
t+
0
t+4
Ä
âcount:
2
t1 +
0
t
2
t2
0
t+
3
t+3 4
0
t
3
t+
0
t1
3
t+
0
t2
2
t+
0
t3
2
t+ 4
1
t+
3
t+1 2
0
t
+3
t
30
t
+
3
t4
1
t+
æ
ææ2
t+1
0
t2 +
2
t
3
t+3
0
t+4
Ä 34
â 34count:
0
t1
3
t+
2
t+2
2
t
1
t+30
t15
t
+0
t+2
1
t3 +
2
t
2
t+1
3
t2
0
t+
3
t+3
0
t+1
3
t2
2
t+
2
t3
1
t+
Ä
âcount: 1
0
t
+
5
t
0
t
2
1
t+
2
t3
2
t+
3
|++ 21
0
t3
0
t+
0
t1
3
t+
2
t+2
2
t+3
æ
ææ0
«|+++ 321
this exercise plays an A minor pentatonic scale (A minor 7/11 pentatonic scale)
this exercise plays an A minor arpeggio
Pairs Of Eighth NotesIn the 4/4 and 3/4 time signatures below, eighth notes get a half beat each. These exercises use them in pairs beginning on the beat only. They should be counted EVENLY as shown below the notes: with a number
representing the first half beat and the syllable "and" (represented by "+") on the last half of the beat.
rhy 1.600rhy 1.600
276
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.750
TRIPLETS
Triplets are groups of three notes that, as a group, take the space in time of three notes of the same kind.
count: 1 2 3 4 1 2 3 4
The notes in a triplet may be enclosed by a bracket or a curved line. The number “3” is written eitherinterrupting the middle of the bracket or curved line; or it is written just outside the bracket or curved line. Ifthe notes are joined by a beam, the three may be written outside the beam.
Three eighth notes in 4/4 time would total one and one half beats (one half of a beat each). If the threeeighth notes were indicated as a triplet, they would total one beat (one third of a beat each). Two eighth notes(not in a triplet) would total one beat (one half a beat each). The total of the triplet is equal to the total of twoof the same note.
277
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.751
Ä 44
â 44count:
Û1
0
ttrip
3
t
0
tlet
Û
2
ttrip2
0
t
2
tlet
Û
0
ttrip3
2
tlet
0
t4
Û3
t
trip
0
t
let
3
t
10
t
lettrip
Û3
t
2 trip
0
t
let
3
t
3
0
tlettrip 4
Û0
t
trip
3
t
let
0
t
2
tlettrip1
Û2
3
t
trip
0
tlet
2
t Û
0
t3 trip
2
tlet
0
t Û
2
t4
0
ttrip
3
tlet
Ä
âcount:
0
tlettrip1
3
tlettrip2
0
tlettrip3
Û
3
t4
0
ttrip
2
t0
tlettrip1
2
tlettrip2
0
tlettrip 43
Û
2
ttrip
0
t
3
tlet
2
tlettrip1
0
tlettrip2
2
tlettrip 43
Û
1
" ttrip
0
t
3
tlet
0
A3 421
Ä 34
â 34count:
0
t
lettrip13
t
lettrip2
Û0
t
3
0
ttrip
0
tlet
2
tlettrip1
2
tlettrip2
Û
3
t3
2
ttrip
3
tlet
0
tlettrip1
3
tlettrip2
Û
2
t3
2
ttrip
0
tlet
22
«| «|321
this exercise plays an E minor pentatonic scale (E minor 7/11 pentatonic scale)
this exercise plays an E minor arpeggio
rhy 1.751rhy 1.751 Eighth Note Triplets
In 4/4 and 3/4 time signatures, eighth notes tripets get a third of a beat each. These exercises use them in grof three beginning on the beat only. They should be counted EVENLY with a number representing the first thiof the beat and the syllables "trip" and "let"representing the last two thirds of the beat.
278
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.755
COMPOUND TIME
COMPOUND METER
When the meter is in a larger number, such as six or seven, it is often divided into subgroups. Seven, forexample may be counted “one, two, three, four, one, two, three, one, two, three, four, one, two, three, etc.” thisis called compound meter (1, 2, 3, 4, 1, 2, 3, 1, 2, 3, 4, 1, 2, 3, etc., in Arabic numerals).
COMPOUND TIME SIGNATURES
Compound time signatures are used to indicate compound meter. They show the standard time signature(one number over another), followed by a combination of time signatures enclosed in parenthesis with “+”symbols between them. As the plus (“+”) symbols imply, the top numbers on the time signatures within theparenthesis should add up to the number on top of the original time signature (to the left of the parenthesis).
This is a standard 5/4 time signature.
count: 1 2 3 4 5 1 2 3 54
This is a compound 5/4 time signature. The dotted barline is not normally shown, but is included here toillustrate the 3/4 and 2/4 parts of each bar.
( )count: 1 2 3 1 2 1 2 3 1 2
This is a standard 6/8 time signature.
count: 1 32 4 5 6 1 32 4 65
This is a compound 6/8 time signature. The dotted barline illustrates the two parts of each bar, each of whichare equivalent to a bar of 3/8.
( )count: 1 32 1 2 3 1 32 1 2 3
279
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.800
RHYTHMIC WORD EXERCISESPractice these exercises in order. Each rhythmic word is introduced with a new “level” number, shown in
a box at the left. The new rhythmic word will be played in every-other bar. The other bars review all previous rhythmicwords.
Down and up strumming symbols are shown below the counting symbols. The counting symbols “1, + , 2, +” are shown below the notes (“+” represents “and) to show half beats. “1, e, +, a” represent quarter beats (“one, ee, and, uh”). “1, T, L, 2, T, L” represents thirds of a beat (“one, trip, let, two, trip, let”).
Ä !1
t2+
t+
t1
|+ +2 1
t2+
t+
t1
t2+
t+ 1
t2+
t+
t t1
t+
t2
t+
æ1
t2+
t+
t
Ä !1
t+
t2
t+ 1
|+ +2 1
t+
t2
t+ 1
t2+
t+ 1
t+
t2
t+
t1
t+
t2
t+ 1
t+
t2
t+ 1
t2+
t+
t æ1
t+
t2
t+
Ä !Û
1
tT
tL
tÛ
2
tT
tL
t1
|2T TL L
Ût1
tT
tLÛt2
tT
tL 1
tÛ
2T L
tT
tL
tÛt1
tT
tLÛt2
tT
tL
Û1
tT
tL
t2
tT L
æÛt1
tT
tLÛt2
tT
tL
Ä !1
tÛ
2T L
tT
tL
t1
|2T TL L 1
tÛ
2LT
tT
tL
tÛt1
tT
tLÛt2
tT
tL 1
tÛ
2LT
tT
tL
tÛ
1
tT
tL
t2
tLT
æ1
tÛ
2LT
tT
tL
t
Ä !Û
1
tT
tL
t2
tT L 1
|2T TL L
Û1
tT
tL
t2
tT L
Ût1
tT
tLÛt2
tT
tL
Û1
tT
tL
t2
tT L 1
tÛ
2T L
tT
tL
t æÛ1
tT
tL
t2
tLT
Ä !1
tY+
t+2
tY1
|+ +2 1
tY+
t+2
tY1
t2+
t+ 1
tY+
t+2
tY t1
t+
t2
t+ 1
tY+
t+2
tY1
t2+
t+
t1
tY+
t+2
tY1
t+
t2
t+
æ1
tY+
t+2
tY
Ä !Û
1
tT
tL
t Û1
tLT
tY1
|2T TL L
Û1
tT
tL
t Û2
tLT
tYÛt1
tT
tLÛt2
tT
tLÛ
1
tT
tL
t Û2
tLT
tY1
tÛ
2TL
tT
tL
tÛ
1
tT
tL
t Û2
tLT
tYÛ
1
tT
tL
t2
tTL
æÛ1
tT
tL
t Û2
tLT
tY
1.7 four-pulse eighth notes
1.75 four-pulse eighth notes
1.76 three-pulse eighth note triplets
1.77 three-pulse eighth note triplets
1.78 three-pulse eighth note triplets
1.8 four-pulse eighth notes
1.8 three-pulse eighth note triplets
280
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.801
rhy 1.801 rhy 1.801
THREE EIGHTH NOTESCOMPARED TO AN EIGHTH TRIPLET
The same three-pulse rhythmic words can occur in compound time signatures where there are groups ofthree eighth notes, such as 6/8 and 12/8, and in time signatures where there are eighth note triplets, such as 2/4and 4/4. Three eighth notes in 6/8 take up one half of a bar. Likewise, three eighth notes in a triplet take up one ahalf of a bar in 2/4. In the example below, each 3/8 section of 6/8 is counted with the three syllables “1, 2, 3.”Each beat in 2/4 is also counted with three syllables: “1, trip, let” or “2, trip, let”. Compare the 6/8 and 2/4versions below to see that each note in 6/8 is assigned the same number of syllables are the respective note in 2/4.The difference is that the 6/8 version would have more drive, since each syllable is one beat. In the 2/4 version,the first of each three syllables begins a beat. The music would generally have more “drive” in 6/8, because everybeat has the subtle metric accent. In 2/4, only the first of each triplet would have the implied metric accent.
A slow blues in 4/4 typically uses three subdivisions per beat, so the music is based on eighth notetriplets. If all of the eighth note triplets were played in a bar of 4/4, there would be twelve notes to the bar.Likewise, there can be twelve eighth notes in a bar of 12/8.
Again, the difference would be more drive in 12/8. Imagine the bass and drums playing on most or all ofthe eighth notes, making the music very active. By comparision, in 4/4 with triplets, it would be more typical forthe bass and drums to play “laid back” by play longer notes such as whole beat notes, with occasional triplets.
Example of “driving” blues bass in 12/8 versus “laid back” blues bass in 4/4 with triplets
Ä 68 (38ÀÀÀÀ38)count:
t1
t2
t3 1
t2
tY3
tY21
t3
t1
t32
t 24 Ût
trip1
tlet
tÛ
t2 trip
tYlet
æÛtY1 trip
tlet
Ût2 trip
tlet
t========================Ä 68 (38À38)count:
mmmm mmmm mmmmt1
t2
t3 1
tmmmm2
tmmmmY3
tmmmmY21
tmmmm3
mmmm mmmm mmmmt1
t32
t 24= Ûmmmm mmmm mmmmt
trip1
tlet
tÛ
tmmmm2 trip
tmmmmYlet
æÛtmmmmY1 trip
tmmmmlet
Ûmmmm mmmm mmmmt2 trip
tlet
t
Ä 128
â 128
æ
ææ1
0
t
0
t2 3
0
t4
0
t5
0
t6
0
t
0
t87
0
t9
0
t10
0
t11
0
t12
0
t 4444
æ
ææÛ
0
t1 trip
0
tlet
0
tÛ
0
ttrip2
0
tlet
0
t3Û
0
ttrip
0
tlet
0
tÛ
0
t4 trip
0
tlet
0
tcount:
========================Ä 128
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnâ 128
æ
ææ1
mmmm mmmm mmmm0
t
0
t2 3
0
t4
mmmm mmmm mmmm0
t5
0
t6
0
t mmmm mmmm mmmm0
t87
0
t9
0
t mmmm mmmm mmmm10
0
t11
0
t12
0
t 44=44nnnnnnnnnnnnnnnnnn
æ
ææÛ
mmmm mmmm mmmm0
t1 trip
0
tlet
0
tÛ
mmmm mmmm mmmm0
ttrip2
0
tlet
0
t3Û
mmmm mmmm mmmm0
ttrip
0
tlet
0
tÛ
mmmm mmmm mmmm0
t4 trip
0
tlet
0
tcount:
Å 128count:
t1
t2
t3 1
!tt2
t3
t21
t3
t t1
t2
t3
æ1
t2
tI3
t1
t2
t3
t1
!t2
t3
t1
t2
t3
44Ût1 trip
tIlet
t2
t3 4
Ûttrip
tYlet
æt1
t32
Ût
trip
tIlet
t4
===========================Å128mmmm mmmmmmmmmmm
count:
t1
t2
tmmmm mmmm mmmm
3 1
!tt2
t mmmm mmmm mmmm3
t21
t3
tmmmm mmmm mmmmmt
1
t2
t3
æ1
tmmmm2
tmmmmI3
mmmm mmmmm mmmmt1
t2
t3
mmmm mmmm mmmmt1
!t2
t3
mmmmm mmmm mmmmmmt1
t2
t3
44=Ûtmmmm1 trip
tmmmmIlet
tmmmm2
tmmmm3 4
Ûtmmmmtrip
tmmmmYlet
ætmmmm1
tmmmm32
Ûtmmmm
trip
tmmmmIlet
tmmmm4
281
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.802
Ä 68(38ÀÀÀÀ38)
â 68 (38ÀÀÀÀ38)1
3
t2
0
t3
2
t4
0
t5
2
t6
0
t1
1
t32
0
tY4
2
t5
0
t6
2
t1
0
tI2
0
t43
2
t65
2
tI æ
ææ1
0
t32
0
tI4
0
«t5 6
Ä 24
â 24
Û1
3
ttrip
0
tlet
2
tÛ
2
0
ttrip
2
tlet
0
t Û
1
1
tlettrip
0
tYÛ
2
2
ttrip
0
tlet
2
tÛ
1
0
tItrip
0
tÛ
2let
2
tlettrip
2
tI æ
ææ
Û
1
0
tlettrip
0
tI2
0
ttrip let
Ä 98(38ÀÀÀÀ38ÀÀÀÀ38)
â 98 (38ÀÀÀÀ38ÀÀÀÀ38)1
2
t2
1
!t3
2
t4
1
t5
0
t6
1
t7
0
t8
4
!t9
0
t1
1
tY2
2
t43
0
t65
2
tI7
0
t8
1
t9
3
t1
1
t32
2
tI4
0
tI5
1
!t76
0
t98
2
tI æ
ææ1
0
t32
1
tY4
0
tY5
2
t76
0
t8
1
!t9
2
t
Ä 34
â 34
Û
1
2
t
5
trip
1
!tlet
2
tÛ
2
1
ttrip
0
tlet
1
tÛ
3
0
ttrip
4
!tlet
0
t Û
1
1
tYtrip
2
tÛ
2let
0
tlettrip
2
tIÛ
3
0
ttrip
1
tlet
3
t Û
1
1
tlettrip
2
tIÛ
2
0
tItrip
1
!tÛ
3let
0
tlettrip
2
tI æ
ææ
Û
1
0
tlettrip
1
tY Û
2
0
tYtrip
2
tÛ
3let
0
ttrip
1
!tlet
2
t
this exercise plays a C major scale
this exercise plays an A harmonic minor scale (D# is an ornament called a lower chromatic embellishment)
Eighth Note Groups of ThreeCompared To Eighth Note Triplets
rhy 1.802rhy 1.802
282
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.805
Ä 38
â 38count:
0
«t321
3
t1
0
t32
3
t
0
t21 3
3
tY æ
ææ3
tY1
0
t32
Ä 68 (38ÀÀÀÀ38)
â 68 (38ÀÀÀÀ38)count: 1
0
t2
0
tY3
3
t1
0
t2 3
3
t1
0
«t32
2
t1 2
0
t3
3
t1
0
t32
0
tY
3
" t1
2
t2
0
t3 1
3
t
0
t32
2
t1
0
«t32
Ä
âcount:
2
t1
0
t2
2
t3
2
tI1
0
t32 1
3
t2
0
t3
3
" t
2
tI1
0
t32 1
0
t2
0
tY3
3
" t1 2
2
t3
0
t æ
ææ2
«|32131 2
!!
Ä !! 128
â 128count:
2
t1 2
0
tI3
1
" t1
0
t2
3
# t3
0
tI1 2
3
t3
0
t21
2
# tI3
æ
ææ1
1
# t2
2
tI3
0
t1
2
t2
1
" t3
0
tI1
3
# t2 3
0
«t21 3
count each bar of 6/8 below as two bars of 3/8
count each bar of 12/8 below as four bars of 3/8
The First Four Three-Pulse Rhythmic Words In Eighth Notes
rhy 1.805rhy 1.805
283
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.900
Ä1
«t++ 2
tY1
|+ +2 1
«t++ 2
tY1
t2+
t+ 1
«t++ 2
tY t1
t+
t2
t+ 1
«t++ 2
tY1
t2+
t+
t1
«t++ 2
tY t1
t+
t2
Ä1
«t++ 2
tY1
tY+
t+2
tY æ1
«t++ 2
tY
Ä1
t Û2TL
tL
tY1
|2 1
t Û2
tLT
tYÛt1
tT
tLÛt2
tT
tL 1
t Û2
tLT
tY t1Ût2
tT
tL 1
t Û2
tLT
tYÛt1
tT
tL
t2 1
t Û2
tLT
tYÛ
1
tT
tL
t Û2
tLT
tY
Ä æ1
t Û2
tLT
tY
Ä1
tY+
«t+2 1
|+ +2 1
tY+
«t+2 1
t2+
t+ 1
tY+
«t+2
t1
t+
t2
t+ 1
tY+
«t+2 1
t2+
t+
t1
tY+
«t+2 1
t+
t2
t+
Ä1
tY+
«t+2 1
tY+
t+2
tY1
tY+
«t+2 1
«t++ 2
tY æ1
tY+
«t+2
1.85 four-pulse eighth notes
1.85 four-pulse eighth notes
three-pulse eighth note triplets1.855
1.855
1.9
three-pulse eighth note triplets
four-pulse eighth notes
1.9 three-pulse eighth note triplets
RHYTHMIC WORD EXERCISESPractice these exercises in order. Each rhythmic word is introduced with a new “level” number, shown in
a box at the left. The new rhythmic word will be played in every-other bar. The other bars review all previous rhythmicwords.
Down and up strumming symbols are shown below the counting symbols. The counting symbols “1, + , 2, +” are shown below the notes (“+” represents “and) to show half beats. “1, e, +, a” represent quarter beats (“one, ee, and, uh”). “1, T, L, 2, T, L” represents thirds of a beat (“one, trip, let, two, trip, let”).
284
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.905
Ä !!! 44
â 44count: 1
12
«t++ 2
9
tY3
11
tY+
12
«t4 + 1
9
«t+ 2 +
d
11
d+3
«t4 +
d
9
+1
«t
10
32 +
tY+
c«4 +
æ
ææ1
c«
912
+
tY3
«t+ 4
d+
Ä !!! 34
â 341
10
«t++ 2
9
tY3
11
t+ 1
9
t2+
12
tY+
11
«t+3
d
9
+1
«t
12
32 +
t+
æ
ææ1
12
t+
d
12
+2
«t3 +
Ä !!! 44
â 44 10
t1
9
t+
11
t2
9
t+
12
tY3
11
«t+ 1
9
tY+
12
«t32 +
12
t+
11
t4
9
t+
11
t1
9
tY+
12
«t32
9
«t++ 4
11
tYæ
ææ1
9
tY+
10
«t32 +
12
«t++ 4
12
tI
Ä !!! 128
â 1281
12
«t42 3
11
t5
9
t6
11
t7
9
«t108 9
10
t11
9
t12
10
tæ
ææ
1
9
t
32
10
tY4
9
«t75 6
11
t8
12
t9
9
t10
10
«t11 12
Dotted Quarter NotesIn 4/4, 3/4, 2/4, etc., quarter notes get one and a half beats. In 12/8, 6/8, etc. they get three beats.
rhy 1.905rhy 1.905
285
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.910
FOUR-PULSE RHYTHMIC WORDS INEIGHTH NOTES
Like words in a spoken language, rhythmic words are groups of characters which have meaning as a unit.When we see the word “apple” we don't think of the letters “a-p-p-l-e”, but rather of a kind of fruit or computer.A musician reads of notes in groups, which have become familiar.
Four pulse rhythmic words are groups of notes which represent a choice from four regular pulses . Thefour pulses are of equal length in time. Their are eight four-pulse rhythmic words without rests:
“All four” plays all four of the pulses.
“Gallop” plays the first, third and fourth of the four pulses. The note on the first pulse sustains throughthe second pulse.
“Jingle Bells“ four-pulse rhythmic word is a choice of the first three of four parts and is the thematicrhythm of the familiar Christmas song.
“Proud Mary” chooses first, second and fourth of the four pulses, and is the primary rhythmic idea in theCreedence Clearwater Revival rhythm guitar part.
“1; 2 through 4” chooses first and second of the four pulses. The note on the second pulse sustains throughthe fourth pulse.
“Walk Don't Run” chooses first and fourth of the four pulses. The note on the first pulse sustains throughthe third pulse. It is the bass part of the main section in the Johnny Smith tune popularized as a Surf song by theVentures.
“1 through 2; 3 through 4” chooses first and third of the four pulses. The note on the first pulse sustainsthrough the second pulse. The note on the third pulse sustains through the fourth pulse. This rhythmic word playsthe first and last halves of the four pulses.
“1 through 4” plays on the first pulse and sustains through the fourth pulse.
1 2 3 4 1 2 3 4 1 2 3 4
all four gallop Jingle Bells
1 2 3 4
1, 2 through 4
1 2 3 4
Proud Mary
1 2 3 4
Walk, Don't Run
1 2 3 4
1 thru 2, 3 thru 4
1 2 3 4
1 through 4
286
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.911
Ä 24 t t t t1 t t t t t t tY t tY tY «t «t tY t t æ|
Ä æt t t t9 44 æt t t t t t t t t t t t t t t t æt t t t t t t t 24 ætY t tY
Ä æt t t14 44 æt t t t t t t t t t t t æt t t t t t 24 æ«t tY
Ä æt t t19 44 æt t t t t t t t t t t t æt t t t t t 24 ætY «t
Ä ætY t tY24 44 ætY t tY tY t tY tY t tY tY t tY ætY t tY tY t tY 24 ætY «t
Ä ætY «t29 44 ætY «t tY «t tY «t tY «t ætY «t tY «t
Ä 24 æ«t tY33 44 æ«t tY «t tY «t tY «t tY æ«t tY «t tY
Ä 24 æt t37 44 æt | t t | t æt | t
Ä 24 æ|41 44 æ| | | | æ| |
all four gallop Jingle Bells Proud Mary 1; 2 thru 4Walk Don't Run
1 thru 2,3 thru 4
1 thru 4
all four
gallop
Jingle Bells
Proud Mary
1; 2 thru 4
Walk Don't Run
1 thru 2,3 thru 4
1 thru 4
Four Pulse Rhythmic Words In Eighth Notes
287
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.912
Ä 44 æt t t t t t45
æt t t t t t t t t t t t æt t t t t t
Ä æt t t t |49
æt t t t | t t t t | æt t t t |
Ä æt t t t t t t53
æt t t t t t t t t t t t t t æt t t t t t t
Ä æt t t t t t t57
æt t t t t t t t t t t t t t æt t t t t t t
Ä æt t t t tY t tY61
æt t t t tY t tY t t t t tY t tY æt t t t tY t tY
Ä æt t t t tY «t65
æt t t t tY «t t t t t tY «t æt t t t tY «t
Ä æt t t t «t tY69
æt t t t «t tY t t t t «t tY æt t t t «t tY
Ä æ| t t t t73
æ| t t t t | t t t t æ| t t t t
Ä æ| t t77
æ| t t | t t æ«| t
Ä æ| t t t81
æ| t t t | t t t æ| t t t
all four and1 thru 4
all four and1 thru 2, 3 thru 4
all four andgallop
all four andJingle Bells
all four andProud Mary
all four and1; 2 thru 4
all four andWalk Don't Run
1 thru 4 and all four
1 thru 4 and 1 thru 2; 3 thru 4
1 thru 4 and Gallop
Four Pulse Rhythmic Words In Eighth Notes (continued)
288
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.913
Ä 44 æ| t t t85
æ| t t t | t t t æ| t t t
Ä æ| tY t tY89
æ| tY t tY | tY t tY æ| tY t tY
Ä æ| tY «t93
æ| tY «t | tY «t æ| tY «t
Ä æ| «t tY97
æ| «t tY | «t tY æ| «t tY
Ä æt t t t t t101
æt t t t t t t t t t t t æt t t t t t
Ä æt t |105
æt t | t t | æt t |
Ä æt t t t t109
æt t t t t t t t t t æt t t t t
Ä æt t t t t113
æt t t t t t t t t t æt t t t t
Ä æt t tY t tY117
æt t tY t tY t t tY t tY æt t tY t tY
Ä æt t tY «t121
æt t tY «t t t tY «t æt t tY «t
1 thru 4 and Jingle Bells
1 thru 4 and Proud Mary
1 thru 4 and 1; 2 thru 4
1 thru 4 and Walk Don't Run
1 thru 4 and all four
1 thru 2; 3 thru 4 and 1 thru 4
1 thru 2; 3 thru 4 and gallop
1 thru 2; 3 thru 4 and Jingle Bells
1 thru 2; 3 thru 4 and Proud Mary
1 thru 2; 3 thru 4 and 1; 2 thru 4
Four Pulse Rhythmic Words In Eighth Notes (continued)
289
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.914
Ä 44 æt t «t tY125
æt t «t tY t t «t tY æt t «t tY
Ä æt t t t t129
æt t t t t t t t t t æt t t t t
Ä æt t t |133
æt t t | t t t | æt t t |
Ä æt t t t t t t137
æt t t t t t t t t t t t t æt t t t t t t
Ä æt t t t t t141
æt t t t t t t t t t t æt t t t t t
Ä æt t t tY t tY145
æt t t tY t tY t t t tY t tY æt t t tY t tY
Ä æt t t tY «t149
æt t t tY «t t t t tY «t æt t t tY «t
Ä æt t t «t tY153
æt t t «t tY t t t «t tY æt t t «t tY
Ä æt t t t t157
æt t t t t t t t t t æt t t t t
Ä æt t t |161
æt t t | t t t | æt t t |
1 thru 2; 3 thru 4 and Walk Don't Run
gallop and1 thru 2; 3 thru 4
gallop and1 thru 4
gallop andall 4
gallop andJingle Bells
gallop andProud Mary
gallop and1; 2 thru 4
gallop andWalk Don't Run
Jingle Bells and1 thru 2; 3 thru 4
Jingle Bells and1 thru 4
Four Pulse Rhythmic Words In Eighth Notes (continued)
290
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.915
Ä æt t t t t t t165
æt t t t t t t t t t t t t t æt t t t t t t
Ä æt t t t t t169
æt t | t t t t | t t æt t | t t
Ä æt t t tY t tY173
æt t t tY t tY t t t tY t tY æt t t tY t tY
Ä æt t t tY «t177
æt t t tY «t t t t tY «t æt t t tY «t
Ä æt t t «t tY181
æt t | t t t t | t t æt t | t t
Ä ætY t tY t t185
ætY t tY t t tY t tY t t ætY t tY t t
Ä ætY t tY |189
ætY t tY | tY t tY | ætY t tY |
Ä ætY t tY t t t t193 tY t tY t t t t tY t tY t t t t ætY t tY t t t t
Ä ætY t tY t t t197
ætY t tY t t t tY t tY t t t ætY t tY t t t
Ä ætY t tY t t t201
ætY t tY t t t tY t tY t t t ætY t tY t t t
Jingle Bells andall 4
Jingle Bells andgallop
Jingle Bells andProud Mary
Jingle Bells and1; 2 thru 4
Jingle Bells andWalk Don't Run
Proud Mary and1 thru 2; 3 thru 4
Proud Mary and1 thru 4
Proud Mary andall 4
Proud Mary andgallop
Proud Mary andJingle Bells
Four Pulse Rhythmic Words In Eighth Notes (continued)
291
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.916
Ä ætY t tY tY «t205
ætY t tY tY «t tY t tY tY «t ætY t tY tY «t
Ä ætY t tY «t tY209
ætY t tY «t tY tY t tY «t tY ætY t tY «t tY
Ä ætY «t t t213
ætY «t t t tY «t t t ætY «t t t
Ä ætY «t |217
ætY «t | tY «t | ætY «t |
Ä ætY «t t t t t221
ætY «t t t t t tY «t t t t t ætY «t t t t t
Ä ætY «t t t t225
ætY «t t t t tY «t t t t ætY «t t t t
Ä ætY «t t t t229
ætY «t t t t tY «t t t t ætY «t t t t
Ä ætY «t tY t tY233
ætY «t «t tY tY «t tY t tY ætY «t tY t tY
Ä ætY «t «t tY237
ætY «t «t tY tY «t «t tY ætY «t «t tY
Ä æ«t tY t t241
æ«t tY t t «t tY t t æ«t tY t t
Proud Mary and1; 2 thru 4
Proud Mary andWalk Don't Run
1; 2 thru 4 and1 thru 2; 3 thru 4
1; 2 thru 4 and1 thru 4
1; 2 thru 4 andall 4
1; 2 thru 4 andgallop
1; 2 thru 4 andJingle Bells
1; 2 thru 4 andProud Mary
1; 2 thru 4 andWalk Don't Run
Walk Don't Run and1 thru 2; 3 thru 4
Four Pulse Rhythmic Words In Eighth Notes (continued)
292
© 2000 Jim Gleason. All Rights Reserved.
RHYTHM
Rhythm 1.917
Ä æ«t tY |245
æ«t tY | «t tY | æ«t tY |
Ä ætY «t t t t t249
ætY «t t t t t tY «t t t t t ætY «t t t t t
Ä ætY «t t t t253
ætY «t t t t tY «t t t t ætY «t t t t
Ä æ«t tY t t t257
ætY «t t t t tY «t t t t ætY «t t t t
Ä æ«t tY tY t tY261
æ«t tY tY t tY «t tY tY t tY æ«t tY «t tY
Ä æ«t tY tY «t265
æ«t tY tY «t «t tY tY «t æ«t tY tY «t
Walk Don't Run and1 thru 4
Walk Don't Run andall 4
Walk Don't Run andgallop
Walk Don't Run andJingle Bells
Walk Don't Run andProud Mary
Walk Don't Run and1; 2 thru 4
Four Pulse Rhythmic Words In Eighth Notes (continued)
293
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.225
COUNTING STRUMMED RHYTHMS
In chord progression examples presented throughout this level 1, counting symbols are usually providedabove the tablature. Arrows above the counting symbols indicate the direction of strumming.
When there are two parts per beat, the traditional counting symbols are numbers for the first half of eachbeat, “1”, “2”, “3” “4”, etc. and “+” (pronounced “and”) for the last half of each beat. Each syllable “1, +, 2 ,+, 3, +, 4, +” represents a half beat.
Selection From A Continuous MotionMost strumming involves a continuous motion of the strumming hand. The rhythm is selected from the
continuous motion by somtimes missing the strings. Two parts per beat are strummed down on the numberedbeats and up on the “ands” (+). When there is no arrow above a counting symbol, you should still move in theappropriate direction, down on the numbers (1, 2, 3, 4 etc.), up on the “ands” (+).
In the example below, you should make the regular upward strumming movement on the “+” after “1”,but miss the strings. Likewise, on the beat “4” of the first bar and on beat “1” of the second bar, you should makethe regular downward strumming movement , but miss the strings.
Ä !!!
âΩ ø
ΩΩ ø↓1
02220
ttttt↓2+
02220
ttttt↑+
02220
ttttt↓3
0232
tIttt↑+
0232
tttt↑+4
022100
tIttttt æø
ææø1
tttttt
022100
tttttt
022100
↑+
tttttt
022100
↓2
tttttt
022100
↑+
tttttt
022100
↓3
tttttt
022100
↑+
tttttt
022100
↓4
tttttt↑+
æ
ææ02220
ttttt↓1
c b4
A I
32 2
D I
3
1
1
E I
32 4
A I
324
A I
32 2
D I
3
1
1
E I
32 4
A I
32
In practicing a strummed rhythm, speak (or as least think) each counting symbol (1, +, 2, +, etc.). Youcan begin by stopping wherever you need to, but then resume counting with the correct direction. If you makea mistake, don’t go back to the beginning. Replay the part of the beat where you made the mistake, speakingthe appropriate counting symbol and continue.
294
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.226
Resuming The Strumming After A PauseWhen strums do not occur during two or more consecutive counting symbols, the strumming hand may
rest. However, it is very important that the strumming hand is in the appropriate position to strum the correctdirection when it resumes.
Ä 44
â 44Ω ø
ΩΩ ø↓1
02210
«t «t «t «t «t↑++ 2
02210
tItttt↓3
32010
ttttt↓4+
02210
ttttt+
æø
ææø1 +
ttttt
02210
02210
↓2
ttttt
32010
↑+
ttttt
2003
↓3
tItttt↑+
«t «t «t «t+4
1
Am I
32
3
2
1
C I
1
Am I
323
2
1
C I
2
G/B I
4
1
Am I
32
3
2
1
C I
1
Am I
323
2
1
C I
2
G/B I
4
Here are a few examples to practice:
¡+™+£+¢+ ¡=™+£+¢+
miss the "+" after "1"
¡+™+£+¢=¡=™=£+¢+
miss the "+" after "4" miss the "+" after "1"and miss the "+" after "2"
strum all of the "downs and ups"
miss "3" and the "+" after "4"
¡+™+3+¢=
miss the "+" after 1, miss "3"and miss the "+" after "4"
¡=™+3+¢=
295
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.230
Ä !!! 44
â 441
022100
tttttt↓
+
022100
tttttt↑
2
022100
tttttt↓
+
022100
tttttt↑
3
0232
tttt↓
+
0000
t#ttt↑
4
02220
ttttt↓
+
0000
tttt↑
æø
ææø1
022100
tttttt↓
+
022100
tttttt↑
2
022100
tttttt↓
+
022100
tttttt↑
3
0232
tttt↓
+
0000
t#ttt↑
4
3
02220
ttttt↓
+
0000
tttt↑
æ
ææ022100
AAAAAA1↓
Ä !!!
âΩ ø
ΩΩ ø1
02220
ttttt↓
2+
02220
ttttt↓
+
02220
ttttt↑
3
0232
tIttt↓
+
0232
tttt↑
+4
022100
tIttttt↑
æø
ææø1
tttttt
022100
tttttt
022100
+↑tttttt
022100
2↓tttttt
022100
+↑tttttt
022100
3↓tttttt
022100
+↑tttttt
022100
4↓tttttt+↑
æ
ææ02220
ttttt1↓
c b # # #
ÄâΩ øΩΩ ø
1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
33211
tItttt↓
+
33211
ttttt↑
+4
320033
tIttttt↑
æøææø
1
tttttt
320033
+
tttttt
320033
↑2
tttttt
320033
↓+
tttttt
33211
↑3
ttttt↓
+
33211
4
ttttt↓
+
æææ3
2010
ttttt1↓
c b
1
E I
32 2
D I
3
1 4
A I
32
Rock Song #2 in A
Rock Song #1
1
E I
32 2
D I
3
1 4
A I
321
E I
32
4
A I
32 2
D I
3
1
Rock Song #3 in C
1
E I
32 4
A I
32
3
2
1
C I
2
1
F I
4
1
3 2
1
G I
3 4
2
1
F I
4
1
3 3
2
1
C I
cp 1.230 cp 1.230
296
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Ä ! 44
â 44022000
tttttt1↓
+
022000
tttttt2↓
+
022000
tttttt3↓
022000
tttttt+↑
022000
tttttt4↓
022000
tttttt+↑
022000
020000
tttttt1↓
+
020000
tttttt2↓
+
020000
tttttt3↓
020000
tttttt+↑
020000
tttttt4↓
020000
tttttt+↑
020000
042000
t! ttttt1↓
+
042000
tttttt2↓
+
042000
tttttt3↓
042000
tttttt+↑
042000
tttttt4↓
042000
tttttt+↑
042000
1
032000
tttttt↓
+ 2
032000
tttttt↓
+ 3
032000
tttttt↓
+
032000
tttttt↑
4
032000
tttttt↓
+
032000
tttttt↑
032000
Ä !
â022000
tttttt1↓
+
022000
tttttt2↓
+
022000
tttttt3↓
022000
tttttt+↑
022000
tttttt4↓
022000
tttttt+↑
022000
00232
ttttt1↓
+
00232
ttttt2↓
+
00232
ttttt3↓
00232
ttttt+↑
00232
ttttt4↓
00232
ttttt+↑
00232
320033
tttttt1↓
+
320033
tttttt2↓
+
320033
tttttt3↓
320033
tttttt+↑
320033
tttttt4↓
320033
tttttt+↑
21202
t!tttt1↓
+
21202
ttttt2↓
+
21202
ttttt3↓
21202
ttttt+↑
21202
ttttt4↓
21202
ttttt+↑
Ä !
â 1
022000
tttttt↓
2+
022000
tttttt↓
3+
022000
tttttt↓
+
022000
tttttt↑
4
022000
tttttt↓
+
022000
tttttt↑
1
020000
tttttt↓
2+
020000
tttttt↓
3+
020000
tttttt↓
+
020000
tttttt↑
4
020000
tttttt↓
+
020000
tttttt↑
1
042000
t! ttttt↓
2+
042000
tttttt↓
3+
042000
tttttt↓
+
042000
tttttt↑
4
042000
tttttt↓
+
042000
tttttt↑
1
032000
tttttt↓
2+
032000
tttttt↓
3+
032000
tttttt↓
+
032000
tttttt↑
4
032000
tttttt↓
+
032000
tttttt↑
Ä !
â 1
022000
tttttt↓
2+
022000
tttttt↓
3+
022000
tttttt↓
+
022000
tttttt↑
4
022000
tttttt↓
+
022000
tttttt↑
1
00232
ttttt↓
2+
00232
ttttt↓
3+
00232
ttttt↓
+
00232
ttttt↑
4
00232
ttttt↓
+
00232
ttttt↑
1
02220
ttt!tt↓
2+
02220
ttttt↓
3+
02220
ttttt↓
+
02220
ttttt↑
4
02220
ttttt↓
+
02220
ttttt↑
æø
ææø1
21202
t!tttt↓
2+
21202
ttttt↓
3+
21202
ttttt↓
+
21202
ttttt↑
4
21202
ttttt↓
+
21202
ttttt↑
æ
ææ022000
AAAAAA1↓
3
Em I
2
Em7 I
2
Em6 I
1
3
Cma7 I
12
Em I
32 2
D I
3
1
2
1
G I
3 4
2
1
B7 I
3 4
3
Em I
2
Em7 I
2
Em6 I
1
3
Cma7 I
12
Em I
32 2
D I
3
1 4
A I
32 2
1
B7 I
3 4
Em I
32
Folk Rock #1acp 1.231 cp 1.231
Chord Progression 1.231
297
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Ä ! 44
â 44 1
320033
tttttt↓
2+
320033
tttttt↓
+
320033
tttttt↑
3
tttttt
320033+
tttttt
320033
↑4
tttttt
320033
↓+
tttttt↑
1
022000
tttttt↓
2+
022000
tttttt↓
+
022000
tttttt↑
3
tttttt
022000+
tttttt
022000
↑4
tttttt
022000
↓+
tttttt↑
1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
2003
tttt↓
4+
2003
tttt↓
+
2003
tttt↑
æø
ææø1
02210
ttttt↓
2+
02210
ttttt↓
+
02210
ttttt↑
3
ttttt
02210+
ttttt
02210
↑4
ttttt
02210
↓+
ttttt↑
Ä !
â 1
02210
ttttt↓
2+
02210
ttttt↓
+
02210
ttttt↑
3
ttttt
02210+
ttttt
02210
↑4
ttttt
02210
↓+
ttttt↑
Ω ø
ΩΩ ø1
320033
tttttt↓
2+
320033
tttttt↓
+
320033
tttttt↑
3
320033
tttttt
+
320033
tttttt↑
4
320033
tttttt↓
+
320033
tttttt↑
æø
ææø1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
0232
tttt↓
4+
0232
tttt↓
+
0232
tttt↑
1
022000
tttttt↓
2+
022000
tttttt↓
+
022000
tttttt↑
3
tttttt
022000+
tttttt
022000
↑4
tttttt↓
+
tttttt↑
Ä !
â 1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
0232
tttt↓
4+
0232
tttt↓
+
0232
tttt↑
Ω ø
ΩΩ ø1
320033
tttttt↓
2+
320033
tttttt↓
+
320033
tttttt↑
3
tttttt
320033
+
tttttt
320033
↑4
tttttt
320033
↓+
tttttt↑
æø
ææø1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
0232
tttt↓
4+
0232
tttt↓
+
0232
tttt↑
Ä !
âΩ ø
ΩΩ ø1
7899
tttttt↓
2+
7899
tttttt↓
+
7899
tttttt↑
3
tttttt
7899
+
tttttt
7899
↑4
tttttt
7899
↓+
tttttt↑
æø
ææø1
89
1010
ttttt↓
2+
89
1010
ttttt↓
+
89
1010
ttttt↑
3
10111212
tttt↓
4+
10111212
tttt↓
+
10111212
tttt↑
æ
ææ022000
AAAAAA1↓
2
1
G I
3 4
Em I
32
3
2
1
C I
1
G/B I
3 4
1
Am I
32
1
Am I
32
2
1
G I
3 4 3
2
1
C I
2
D I
3
1
Em I
32
3
2
1
C I
2
D I
3
1
2
1
G I
3 4 3
2
1
C I
2
D I
3
1
Em I
32
3
2
1
C I
2
D I
3
1
Em I
32
Folk Song #1cp 1.232 cp 1.232
Chord Progression 1.232
298
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Ä 44
â 44 1
0
t↓
2+
0
t↓
3+
02210
ttttt↓
+
02210
ttttt↑
4
02210
ttttt↓
+
02210
ttttt↑
1
3
t↓
2+
3
t↓
3+
32210
ttttt↓
+
32210
ttttt↑
4
32210
ttttt↓
+
32210
ttttt↑
1
2
! t↓
2+
2
t↓
3+
20210
ttttt↓
+
20210
ttttt↑
4
20210
ttttt↓
+
20210
ttttt↑
1
1
t↓
2+
1
t↓
3+
12210
ttttt↓
+
12210
ttttt↑
4
12210
ttttt↓
+
12210
ttttt↑
Ä
â 1
0
t↓
2+
0
t↓
3+
02210
ttttt↓
+
02210
ttttt↑
4
02210
ttttt↓
+
02210
ttttt↑
1
3
t↓
2+
3
t↓
3+
320033
tttttt↓
+
320033
tttttt↑
4
320033
tttttt↓
+
320033
tttttt↑
1
3
t↓
2+
3
t↓
3+
32010
ttttt↓
+
32010
ttttt↑
4
32010
ttttt↓
+
32010
ttttt↑
1
0
t↓
2+
0
t↓
3+
022100
ttt!ttt↓
+
022100
tttttt↑
4
022100
tttttt↓
+
022100
tttttt↑
Ä
â 1
0
t↓
2+
0
t↓
3+
02210
ttttt↓
+
02210
ttttt↑
4
02210
ttttt↓
+
02210
ttttt↑
1
3
t↓
2+
3
t↓
3+
32210
ttttt↓
+
32210
ttttt↑
4
32210
ttttt↓
+
32210
ttttt↑
1
2
! t↓
2+
2
t↓
3+
20210
ttttt↓
+
20210
ttttt↑
4
20210
ttttt↓
+
20210
ttttt↑
1
1
t↓
2+
1
t↓
3+
12210
ttttt↓
+
12210
ttttt↑
4
12210
ttttt↓
+
12210
ttttt↑
Ä
â 1
0
t↓
2+
0
t↓
3+
02210
ttttt↓
+
02210
ttttt↑
4
02210
ttttt↓
+
02210
ttttt↑
1
3
t↓
2+
3
t↓
3+
320033
tttttt↓
+
320033
tttttt↑
4
320033
tttttt↓
+
320033
tttttt↑
1
2
! t↓
2+
2
t↓
3+
200232
ttttt!t↓
+
200232
tttttt↑
4
200232
tttttt↓
+
200232
tttttt↑
æø
ææø1
0
t↓
2+
0
t↓
3+
022100
ttt!ttt↓
+
022100
tttttt↑
4
022100
tttttt↓
+
022100
tttttt↑
æ
ææAAAAA
02210
↓
1
Am I
32
1
Am7/G I
32
4
1
D9/F# I
322
Fma7 I
4
1
3
1
Am I
32
2
1
G I
3 4 3
2
1
C I
1
E I
32
1
Am I
32
1
Am7/G I
32
4
1
D9/F# I
322
Fma7 I
4
1
3
1
Am I
322
1
G I
3 43
D/F# I
4
21
1
E I
32
1
Am I
32
Folk Rock #1bcp 1.240 cp 1.240
Chord Progression 1.240
299
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Ä ! 44
â 4402220
|||!||1↓
02220
«t «t «t «t «t3↓
02220
tItttt+↑
02220
ttt!tt1↓
02220
ttttt+↑
02220
ttttt2↓
+
02220
ttttt3↓
+
02220
ttttt4↓
+
022000
||||||1↓
022000
«t «t «t «t«t «t
3↓
022000
tIttttt+↑
022000
tttttt1↓
022000
tttttt+↑
022000
tttttt2↓
+
022000
tttttt3↓
+
022000
tttttt4↓
+
Ä !
â32010
|||||1↓
32010
«t «t «t «t «t3↓
32010
tItttt+↑
32010
ttttt1↓
32010
ttttt+↑
32010
ttttt 2↓
+
32010
ttttt3↓
+
32010
ttttt4↓
+
00232
|||||1↓
00232
«t «t «t «t«t
3↓
00232
tItttt+↑
æøææø0
0232
ttttt1↓
00232
ttttt+↑
00232
ttttt2↓
+
00232
ttttt3↓
+
00232
ttttt4↓
+
Ä !
âΩ ø
ΩΩ ø0222|||!|1↓
0222
«t «t «t «t3↓
0222
tIttt+↑
0222
ttt!t1↓
+
0422
tttt2↓
+
0522
tttt3↓
+
0522
tttt4↓
+ 1 + +2
||||
0522
0522
«t «t «t «t3↓
tIttt+↑
æø
ææø0422
ttt!t1↓
+
0222
«| «| «| «|2↓
f ine
+ 3 4+ +
Ä !
â32010
|||||1↓
32010
«t «t «t «t «t3↓
32010
tItttt+↑
32010
ttttt1↓
32010
ttttt+↑
32010
ttttt 2 +
↓
32010
ttttt 3 +
↓
32010
ttttt 4 +↓
00232
|||||1↓
00232
«t «t «t «t«t
3↓
00232
tItttt+↑
00232
ttttt1↓
00232
ttttt+↑
00232
ttttt
2 +↓
00232
ttttt
3 +↓
00232
ttttt
4 +↓
4
A I
32
+ 2 + + 4
Em I
32
+ 2 + + 4
3
2
1
C I
+ 2 + + 4
2
D I
3
1
+ 2 + + 4
1 1
A I
1
+ 2 + + 4
1 1
A6 I
1
3
1 1
A7 I
1
4
+ 4
1 1
A6 I
1
3
1 1
A I
1
3
2
1
C I
+ 2 + + 4
2
D I
3
1
+ 2 + + 4
Folk Rock Song #2cp 1.241 cp 1.241
Chord Progression 1.241
300
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.242
Ä !
â 1
320033
||||||↓
3
320033
«t «t «t «t«t «t
↓+
320033
tIttttt↑
320033
tttttt1↓
320033
tttttt+↑
320033
tttttt
2 +↓
320033
tttttt
3 +↓
320033
tttttt
4 +↓
02220
|||!||1↓
02220
«t «t «t «t «t3↓
02220
tItttt+↑
02220
ttt!tt1↓
02220
ttttt+↑
02220
ttttt 2 +
↓
02220
ttttt 3 +
↓
02220
ttttt 4 +
↓
Ä !
â00232
|||||1↓
00232
«t «t «t «t«t
3↓
00232
tItttt+↑
00232
ttttt1↓
00232
ttttt+↑
00232
ttttt
2 +↓
00232
ttttt
3 +↓
00232
ttttt
4 +↓
320033
||||||1↓
320033
«t «t «t «t«t «t
3↓
320033
tIttttt+↑
320033
tttttt1↓
320033
tttttt+↑
320033
tttttt
2 +↓
320033
tttttt
3 +↓
320033
tttttt
4 +↓
Ä !
â24432
|||||1↓
24432
«t «t «t «t«t
3↓
24432
tItttt+↑
24432
ttttt1↓
24432
ttttt+↑
24432
ttttt 2 +
↓
24432
ttttt 3 +
↓
24432
ttttt 4 +
↓
24432
|||||1↓
24432
«t «t «t «t«t
3↓
24432
tItttt+↑
æ
ææ24432
ttttt1↓
24432
ttttt+↑
24432
ttttt 2 +
↓
24432
ttttt 3 +
↓
24432
ttttt 4 +
↓
2
1
G I
3 4
+ 2 + + 4
4
A I
32
+ 2 +
2
D I
3
1
+ 2 + + 4
2
1
G I
3 4
+ 2 + + 4
D.C. al finerepeat from the beginning to the word "fine"
2
1
Bm II
4
1
3
+ 2 + + 4 + 2 + + 4
Folkrock Song #2(continued)
cp 1.242 cp 1.242
301
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.270
Ä ! 44
â 44Ω ø
ΩΩ ø1
0232
tttt↓
2+
0232
tttt↓
+
0232
tttt↑
3
tttt
0232
+
tttt
0232
↑4
tttt↓
+
1
1
32010
ttttt↓
+
32010
ttttt↑
2
32010
ttttt↓
3+
320033
tttttt↓
+
320033
tttttt↑
4
320033
tttttt↓
++ 1
02210
ttttt↓
+
02210
ttttt↑
2
02210
ttttt↓
+
02200
ttttt↑
3
ttttt
02200
+
ttttt
02200
↑4
ttttt↓
+
æø
ææø1
02210
ttttt↓
+
02210
ttttt↑
2
02210
ttttt↓
+
02200
ttttt↑
3
ttttt
02200
+
ttttt
02200
↑4
ttttt↓
+
Ä !
âΩ ø
ΩΩ ø1
0232
tttt↓
2+
0232
tttt↓
+
0232
tttt↑
3
tttt
0232+
tttt
0232
↑4
tttt↓
+
5
1
02210
ttttt↓
+
02210
ttttt↑
2
02210
ttttt↓
+
02210
ttttt↑
3
ttttt
02210+
ttttt
02210
↑4
ttttt↓
+ 1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
320033
tttttt↓
4+
320033
tttttt↓
+
320033
tttttt↑
1
02210
ttttt↓
+
02210
ttttt↑
2
02210
ttttt↓
+
02200
ttttt↑
3
ttttt
02200+
ttttt
02200
↑4
ttttt↓
+
æø
ææø1
02210
ttttt↓
+
02210
ttttt↑
2
02210
ttttt↓
+
02200
ttttt↑
3
ttttt
02200+
ttttt
02200
↑4
ttttt↓
+
Ä !
â 1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
32010
ttttt↓
4+
32010
ttttt↓
+
32010
ttttt↑
10
1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
2010
tttt↓
4+
2010
tttt↓
+
2010
tttt↑
02210
ttttt1↓
02210
ttttt2↓
02210
ttttt+↑
02200
ttttt3↓
02200
ttttt4↓
02200
ttttt+↑
1
02210
ttttt↓
2++
02200
ttttt↓
+
02200
ttttt↑
3
02200
ttttt↓
+
02210
ttttt↑
4
02210
ttttt↓
+
2
D I
3
1
32
1
C I
2
1
G I
3 4
1
Am I
32
A sus. 2 I
32
1
Am I
32
A sus. 2 I
32
2
D I
3
1
1
Am I
32
32
1
C I
2
1
G I
3 4
1
Am I
32
A sus. 2 I
32
1
Am I
32
A sus. 2 I
32
32
1
C I
2
1
C/B I
1
Am I
32
A sus. 2 I
32
1
Am I
32
A sus. 2 I
32
1
Am I
32
Old English Folk Songcp 1.270 cp 1.270
302
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.271
Ä ! 44
â 44 1
3010
tttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
32010
ttttt↓
+
32010
ttttt↑
4
32010
ttttt↓
+
14
1
0232
tttt↓
2+
0232
tttt↓
+
0232
tttt↑
0232
tttt3 +
0232
tttt↑
4
0232
tttt↓
+ 1
022200
tttttt↓
2+
022200
tttttt↓
+
022200
tttttt↑
3
022200
tttttt↓
4+
022200
tttttt↓
1+ +
tttttt
02
2
022200
tttttt↓
3+
022200
tttttt↓
+
022200
tttttt↑
4
022200
tttttt↓
+
022200
tttttt↑
022200
1
022100
ttt!ttt↓
2+
022100
tttttt↓
+
022100
tttttt↑
3
022100
tttttt↓
4+
022100
tttttt↓
+ 1 +
tttttt
02
2
022100
tttttt↓
3+
022100
tttttt↓
+
022100
tttttt↑
4
022100
tttttt↓
+
022100
tttttt↑
022100
Ä !
â 1
0231
ttt#t↓
2
0231
tttt↓
+
0231
tttt↑
3
tttt
0231+
tttt
0231
↑4
tttt↓
+
20
1
02210
ttttt↓
+
02210
ttttt↑
2
02210
ttttt↓
+
02210
ttttt↑
3
ttttt
02210+
ttttt
02210
↑4
ttttt↓
+ 1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
320033
tttttt↓
4+
320033
tttttt↓
+
320033
tttttt↑
1↓
02210
ttttt+↑
02210
ttttt2↓
02210
ttttt+↑
02200
ttttt3
ttttt
02200+↑
ttttt
022004↓
ttttt+ 1
↓
02210
ttttt+↑
02210
ttttt2↓
02210
ttttt+↑
02200
ttttt3
ttttt
02200+↑
ttttt
022004↓
ttttt+
Ä !
â 1
0232
tttt↓
2+
0232
tttt↓
+
0232
tttt↑
3
tttt
0232
+
tttt
0232
↑4
tttt↓
+
25
1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
320033
tttttt↓
4+
320033
tttttt↓
+
320033
tttttt↑
1
02210
ttttt↓
+
02210
ttttt↑
2
02210
ttttt↓
+
02200
ttttt↑
3
ttttt
02200
+
ttttt
02200
↑4
ttttt↓
+
æ
ææ02210
AAAAA1↓
32
1
C I
2
D I
3
1 4
E sus.4 I
32
1
E I
32
Dm I
1
2
3
1
Am I
32
32
1
C I
2
1
G I
3 4
1
Am I
32
A sus. 2 I
32
1
Am I
32
A sus. 2 I
32
2
D I
3
1
32
1
C I
2
1
G I
3 4
1
Am I
32
A sus. 2 I
32
1
Am I
32
Old English Folk Song(continued)
cp 1.271 cp 1.271
303
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.327
Ä !!! 22
â 22count: 1
022100
tttttt↓
2+
022100
tttttt↓
3+
022100
tttttt↓
+
022100
tttttt↑
4
022100
tttttt↓
+
022100
tttttt↑ Lmute
1
d
022100
2
tIttttt
022100
+↑ Lmute
d
022100
tIttttt
022100
+↑
tttttt
022100
3↓
tttttt
022100
+↑
tttttt4↓
tttttt+↑
1
00232
ttttt↓
2+
00232
ttttt↓
3+
00232
ttttt↓
+
00232
ttttt↑
4
00232
ttttt↓
+
00232
ttttt↑ Lmute
1
d
00232
2+
tItttt
00232
↑ Lmute
d
00232
+
tItttt
00232
↑3
ttttt
00232
↓+
ttttt
00232
↑4
ttttt↓
+
ttttt↑
Ä !!!
â 1
0222
tttt↓
2+
0222
tttt↓
3+
0222
tttt↓
+
0222
tttt↑
4
0222
tttt↓
+
0222
tttt↑ Lmute
1
0222
d2
tIttt
0222
+↑
d
0222
Lmute
tIttt
0222
+↑
tttt
0222
3↓
tttt
0222
+↑
tttt4↓
tttt+↑
1
022100
tttttt↓
2+
022100
tttttt↓
3+
022100
tttttt↓
+
022100
tttttt↑
4
022100
tttttt↓
+
022100
tttttt↑ Lmute
æø
ææø1
d
022100
2
tIttttt
022100
+↑ Lmute
d
022100
tIttttt
022100
+↑
tttttt
022100
3↓
tttttt
022100
+↑
tttttt4↓
tttttt+↑
Ä !!!
âΩ ø
ΩΩ ø1
2444
ttt!t↓
2+
2444
tttt↓
3+
2444
tttt↓
+
2444
tttt↑
4
2444
tttt↓
+
2444
tttt↑
Lmute
1
d
2444
+ 2
tItt!t
2444
↑Lmute
d
2444
+
tIttt
2444
↑3
tttt
2444
↓+
tttt
2444
↑4
tttt↓
+
tttt↑
ééé
1
022100
tttttt↓
2+
022100
tttttt↓
3+
022100
tttttt↓
+
022100
tttttt↑
4
022100
tttttt↓
+
022100
tttttt↑ Lmute
1
d
022100
2
tIttttt
022100
+↑ Lmute
d
022100
tIttttt
022100
+↑
tttttt
022100
3↓
tttttt
022100
+↑
tttttt4↓
tttttt+↑
é æø
ææøé
1
E I
32 2
D I
3
1
1
A I
11
1
E I
32
D.C. al finerepeat from the beginning to the word "fine"
f ine
1
3 3
B II
3
this symbol: indicates a repeat of the previous TWO measures
1
E I
32
Rock Strum With Mutescp 1.327 cp 1.327
Mute by touching the strings very gently. With a chord that involves no open strings, such a the "B" chord below, relax the fretting fingers to mute. With the "E" and "D" chords, use the little finger to mute. Keep the little finger straight and relaxed to mute. To mute the "A" chord, keep all of the free fingers straight and relaxed to mute.
304
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.328
Ä 44
â 44Ω ø
ΩΩ ø1
02210
«t «t «t «t «t+ 2 +
02210
tItttt3
32210
tItttt+
d
02210
4
ttttt+
æø
ææø1 +ttttt
02210
02210
2
ttttt
32210
+
ttttt
02210
3
tItttt+
«t «t «t «t «t+4 1
2100
t!ttt+ 2
2100
tttt+ 3
2100
tttt+
2100
tttt4
2100
tttt+
0230
tttt1
tttt
0230
tttt
0230
+
tttt2 +
0230
tttt
0230
3
tttt
0230
+
tttt4 +
Ä
â 4222
!tt! t!t1 +
4222
tttt2 +
4222
tIttt3
4222
tttt+ 4
0232
tIttt+ 1
tttt
0232
tttt
0232
+
tttt2 +
0232
tttt
0232
3
tttt
0232
+
tttt4 +
02220
ttt!tt1 +
02220
ttttt2 +
02220
tItttt3
02220
ttttt+ 4
0232
tItt!t+ 1
tttt
0232
tttt
0232
+
tttt2 +
0232
tttt
0232
3
tttt
0232
+
tttt4 +
Ä
âΩ ø
ΩΩ ø1
0
t2
010
ttt+
010
ttt3
32210
tItttt+
d
02010
4
ttttt+
0
t1 +
02010
ttttt2 +
0
t3
0
t+
02010
ttttt4 + 1
0
t+ 2
211
ttt+ 3
0
t+
0
t4
211
ttt+
æø
ææø0
t1 +
211
ttt2 +
0
t3
0
t+
211
ttt4 +
Ä
âΩ ø
ΩΩ ø1
02210
«t «t «t «t «t+ 2 +
02210
tItttt3
32210
ttttt+ 4
02210
ttttt+
æø
ææø1 +
ttttt
02210
02210
2
ttttt
323
+
ttttt
2023
3
tItt+
«t «t «t «t+4
æ
ææ02210
AAAAA1
1
Am I
321
Am/C I
32
4
1
Am I
32
R&B Song #1
1
Am/C I
32
4
1
Am I
32
1
E I
32
D add 9 I
3
1
1 1
F#m II
3
12
D I
3
1 4
A I
32 2
D I
3
1
1
Am7 I
2
1
Am/C I
32
4
1
Am7 I
2 3
D7 I
1
2
1
Am I
32
1
Am/C I
32
4
1
Am I
32
D7/C I
4
2
4
D6/B I
4
21
1
Am I
32
cp 1.328 cp 1.328
305
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.336
Ä 44
â 44p
0
ti
2
tam
31
tti
2
tp
3
ti
2
tam
31
tti
2
tp
2
ti
0
tam
33
tti
0
tp
1
" ti
0
ta
m
33
tti
0
tp
0
ti
2
tam
31
tti
2
tp
3
ti
2
tam
31
tti
2
tp
2
ti
0
tam
33
tti
0
tp
1
" ti
0
tam
33
tti
0
t
Äâ p
0
ti
2
tam
31
tti
2
tp
3
ti
2
tam
31
tti
2
t
2
tp
0
ti
33
tta
m
0
ti
3
tp
0
ti
33
ttam
0
ti
æøææø6
" tp
0
ti
66
t" tam
6
tp
8
tp
0
ti
88
tta
m
Äâ p
0
ti
2
tam
21
tti
2
tp
2
ti
0
tam
03
tti
0
t1.
3
tp
2
ti
01
ttam
2
ti
3
tp
0
ti
03
ttam
0
ti p
0
ti
2
ta
m
21
tti
2
tp
2
ti
0
ta
m
03
tti
0
t
0
tp
2
ti
20
tta
m
2
ti
0
tp
2
ti
21
ttam
2
ti
Äâ p
0
ti
2
ta
m
21
tti
2
tp
2
ti
0
ta
m
03
tti
0
t
3
tp
2
ti
01
tta
m
2
ti
3
tp
0
ti
03
tta
m
0
ti
0
tp
2
ti
21
tta
m
2
ti
2
tp
0
ti
03
tta
m
0
ti
æøææø
p
3
ti
2
tam
01
tti
2
tp
4
! ti
2
ta
m
00
tt æææ0
tp
10
ti
1010
«| «|am
2.
Dm I
1
2
4
plucking hand
Dm7/C I
1
2
431
G/B I
3 4
Gm/Bb I
3 4
1
Dm I
1
2
4
Dm7/C I
1
2
43
1
G/B I
3 4
Gm/Bb I
3 4
1
Dm I
1
2
4
Dm7/C I
1
2
43
1
G/B I
3 4 2
1
G I
3 4
2
Bb6 VI3 4 2
C VIII3 4
1
Am I
32 1
G/B I
3 4 3
2
1
C I
2
1
G I
3 4
1
Am I
32 1
G/B I
3 4
A sus.2 I
32
1
Am I
32
1
Am I
32 1
G/B I
3 4 3
2
1
C I
2
1
G I
3 4
1
Am I
32 1
G/B I
3 4 3
2
1
C I
4
C#m7b5 I
2
Dm X
1 1 1
Folk Rock #3cp 1.336 cp 1.336
306
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.338
Ä !!! 44
â 4410
Swing Eighths
1count:fretting:fretting:
02
tt10+
02
tt2
2
3
# t3
+
4
! t103
02
tt10+
02
tt304
04
tt10+
02
tt10
02
tt1
10
02
tt+
2
3
#t2
3
4
!t+
10
02
tt3
10
02
tt+
30
04
tt4
10
02
tt+
10
02
tt1
10
02
tt+
2
3
# t2
3
4
! t+
10
02
tt3
10
02
tt+
30
04
tt4
10
02
tt+
101
02
tt10+
02
tt2
2
3
# t3
+
4
! t103
02
tt10+
02
tt304
04
tt10+
02
tt
Ä !!!
â101count:
fretting:fretting:
02
tt10+
02
tt2
2
3
# t3
+
4
!t103
02
tt10+
02
tt304
04
tt10+
02
tt
02
tt101
02
tt10+
3
#t2
2
4
!t3
+
02
tt103
02
tt10+
04
tt304
02
tt10+
02
tt101
02
tt10+
3
# t2
2
4
! t3
+
02
tt103
02
tt10+
04
tt304
02
tt10+
02
tt101
02
tt10+
3
# t2
2
4
! t3
+
02
tt103
02
tt10+
04
tt304
02
tt10+
Ä !!!
â101count:
fretting:fretting:
02
tt10+
02
tt2
2
3
# t3
+
4
! t103
02
tt10+
02
tt304
04
tt10+
02
tt
02
tt101
02
tt10+
3
#t2
2
4
!t3
+
02
tt103
02
tt10+
04
tt304
02
tt10+ 1
020
tt#t Û2+
2
ttrip
0
tlet
2
t3
021
# ttt+
021
ttt4
021
ttt+
1.
æø
ææø1
202
t#tt Û+ 2
ttt3
3
trip
#t
0
0
let
t
2100
3
|!|||+ +4
Ä !!!
âÛ
1count:
202
t#tttrip
202
tttlet
202
ttt Û2
202
ttttrip
202
tttlet
202
ttt Û3
021
#ttttrip
021
tttlet
021
ttt Û4
021
ttttrip
021
tttlet
021
ttt
2.
æ
ææ1
202
tY#tt+
d
3434
2
!t! tt# t
4545
+ 43 + +
ttt! t ||||
A7 D7 A7
D7 A7
E7 D7
3
A7 I
2 3
D7 I
1
2 3
A7 I
21
E I
32
3
A7 I
2 3
D7 I
1
2 3
A7 I
2
2
G#9 no root III1
3 4
2
A9 no root IV1
3 4
Chicago Blues #1 In Acp 1.338 cp 1.338
307
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.352
Ä ! 44
â 44+
tI
0
Swing Eighths
count:
Û4
tt
00
t
2
trip.let
t
3
#
Ω ø
ΩΩ ø1
022
ttt+ +2 3
c
000
2
d
3
+
tIÛ
4
tttrip.
tlet
t#
ç
çç
ç1
022
ttt+
0
t Û2
3
tH
trip
4
! tlet
2
t3
05
tt+
05
tt4
05
tt+
05
tt
Ä !
â 02
tt1
02
tt+
3
#t2
4
!t+
02
tt3
02
tt+
05
tt4
05
tt+
#
02
tt1
02
tt+
3
#t2
4
!t+
02
tt3
02
tt+
05
tt4
##
05
tt+
02
tt1
02
tt+
04
tt2
04
tt+
05
tt3
05
tt+
04
tt4
04
tt+
02
tt1
02
tt+
04
tt2
04
tt+
05
tt3
05
tt+
04
tt4
04
tt+
Ä !
â0
t1
3
t+
Û
31
!tt2
1
ttrip
3
tlet
2213
tttt3
0
t+
2213
tttt4
1
t+ 1
2021
tttt+
2
t2
2021
tttt+
2
t3
2021
tttt+
2
t4
2021
tttt+ 1
0222
ttt!t Û2
222
ttttrip
222
tttlet
222
ttt Û3
343
tt#ttrip
343
tttlet
343
ttt Û4
454
"t# t!ttrip
454
tttlet
454
ttt æø
ææø1
565
t!tt+
3
t#
2
0
t+
2
t3
2100
tt!tt+
0
tÛ
4
00
t#ttrip
2
tlet
3
t#
æ
ææ022
ttt1
c b
cp 1.352
1
A I
1
cp 1.352
D7A
1
E7 I
32
42
D7 I1
3 1
A I
11
2
Bdim III
1
3
2
Adim7 IV
1
3
2
A7 V
1
3
1
E I
32 3 1
A I
1
Mojo/Voodoo Blues #2 in A
308
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Ä 68
â 68p
0
t1↓
p
2
t2↓
i
2
t+↓
m
1
t3↓
a
0
t4↓
m
1
t5↑
i
2
t6↑
3
tp
1↑
2
tp
2↓
0
ti
+↓
1
tm
3↓
0
ta
4↓
1
tm
5↑
0
ti
6↑
0
tp
1↑
0
tp
2↓
2
ti
+↓
3
tm
3↓
2
!ta
4↓
3
tm
5↑
2
ti
6↑
p
1
3
t↑
p
2
3
t↓
i
+
2
t↓
m
3
1
t↓
a
4
1
t↓
m
5
1
t↑
i
6
2
t↑
Ä
âp
0
t1↑
p
2
t2↓
i
2
t+↓
m
1
t3↓
a
0
t4↓
m
1
t5↑
i
2
t6↑
3
tp
1↑
2
tp
2↓
0
ti
+↓
1
tm
3↓
0
ta
4↓
1
tm
5↑
0
ti
6↑
0
tp
1↑
2
tp
2↓
1
!ti
+↓
0
tm
3↓
0
ta
4↓
0
tm
5↑
1
ti
6↑
0
tp
1↑
2
tp
2↓
1
!ti
+↓
0
tm
3↓
0
ta
4↓
0
tm
5↑
1
ti
6↑
Ä
âp
0
t1↑
p
2
t2↓
i
2
t+↓
m
1
t3↓
a
0
t4↓
m
1
t5↑
i
2
t6↑
3
tp
1↑
2
tp
2↓
0
ti
+↓
1
tm
3↓
0
ta
4↓
1
tm
5↑
0
ti
6↑
0
tp
1↑
0
tp
2↓
2
ti
+↓
3
tm
3↓
2
!ta
4↓
3
tm
5↑
2
ti
6↑
3
tp
1↑
3
tp
2↓
2
ti
+↓
1
tm
3↓
1
ta
4↓
1
tm
5↑
2
ti
6↑
Ä
âp
0
t1↑
p
2
t2↓
i
2
t+↓
m
1
t3↓
a
0
t4↓
m
1
t5↑
i
2
t6↑
0
tp
1↑
2
tp
2↓
1
!ti
+↓
0
tm
3↓
0
ta
4↓
0
tm
5↑
1
ti
6↑
0
tp
1↑
2
tp
2↓
2
ti
+↓
1
tm
3↓
0
ta
4↓
1
tm
5↑
2
ti
6↑
æø
ææø0
tp
1↑
2
tp
2↓
1
!ti
+↓
0
tm
3↓
0
ta
4↓
0
tm
5↑
1
ti
6↑
æ
ææ0
tp
1↑
tp
2↓
ti
+↓
tm
3↓
«ta
456↓
1
Am I
32
3
2
1
C I
2
D I
3
1 2
1
F I
3
1
1
Am I
32
3
2
1
C I
1
E I
32
1
Am I
32
3
2
1
C I
2
D I
3
1 2
1
F I
3
1
1
Am I
321
E I
32
1
Am I
321
E I
32
1
Am I
32
House Of The Rising Sunpractice this separately picking and fingerpicking
cp 1.455 cp 1.455
Chord Progression 1.455
309
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.456
Ä ! 44
â 44count:
strum:1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
1
02
tt↓
2+
22
tt↓
+
0
t↑
3
t
1
+
t
2
↑4
t
2
↑+
t↑
1
02
tt↓
2+
22
tt↓
+
0
t↑
3
t
1
+
t
2
↑4
t
2
↑+
t↑
Ä !
â 1
21
t!t↓
2+
21
tt↓
+
2
t↑
3
t
0
+
t
2
↑4
t
1
↑+
t↑
1
21
t!t↓
2
21
tt↓
+
2
t↑
3
t
0
+
t
2
↑4
t
1
↑+
t↑
1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
Ä !
â 1
02
tt↓
2+
02
tt↓
+0
t↑
3
t
0
+
t
1
↑4
!t
2
↑+
t↑
1
02
tt↓
2+
02
tt↓
+0
t↑
3
t
0
+
t
1
↑4
!t
2
↑+
t↑
1
02
tt↓
2+
22
tt↓
+0
t↑
3
t
1
+
t
2
↑4
t
2
↑+
t↑
1
02
tt↓
2+
22
tt↓
+0
t↑
3
t
1
+
t
2
↑4
t
2
↑+
t↑
Ä !
â 1
21
t!t↓
2+
21
tt↓
+
2
t↑
3
t
0
+
t
2
↑4
t
1
↑+
t↑
1
21
t!t↓
2+
21
tt↓
+
2
t↑
3
t
0
+
t
2
↑4
t
1
↑+
t↑
1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
1. æø
ææø1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
Em I
32
1
Am I
32
2
1
B7 I
3 4
Em I
32
E I
321
1
Am I
32
2
1
B7 I
3 4
Em I
32
Modern Rock Song #1cp 1.456 cp 1.456
310
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.457
Ä ! 44
â 44strum:
count: 1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
2.
1
d
0232+
00232
tItttt↓
2
00232
ttttt↓
+
00232
ttttt↓
3
00232
ttttt↓
+
00232
ttttt↓
4
00232
ttttt↓
+
00232
ttttt↓
Ä !
â 1
320033
tttttt↓
2+
320033
tttttt↓
+
320033
tttttt↑
3
tttttt
320033+
tttttt
320033
↑4
tttttt
320033
↓+
tttttt↑
1
00232
ttttt↓
2+
00232
ttttt↓
+
00232
ttttt↑
00232
ttttt3 +
00232
ttttt↑
4
00232
ttttt↓
+
00232
ttttt↑
1
022000
tttttt↓
2+
022000
tttttt↓
+
022000
tttttt↑
3
tttttt
022000+
tttttt
022000
↑4
tttttt
022000
↓+
tttttt↑
1
21202
t!tttt↓
2+
21202
ttttt↓
+
21202
ttttt↑
3
ttttt
21202+
ttttt
21202
↑4
ttttt
21202
↓+
ttttt↑
Ä !
â 1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
ttttt
32010+
ttttt
32010
↑4
ttttt
32010
↓+
ttttt↑
1
320033
tttttt↓
2+
320033
tttttt↓
+
320033
tttttt↑
3
tttttt
320033+
tttttt
320033
↑4
tttttt
320033
↓+
tttttt↑
02
tt1↓
02
tt+↓
04
tt2↓
02
tt+↓
02
tt3↓
02
tt+↓
04
tt4↓
02
tt+↓
02
tt1↓
02
tt+↓
04
tt2↓
02
tt+↓
02
tt3↓
02
tt+↓
04
tt4↓
02
tt+↓
Ä !
â 1
320033
tttttt↓
2+
320033
tttttt↓
+
320033
tttttt↑
3
tttttt
320033
+
tttttt
320033
↑4
tttttt
320033
↓+
tttttt↑
1
00232
ttttt↓
2+
00232
ttttt↓
+
00232
ttttt↑
3
ttttt
00232
+
ttttt
00232
↑4
ttttt
00232
↓+
ttttt↑
1
022000
tttttt↓
2+
022000
tttttt↓
+
022000
tttttt↑
3
tttttt
022000
+
tttttt
022000
↑4
tttttt
022000
↓+
tttttt↑
1
21202
t!tttt↓
2+
21202
ttttt↓
+
21202
ttttt↑
3
ttttt
21202
+
ttttt
21202
↑4
ttttt
21202
↓+
ttttt↑
Em I
32 2
D I
3
1
2
1
G I
3 4
2
D I
3
1
Em I
32 2
1
B7 I
3 4
3
2
1
C I
2
1
G I
3 4
D I
3
1
2
1
G I
3 42
D I
3
1
Em I
32 2
1
B7 I
3 4
© 1998 Ji Gl All Ri h R d
Modern Rock Song #1 (continued)cp 1.457 cp 1.457
311
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.458
Ä ! 44
â 44count:
strum: 1
32010
ttttt↓
2+
32010
ttttt↓
+
32010
ttttt↑
3
ttttt
32010
+
ttttt
32010
↑4
ttttt
32010
↓+
ttttt↑
1
320033
tttttt↓
2+
320033
tttttt↓
+
320033
tttttt↑
3
tttttt
320033
+
tttttt
320033
↑4
tttttt
320033
↓+
tttttt↑
1
00232
ttttt↓
2+
00232
ttttt↓
+
00232
ttttt↑
3
ttttt
00232
+
ttttt
00232
↑4
ttttt
00232
↓+
ttttt↑
21202
t!tttt1↓
21202
ttttt+↓
21202
ttttt2↓
21202
ttttt+↓
21202
ttttt3↓
21202
ttttt+↓
21202
ttttt4↓
21202
ttttt+↓
æø
ææø1
21202
t!tttt↓
+
21202
ttttt↓
2
21202
ttttt↓
+
21202
ttttt↓
3
21202
ttttt↓
+
21202
ttttt↓
4
21202
ttttt↓
+
21202
ttttt↓
Ä !
â1
02
tt↓
2+
02
tt↓
+
0
t↑
3
t
0
+
t
0
↑4
t
2
↑+
t↑
3.
æ
ææ022000
AAAAAA1↓
3
2
1
C I
2
1
G I
3 42
D I
3
1 2
1
B7 I
3 4
Em I
32
Modern Rock Song #1 (continued)cp 1.458 cp 1.458
312
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.460
Ä ! 44
â 44 1
30033
ttttt↓
2e + a
30033
«t «t «t«t «t
↓ae +
30033
ttttt↑
3
30033
ttttt↓
e
30033
ttttt↑
+
2023
tttt↓
4a
2023
tttt↓
+e
2023
tttt↓
a
2023
tttt↑
æø
ææø1
02000
ttttt↓
2e + a
02000
«t «t «t«t «t
↓ae +
02000
ttttt↑
3
02000
ttttt↓
e
02000
ttttt↑
+
32013
ttttt↓
4a
32013
ttttt↓
e
32013
ttttt↑
+
32013
ttttt↓
a
Ä !
â 1
0230
tttt↓
2+
0230
tttt↓
+
0230
tttt↑
3
tttt
0230+
tttt
0230
↑4
tttt
0230
↓+
tttt↑
1
tttt
0230
tttt
0230
+↑
tttt
0230
2↓
3
tttt
0230
+↑
tttt
0230
tttt
0230
+↑
tttt4↓
tttt+↑
32030
ttttt1↓
32030
ttttt+↑
32030
ttttt2↓
32030
ttttt+↑
3
ttttt
32010
ttttt
32010
+↑
ttttt
32030
4↓
ttttt+↑
32030
ttttt1
32030
ttttt+↑
32030
ttttt2↓
32030
ttttt+↑
3
ttttt
32030
ttttt
32030
+↑
ttttt
32030
4↓
ttttt+↑
Ä !
â 1
0230
tttt↓
2+
0230
tttt↓
+
0230
tttt↑
3
tttt
0230
+
tttt
0230
↑4
tttt
0230
↓+
tttt↑
1
tttt
0230
tttt
0230
+↑
tttt
0230
2↓
3
tttt
0230
+↑
tttt
0230
tttt
0230
+↑
tttt4↓
tttt+↑
1
32030
ttttt↓
+
32030
ttttt↑
2
32030
ttttt↓
+
32030
ttttt↑
3
ttttt
32010
+
ttttt
32010
↑4
ttttt
32030
↓+
ttttt↑
32030
ttttt1
32030
ttttt+↑
32030
ttttt2↓
32030
ttttt+↑
3
ttttt
0232
tttt3320
+↓
tttt3320
4↓
tttt+↓
Ä !
âΩ ø
ΩΩ ø1
30033
ttttt↓
2+
30033
ttttt↓
+
30033
ttttt↓
3
d3320
+
tIttt
3320
↓4
tttt
3320
↓+
tttt↓
æø
ææø1
32053
ttttt↓
2+
32033
ttttt↓
+
32033
ttttt↓
3
d
0232
+
tIttt
0232
↓4
tttt
0232
↓+
tttt↓
Ω ø
ΩΩ ø 022000tttttt1↓
022000
tttttt+↓
2 +
c
0232
0232
4 +
tttt3↓
tttt+↓
c æø
ææø1
32010
ttttt↓
+
32010
ttttt↓
2 + 3e a
c
0232
0232
a
0232
ee
tttt↑
+
tttt↓
e +a4
tttt↓
æ
ææAAAAA
300331↓
21
G I
3 4
2
D/F# I
31
Em I
32 32
1
C I
4
Dsus.2 I
31
21
C/9 I
3
Dsus.2 I
31
21
C/9 I
3
2
D I
31
32
D sus. 4 I
31
4
21
G I
3 4
Dsus.4 I
31
4 21
C/9 I
3 4
D I
31 2
Em I
32
D I
31 2
32
1
C I D I
31 2
21
G I
3 4
cp 1.460 cp 1.460Modern Rock Song #2
313
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1545
Ä !!! 44â 44
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+ 1
57
tt+
57
tt2
59
tt+
59
tt3
57
tt+
57
tt4
59
tt+
59
tt
Ä !!!â
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+ 1
57
tt+
57
tt2
59
tt+
59
tt3
57
tt+
57
tt4
59
tt+
59
tt57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
Ä !!!â
79
tt1
79
tt+
711
tt2
711
tt+
79
tt3
79
tt+
711
tt4
711
tt+
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
1.
æøææø5
7
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
Ä !!!â
57
tt1
57
tt+
59
tt2
59
tt+
57
tt3
57
tt+
59
tt4
59
tt+
2.
æææ
1
57
tt+
57
tt2
59
tt+
57
tt+ +3 4||
pick this with all downstrokes
A7
D7 A7
E D7 A7
A7
Chuck Berry Style Blues Rhythmcp 1.545 cp 1.545
314
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.575
Ä !! 44
â 44>
0222
tttt1↓
0222
tttt+↑
0222
tttt2↓
>
0222
tttt+↑
0222
tttt3↓
0222
tttt+↑
>
0222
tttt4↓
0222
tttt+↑
0222
tttt1↓
0222
tttt+↑
>
30033
ttttt2↓
>
+
00232
ttttt3↓
+
00232
ttttt4↓
ttttt+↑
00232
>
0222
tttt1↓
0222
tttt+↑
0222
tttt2↓
>
0222
tttt+↑
0222
tttt3↓
0222
tttt+↑
>
0222
tttt4↓
0222
tttt+↑
æø
ææø0222
tttt1↓
0000
tttt+↑
>
0000
tttt2↓
>
+
0222
tttt 3 4
↓+ +
c
Ä !!
â>
30033
«t «t «t«t «t
1↓
>
+ 2
30033
tItttt+↑
3
30033
ttttt
>
+
30033
ttttt4↓
+ 1
30033
tItttt
>
30033
ttttt+↑
2
30033
tItttt+↑
>
30033
ttttt3↓
>
+
30033
ttttt4↓
+
>
00232
AAAAA1↓
+ + + +2 3 4 1
00232
AAAAA
2 3 4
Ä !!
âΩ ø
ΩΩ ø>
0222
tttt1↓
0222
tttt+↑
0222
tttt2↓
>
0222
tttt+↑
0222
tttt3↓
0222
tttt+↑
>
0222
tttt4↓
0222
tttt+↑
0222
tttt1↓
0222
tttt+↑
>
0222
tttt2↓
0222
tttt+↑
>
32010
# ttt#tt3↓
>
+
00232
ttttt4↓
+
>
0222
ttttt1↓
0222
ttttt+↑
0222
ttttt2↓
>
0222
ttttt+↑
0222
ttttt3↓
0222
ttttt+↑
>
0222
ttttt4↓
0222
ttttt+↓
æø
ææø2220
tIttt1↓
>
30033
ttttt+↑
2
30033
tItttt+↑
>
00232
ttttt3↓
>
+
00232
ttttt4↓
+
Ä !!
â>
30033
«t «t «t«t «t
1↓
>
+ 2
30033
tItttt+↑
30033
ttttt
>
3 +
30033
ttttt4↓
+ 1
tItttt
30033
>
ttttt+↑
2
30033
tItttt
30033
+↑
>
ttttt3↓
+
30033
>
ttttt4↓
+
>
00232
AAAAA1↓
2 3 4+ + + + 4321
AAAAA # #
1
A I
11
2
1
G I
3 4
2
D I
3
1 1
A I
11
G/A I
1
A I
11
2
1
G I
3 42
D I
3
1
1
A I
11
3
2
1
C I
2
D I
3
1 1
A I
112
1
G I
3 4
2
D I
3
1
2
1
G I
3 42
D I
3
1
Bo Diddley Style #1cp 1.575 cp 1.575
315
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.576
Ä 44
â 44Ω ø
ΩΩ ø>
30033
ttttt1↓
30033
ttttt+↑
30033
ttttt2↓
>
30033
ttttt+↑
30033
ttttt3↓
30033
ttttt+↑
>
30033
ttttt4↓
30033
ttttt+↑
30033
ttttt1↓
30033
ttttt+↑
>
30033
ttttt2↓
>
+
1333
" tt"tt3↓
>
+
3555
tttt4↓
+
30033
ttttt>
1↓
30033
ttttt+↑
30033
ttttt2↓
30033
ttttt>
+↑
30033
ttttt3↓
30033
ttttt+↑
30033
ttttt>
4↓
30033
ttttt+↑
æø
ææø30033
tItttt1↓
>
33211
ttttt+↑
2
33211
tItttt+↑
>
32010
ttttt3↓
>
+
32010
ttttt4↓
+
Ä
â>
33211
ttttt1↓
33211
ttttt+↑
33211
ttttt2↓
>
32010
ttttt+↑
32010
ttttt3↓
32010
ttttt+↑
>
30033
ttttt4↓
30033
ttttt+↑
30033
ttttt1↓
>
00232
tttt!t
+↑
00232
ttttt2↓
00232
ttttt+↑
>
022100
ttt!ttt3↓
>
+
022100
tttttt4↓
+
022100
AAAAAA1 2 3 4
Ä
âΩ ø
ΩΩ ø>
0222
ttt!t1↓
0222
tttt+↑
0222
tttt2↓
>
0222
tttt+↑
0222
tttt3↓
0222
tttt+↑
>
0222
tttt4↓
0222
tttt+↑
0222
ttt!t1↓
0222
tttt+↑
>
0222
tttt2↓
0222
tttt+↑
>
32010
ttt#tt3↓
>
+
00232
tttt!t
4↓
+
>
0222
ttt!t1↓
0222
tttt+↑
0222
tttt2↓
>
0222
tttt+↑
0222
tttt3↓
0222
tttt+↑
>
0222
tttt4↓
0222
tttt+↑
æø
ææø0222
tItt!t1↓
>
30033
ttttt+↑
2
30033
tItttt+↑
>
00232
tttt!t
3↓
>
+
00232
ttttt4↓
+
Ä
â>
1
30033
«t «t «t«t «t
↓>
+ 2 +
30033
tItttt↑
3
30033
ttttt
>
+ 4
30033
ttttt↓
+ 1
tItttt
30033
>
+
ttttt↑
2
30033
+
tItttt
00232
↑>
3
tttt!t
↓+
00232
>
4
ttttt↓
+
æ
ææ>
1
0222
ttt!t↓
>
2+
0222
tttt↓
>
+
0222
tttt↑
3
tttt
0222
>
+
tttt
0222
↑>
4
tttt↓
+
2
1
G I
3 4
1
3 3
Bb I
3
1
3 3
C III
3 2
1
G I
3 4
2
1
F I
43
1
3
2
1
C I
2
1
F I
43
1
3
2
1
C I
2
1
G I
3 4
2
D I
3
11
E I
32
1
A I
11
3
2
1
C I
2
D I
3
1 1
A I
112
1
G I
3 4
2
D I
3
1
2
1
G I
3 42
D I
3
1 1
A I
11
Bo Diddley Style #1(continued)
cp 1.576 cp 1.576
316
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.580
Ä 44
â 440
t2
t
2
t
0
tH
1
t
0
t
2
t
0
t
0
t
3
t
0
tH
2
t
0
t
3
t0
t0
t1
tP
0
t
0
t
0
t2
t
2
t
1
!t
2
tS
0
t
Äâ
0
t2
t2
t
2
t3
t1
tP
0
t2
t3
t2
t0
t
2
t1
tH3
t4
0
t3
t
3
t0
t2
t0
t
3
t2
! t æøææø0
t2
t2
t001
||!|
ÄâΩ øΩΩ ø0t
2
t2
t
2
t
2
t3
tH
0
t1.
3
t3
t0
tH
2
t1
t
0
t
3
t0
tH
2
t0
t1
tP0
t2
t0
tP
æøææø3
t2
t1
t
2
t
2
t0
t0
t0
t
Äâ
Û
0
t7
tt5
tt00
||||2.
æææ
AAAA
1
Am I
32
3
2
1
C I
3
2
G I
4
1 1
E I
32
1
Am I
32
3
2
1
C I
2
1
G I
3 4
1
E I
32
1
Am I
32 2
1
F I
43 3
2
G I
4
1
2
1
F I
3
Em I
2
1
Am add9 I
3
Ornamenting Open Chords #1cp 1.580 cp 1.580
317
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.581
Ä !! 44
â 440
t2
t22
tt
2
t
2
t
2
tY
3
tS
0
tY
3
t
2
tS
2
t
3
t0
t00
tt
0
t0
t0
tYH1
#t
1
tYP0
t
0
t
2
t
Ä !!
â 0
t2
t23
tt
2
t3
t2
tY3
tH
3
tYP2
t0
t3
t
2
t
0
t2
t22
||
3
t2
t0
t
2
t0
t0
t
3
# t#
Ä !!
â0
t2
t2
t
2
tH
4
t2
t2
t t
4
P
t2
t
2
t3
t2P
t
2
t
3
t0
t0
t
0
tH
2
t0
t0
t t2
P
t0
t
0
t1
#t0P
t0
t
Ä !!
â 0
t2
t3
t2
t4
t4H
2
t2
tP
t0
t3
t2
t3
P
t2
t3
t
0
t2
t2
t2
tH
4
t2
t0
t3
t2
t0
t
2
t0
t0
t3
# t#
æææ0
t2
t22
||
"A" Mixolydian scale
4
A I
32 4
A I
32
4 3
2
G I
4 3
2
G I
4
1
2
D I
3
1 2
D I
3
1
41
A I
11
2
1
G I
1
D/F# I
1
A I
11
1
A I
3
1 12
3
2
G I
4 3
2
G I
4
1
2
D I
3
1 2
D I
3
1 2
D I
3
1
4
1
A I
11
2
1
G I
1
D/F# I
1
A I
11
Ornamenting Open Chords #2cp 1.581 cp 1.581
318
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6041
Ä !!! 44
â 44Ω ø
ΩΩ øtttttt
577655
↓
tttttt
577655
↓
tttttt
5777
tttt
5777
↓
tttt
00000
↓
tt#ttt↓
æø
ææø
tttt
7999
↓
tttt
7999
↓
tttt
5777
tttt
5777
↓
tttt
00000
↓
tt#ttt↓
tttttt
577655
↓
tttttt
577655
↓
tttttt
5777
tttt
5777
↓
tttt
00000
↓
tt#ttt↓
tttt9997
↓
tttt9997
↓
tttt
0000
tt#tt
0222
↓
tttt
0000
↓
tttt↓
Ä !!!
âΩ ø
ΩΩ ø 0222AAAA↓
æø
ææø||||
0000
0222
0000
tttt tt#tt↓
tttt↓
tttt↓
0222
AAAA↓
æ
ææ«| «| «| «|
17
S
t¢¢↓
Ä !!!
âΩ øΩΩ øtttttt
577655↓
tttttt
577655↓
tIttttt
577655↓
d
5777
d
5777
tIttt↓
tIttt↓
d æøææø
↓
# tttt8997
↓
tttt8997
↓
tYttt8997
d
5777
d
5777
↓
tIttt↓
tIttt d Ω øΩΩ øttttt
57765
↓
d
57765
tItttt
5777
↓
tttt↓
5777
d tIttt↓
æøææø
#tttt7998
↓
tttt7998
↓
tYttt7998
↓
d
5777
tttt
5777
↓
5777
tttt
5777
↓
tttt
5777
↑
tttt tttt↑
tttt↓
æææ
tIttttt
577655↓
d c b
Ä !!!
âΩ øΩΩ øtttttt
577655↓
tttttt
577655↓
tttttt
577655↑
tttttt
577655↓
ttt#ttt
000000↑
ttt!ttt
799877↓
tttttt
000000↑
# t# tt# t#t# t889
10108
↓
tttttt889
10108
↓
tttttt889
10108
↑
tttttt889
10108
↓
tttttt889
10108
↑
c # tt#ttt#t
355433↓
tttttt
355433↓
tttttt
355433↑
tttttt
355433↓
tttttt
355433↑
c æøææø
tttt
5777
↓
tttt
5777
↓
tttt
5777
↑
tttt
5777
↓
tttt
5777
↑
c
play these two bars three times
2
1
A V
4
11
3
Song #1
1
3 3
D V
3
1
3 3
E VII
3
1
3 3
D V
3
2
1
A V
4
11
3
1
3 3
D V
3
1
3 3
E VII
3
1
A I
11
fine
1
A I
11
Song #2
play these two bars three times
1
A I
11 1
A I
11D.C. al fine
2
1
A V
4
11
3
play these two bars four times
Song #3
1
3 3
D V
3
2
1
Em VII
4
1
3
1
3 3
D V
3
2
1
A V
4
11
3
play these two bars four times
1
3 3
D V
3
2
1
Em VII
4
1
3
1
3 3
D V
3
2
1
A V
4
11
3
2
1
A V
4
11
3
2
1
B VII
4
11
3
2
1
C VIII
4
11
3
2
1
G III
4
11
3
1
3 3
D V
3
Barre Chord Songs cp 1.6041cp 1.6041
319
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6042
Ä !!! 44â 44
Ω øΩΩ ø# t
3
↓
# t#tt
555
↓
# t3
↓
t3
↓
#tttt3345
↓
t5
↓
ttt777
↓
t5
↓
t5
↓
tttt5567
↓
t7
↓
ttt999
↓
t7
↓
ttt777
↓
ttt777
↑
ttt777
ttt777
↑
ttt↓
æøææø
t7
↓
ttt999
↓
t7
↓
ttt999
↓
ttt999
↑
ttt999
ttt999
↑
ttt↓
# # # ""
Ä "" 44â 44
Ω øΩΩ øttttt
68876
↓
c
133211
355333
d tIttttt↓
d tIttttt↓
æøææø
tttttt
355333
↓
c
6888
68876
d tYttt↓
d tItttt↓
æææ
ttttt
68876
↓
c b # #
Ä 44â 44Ω øΩΩ ø
tttttt889
10108
↓
tttttt889
10108
↓
tttttt889
10108
↓
tttttt889
10108
↓
d
8101010
tYttt8
101010
↓
tttt8
101010
↓
tttt↓
tttttt
577555
↓
tttttt
577555
↓
tttttt
577555
↓
tttttt
577555
↓
d
5776
tIttt
5776
↓
tttt
5776
↓
tttt↓
tttttt889
10108
↓
tttttt889
10108
↓
tttttt889
10108
↓
tttttt889
10108
↓
d
8101010
tYttt8
101010
↓
tttt8
101010
↓
tttt↓
æøææø
tttttt
577555
↓
tttttt
577555
↓
tttttt
577555
↓
tttttt
577555
↓
d
355433
tIttttt
355433
↓
tttttt
355433
↓
tttttt↓
Äâtttttt
133211
↓
tttttt
133211
↓
tttttt
133211
↓
tttttt
133211
↓
d
133211
tIttttt
133211
↓
tttttt
133211
↓
tttttt↓
tttttt
355433
↓
tttttt
355433
↓
tttttt
355433
↓
tttttt
355433
↓
d
355433
tIttttt
355433
↓
tttttt
355433
↓
tttttt↓
tttttt
133211
↓
tttttt
133211
↓
tttttt
133211
↓
tttttt
133211
↓
d
133211
tIttttt
133211
↓
tttttt
133211
↓
tttttt↓
tttttt
355433
↓
tttttt
355433
↓
tttttt
355433
↓
tttttt
355433
↓
tIttttt
355433
↓
d c "
1
3 3
C III
3
Song #4
Song #5
2
1
G III
4
11
3
1
3 3
D V
3
2
1
A V
4
11
3
1
3 3
E VII
3
1
D/E VII1 1 1 1
3 3
E VII
3
2
1
Bb VI
4
11
3
Song #6
2
1
F I
4
11
3
1 1
Gm III
4
11
3
1
3 3
Eb VI
32
1
Bb VI
4
11
3
2
1
C VIII
4
11
3
1
3 3
F VIII
3
1 1
Am V
4
11
3
1
4
2
Dm V
32
1
C VIII
4
11
3
1
3 3
F VIII
3
1 1
Am V
4
11
3
2
1
G III
4
11
3
2
1
F I
4
11
3
2
1
G III
4
11
32
1
F I
4
11
3
2
1
G III
4
11
3
Barre Chord Songs (continued) cp 1.6042cp 1.6042
320
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6043
Ä " 44â 44
Ω øΩΩ ø||||||
133211↓
«t «t «t «t «t«t
133211↓tIttttt
133211↑
d
133211
tIttttt
133211
↑tttttt↓
133211
tttttt↓
3555
tttt↓
tttt
3555
↓
tttt
1333
↓
«t «t «t «t
1333
↓
tIttt
1333
↑
æøææø
d
1333
tIttt
1333
↑
tttt↓
1333
tttt↓
1333
tttt↓
||||||
355333↓
«t «t «t «t«t «t
355333↓
tIttttt
355333↑
tttttt
355333↓
||||||
355333↓tttttt
133211↓
Ä "âtttttt
133211↓
tttt
3555
↓
«t «t «t «t
3555
↓
tIttt
3555
↑
d
3555
tIttt
3555
↑
tttt↓
3555
tttt↓
3555
tttt↓
||||||
355333↓
«t «t «t «t«t «t
355333↓
tIttttt
355333↑
tttttt
355333↓
||||||
355333↓tttttt
133211↓tttttt
133211↓
tttt
1333
↓
«t «t «t «t
1333
↓
tIttt
1333
↑
æææ
d
1333
tIttt
1333
↑
tttt↓
1333
tttt↓
1333
tttt↓
"""
Ä """ 44â 44
b
68876
68876
c ttttt↓
ttttt↓
Ω øΩΩ ø
↓
ttttt
8101088
↓
ttttt
8101088
↓
ttttt
8101088
↓
ttttt
8101088
c
68876
68876
↓
ttttt↓
ttttt æøææø
↓
ttttt
46654
↓
ttttt
46654
↓
ttttt
46654
↓
ttttt
46654
c
68876
68876
↓
ttttt↓
ttttt
Ä """â
Ω øΩΩ øt8
↓
ttttt
8101088
↓
t8
↓
ttttt
8101088
↓
e
68876
ttttt
68876
↑
ttttt
68876
↓
ttttt
68876
↑
ttttt
68876
↓
ttttt
68876
↑
ttttt↓
æøææø
t4
↓
ttttt
46654
↓
t4
↓
ttttt
46654
↓
e
68876
ttttt
68876
↑
ttttt
68876
↓
ttttt
68876
↑
ttttt
68876
↓
ttttt
68876
↑
ttttt↓
# # # !
2
1
F I
4
11
3
Song #7
1
3 3
C III
3
1
3 3
Bb I
3
1 1
Gm III
4
11
3
2
1
F I
4
11
3
Song #8
1
3 3
C III
3
1 1
Gm III
4
11
32
1
F I
4
11
3
1
3 3
Bb I
3
2
1
Bb VI
4
11
3
1 1
Cm VIII
4
11
32
1
Bb VI
4
11
32
1
Ab IV
4
11
3
2
1
Bb VI
4
11
3
1 1
Cm VIII
4
11
3
2
1
Bb VI
4
11
32
1
Ab IV
4
11
3
2
1
Bb VI
4
11
3
Barre Chord Songs (continued) cp 1.6043cp 1.6043
321
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6044
Ä ! 44â 44
Ω ø
ΩΩ øtttttt
355433↓
tttttt
355433↑
tttttt
355433↓
tttttt
355433↑
tIttttt
355433↓
d d d tttt
5777
↓
tttt
5777
↑
tttt
5777
↓
tttt
5777
↑
tIttt
5777
↓
«t «t «t «t
5778
↑
ttttt
35533↓
ttttt
35533↑
ttttt
35533↓
ttttt
35533↑
tItttt
35533↓
d
35533
ttttt
35533
↓
ttttt↑
æø
ææøttttt
35533↓
ttttt
35533↑
tItttt
35533↓
d
35533
ttttt
35533
↓
ttttt↑
c tttt
5777
↓
tttt
5777
↑
tttt
5777
↓
tttt
5777
↑
tIttt
5777
↓
d
35533
ttttt
35533
↓
ttttt↑
æø
ææøttttt
35533↓
ttttt
35533↑
ttttt
35533↓
ttttt
35533↑
tItttt
35533↓
d
35533
ttttt
35533
↓
ttttt↑
Ä !
âtttttt
755433
↓
tttttt
755433
↓
tttttt
755433
↓
tttttt
755433
↓
Ω øΩΩ øtttt
5777
↓
tttt
5777
↑
tttt
5777
↓
tttt
5777
↑
tIttt
5777
↓
d
35533
ttttt
35533
↓
ttttt↑
æøææø
ttttt
35533
↓
ttttt
35533
↑
ttttt
35533
↓
ttttt
35533
↑
tItttt
35533
↓
d
35533
ttttt
35533
↓
ttttt↑
æææ
tttttt
755433
↓
ccbb
!!!!
Ä !!!! 44
â 44Ω ø
ΩΩ ø
tttt
7999
↓
tttt
7999
↓
tttt
7999
↓
tttt
7999
↓
tttt
7999
↓
tttt
7999
↓
tttt
7999
↓
tttt
7999
↓
æø
ææø
tYttt
7999
↓
«#t «t «#t «t
5777
↓
ttttt
57765
↓
tttt
5777
↓
tt
02
↓
tt
02
↓
tt
04
↓
tt
04
↓
tt
02
↓
tt
02
↓
tt
04
↓
ttt
022
↓
ttt
022
ttt
04
↓
tt
04
↓
tt
02
↓
tt
02
↓
tt
04
↓
tt
022
↓
ttt↓
ttt
022
ttt
04
↓
tt
04
↓
tt
02
↓
tt
02
↓
tt
04
↓
tt
022
↓
ttt↓
ttt
022
ttt
04
↓
tt
04
↓
tt
02
↓
tt
02
↓
tt
04
↓
tIt↓
d
Ä !!!!
âttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
tttt
2444
↓
tttt
2444
tttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
2444
↓
tttt↓
tttt
2444
tttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
2444
↓
tttt↓
tttt
2444
tttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
ttt
244
↓
tItt↓
d Ω ø
ΩΩ ø
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↓
æø
ææøtIttt
7999
↓
«#t «t «#t «t
5777
↓
ttttt
57765
↓
tttt
5777
↓
æ
ææ
tYttt9997
↓
d c b # # # # !
2
1
G III
4
11
3
play these four bars 4 times
Song #9
1
3 3
D V
3 3
D sus. 4 V
43 3
1
4
1
C sus. 2 III
3
11
play these two bars 3 times
1
3 3
D V
3 4
1
C sus. 2 III
3
11
2
1
G III
4
11
3
Song #10
1
3 3
D V
3 4
1
C sus. 2 III
3
11
2
1
G III
4
11
3
1
3 3
E VII
3
play these two bars four times
1
3 3
D V
3
2
1
A V
4
11
3
1
3 3
D V
3
1
A I
11
1
3 3
B II
3
1
3 3
E VII
3
play these two bars four times
1
3 3
D V
3
2
1
A V
4
11
3
1
3 3
D V
3
1
3 3
E VII
3
Barre Chord Songs (continued) cp 1.6044cp 1.6044
322
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6045
Ä ! 22â 22
Ω øΩΩ ø||||||
355433
↓
«t «t «t «t«t «t
355433
↓
tIttttt
355433
↑
tttttt
355433
↓
tttttt
355433
↑
tttttt
355433
↓
tttttt
355433
↓
tttttt
355433
↑
tttttt
355433
↓
|#||#|1010108
↓
«t «t «t «t
8101010
↓
tYttt
8101010
↑
æøææø
tYttt
6888
t"t" t"t↑
6888
tYttt6888
↑
tttt↓
333333
tt#tttt↓
AAAAAA
355433
↓
AAAAAA
a
Ä ! 22â 22
Ω øΩΩ ø 3
55433
||||||↓
355433
«t «t «t «t«t «t
↓
355433
tIttttt↑
355433
tttttt↓
355433
tttttt↑
355433
tttttt↓
355433
tttttt↓
355433
tttttt↑
355433
tttttt↓
355433
tttttt↑
3555
||||↓
3555
«t «t «t «t↓
3555
tIttt↑
æøææø3
555
tttt↓
3555
tttt↑
3555
tttt↓
3555
tttt↓
3555
tttt↑
3555
tttt↓
3555
tttt↑
AAAAAA
355433
↓
æææ
AAAAAA !!!!
Ä !!!! 44â 44
Ω øΩΩ ø
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↑
tttt9997
↓
tttt9997
↑
e9997
tZttt9997
↑
e9997
tZttt9997
↑
tttt9997
↓
tttt9997
↑
tttt↓
tttt↑
#tt#tt
5777
↓
tttt
5777
↓
tttt
5777
↓
tttt
5777
↑
tttt
5777
↓
tttt
5777
↑
e
5777
tJttt
5777
↑
e
5777
tJttt
5777
↑
tttt
5777
↓
tttt
5777
↑
tttt↓
tttt↑
tttttt
577655
↓
tttttt
577655
↓
tttttt
577655
↓
tttttt
577655
↑
tttttt
577655
↓
tttttt
577655
↑
e
577655
tJttttt
577655
↑
e
577655
tJttttt
577655
↑
tttttt
577655
↓
tttttt
577655
↑
tttttt↓
tttttt↑
æøææø
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↑
tttt9997
↓
tttt9997
↑
e9997
tZttt9997
↑
e9997
tZttt9997
↑
tttt9997
↓
tttt9997
↑
tttt↓
tttt↑
Ä !!!!
âΩ ø
ΩΩ ø
tttttt778997
↓
tttttt778997
↓
tttttt778997
↓
tttttt778997
↑
tttttt778997
↓
tttttt778997
↑
e778997
tZttttt
778997
↑
e778997
tZttttt
778997
↑
tttttt778997
↓
tttttt778997
↑
tttttt↓
tttttt↑
tttttt778997
↓
tttttt778997
↓
tttttt778997
↓
tttttt778997
↑
tttttt778997
↓
tttttt778997
↑
e778997
tZttttt
778997
↑
e778997
tZttttt
778997
↑
tttttt778997
↓
tttttt778997
↑
tttttt↓
tttttt↑
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↑
tttt9997
↓
tttt9997
↑
e9997
tZttt9997
↑
e9997
tZttt9997
↑
tttt9997
↓
tttt9997
↑
tttt↓
tttt↑
æø
ææø
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↑
tttt9997
↓
tttt9997
↑
e9997
tZttt9997
↑
e9997
tZttt9997
↑
tttt9997
↓
tttt9997
↑
tttt↓
tttt↑
2
1
G III
4
11
3
Song #11
1
3 3
F VIII
3
1
3 3
Eb VI
3
1 1
Gm11 III
11 1 1
2
1
G III
4
11
3
2
1
G III
4
11
3
Song #12
1
3 3
C III
3
2
1
G III
4
11
3
1
3 3
E VII
3
1
3 3
D V
3
2
1
A V
4
11
3
1
3 3
E VII
3
2
1
B VII
4
11
3
1
3 3
E VII
3
Barre Chord Songs (continued) cp 1.6045cp 1.6045
323
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6046
Ä !!!! 44â 44
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↑
tttt9997
↓
tttt9997
↑
e9997
tZttt9997
↑
e9997
tZttt9997
↑
tttt9997
↓
tttt9997
↑
tttt↓
tttt↑
#tt#tt
5777
↓
tttt
5777
↓
tttt
5777
↓
tttt
5777
↑
tttt
5777
↓
tttt
5777
↑
e
5777
tJttt
5777
↑
e
5777
tJttt
5777
↑
tttt
5777
↓
tttt
5777
↑
tttt↓
tttt↑
tttttt
577655
↓
tttttt
577655
↓
tttttt
577655
↓
tttttt
577655
↑
tttttt
577655
↓
tttttt
577655
↑
e
577655
tJttttt
577655
↑
e
577655
tJttttt
577655
↑
tttttt
577655
↓
tttttt
577655
↑
tttttt↓
tttttt↑
tttt9997
↓
tttt9997
↓
tttt9997
↓
tttt9997
↑
tttt9997
↓
tttt9997
↑
||||
Ä !!!! 44â 44
Ω øΩΩ øc
7999
7999
tYttt↓
d c tYttt↓
d c
7999
7999
tYttt↓
d c tYttt↓
d c
466544
466544
tItt!ttt↓
d c tIttttt↓
d c
466544
466544
tItt!ttt↓
d c tIttttt↓
d
Ä !!!!
âc
4665
4665
tIttt↓
d c tIttt↓
d c
4665
4665
tIttt↓
d c tIttt↓
d c778997
778997
tYttttt↓
d c tYttttt↓
d æøææø
c778997
778997
tYttttt↓
d c tYttttt↓
d
Ä !!!!
âΩ ø
ΩΩ øc
577655
577655
tIttttt↓
d c tIttttt↓
d c778997
778997
tYttttt↓
d c tYttttt↓
d c9997 6
887
tYttt↓
d c tI!ttt↓
d æø
ææøc
4665
4665
tIttt↓
d c tIttt↓
d
1
3 3
E VII
3
Song #13
1
3 3
D V
3
2
1
A V
4
11
3
1
3 3
E VII
3
1
3 3
E VII
3
2
1
G# IV
4
11
3
2
1
C#m IV
4
1
32
1
B VII
4
11
3
2
1
A V
4
11
3
play these four bars three times
2
1
B VII
4
11
3
1
3 3
E VII
3
2
1
D#m VI
4
1
3
2
1
C#m IV
4
1
3
Barre Chord Songs (continued) cp 1.6046cp 1.6046
324
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6047
Ä !!!! 44â 44
c
577655
577655
tIttttt↓
d c tIttttt↓
d c778997
778997
tYttttt↓
d c tYttttt↓
d ||||9997
↓
|!|||
6887
↓
||||
4665
↓
||||||778997
↓
||||||
577655
↓
||||||778997
↓
æææ
AA#AA
7675
↓
# # # #
Ä 44â 44Ω ø
ΩΩ øtttttt
577555
↓
tttttt
577555
↓
tttttt
577555
↓
tttttt
577565
↑
tttttt
577555
↓
tttttt
355433
↑
d
355433
tIttttt
355433
↑
d
355433
tIttttt
355433
↑
tttttt
355433
↓
tttttt
355433
↑
tttttt↓
tttttt↑
tttttt
577555
↓
tttttt
577555
↓
tttttt
577555
↓
tttttt
577565
↑
tttttt
577555
↓
tttttt
355433
↑
d
355433
tIttttt
355433
↑
d
355433
tIttttt
355433
↑
tttttt
355433
↓
tttttt
355433
↑
tttttt↓
tttttt↑
Äâtttttt
133211
↓
tttttt
133211
↓
tttttt
133211
↓
tttttt
133211
↑
tttttt
133211
↓
tttt
3555
↑
d
3555
tIttt
3555
↑
d
3555
tIttt
3555
↑
tttt
3555
↓
tttt
3555
↑
tttt↓
tttt↑
t!ttt
7675
↓
tttt
7675
↓
tttt
7675
↓
tttt
7675
↑
tttt
7675
↓
tttt
7675
↑
æøææø
d
7675
tI!ttt
7675
↑
d
7675
tIttt
7675
↑
tttt
7675
↓
tttt
7675
↑
tttt↓
tttt↑
"
2
1
A V
4
11
3
2
1
B VII
4
11
3
1
3 3
E VII
3
2
1
D#m VI
4
1
3
2
1
C#m IV
4
1
3
2
1
B VII
4
11
3
2
1
A V
4
11
3
2
1
B VII
4
11
3 3
2
1
E7 V
4
1 1
Am V
4
11
3
Song #14
2
1
G III
4
11
3
1 1
Am V
4
11
3
2
1
G III
4
11
3
2
1
F I
4
11
3
1
3 3
C III
3 3
2
1
E7 V
4
Barre Chord Songs (continued) cp 1.6047cp 1.607
325
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.6048
Ä " 44â 44
Ω øΩΩ ø 5776tttt↓
5776
tttt↑
d
5776
tIttt
5776
↑
tttt
5776
↓
tttt
3555
↑
d tIttt↑
3555
tttt↓
3555
tttt↑
d
1333
tIttt
1333
↑
tttt
1333
↓
tttt
0222
↑
d tItt!t↑
0222
ttt!t↓
0222
tttt↑
d
0222
tIttt
0222
↑tttt
0222
↓tttt
0222
↑
d tIttt↑
æøææø0
222
ttt!t↓
0222
tttt↑
d
0222
tIttt
0222
↑tttt
0222
↓tttt↑
c
Ä "â 1
123
«t «t «t «t↓
1123
tYttt↑
tttt1123
tttt1123
↑
tttt1123
↓
tttt↑
1123
tttt↓
1123
tttt↑
1123
tttt↓
1123
tttt↑
«t «t «t «t3555
tIttt↑
3555
tttt↓
3555
tttt↑
d
3555
tIttt
3555
↑
tttt
3555
tttt
3555
↑
tttt↓
tttt↑
3555
tttt↓
3555
tttt↑
d
3555
tIttt
3555
↑
tttt
3555
tttt
3555
↑
tttt↓
tttt↑
tttt
1333
↓
tttt
1333
↑
d
1333
tIttt
1333
↑
tttt
1333
tttt
1333
↑
tttt↓
tttt↑
Ä "â
tttt
1333
↓
tttt
1333
↑
d
1333
tIttt
1333
↑
tttt
1333
tttt
5876
↑
tttt↓
tttt↑
tttt
5776
↓
tttt
5776
↑
tttt
5776
↓
tttt
5776
↑
tttt
5776
tttt
5776
↑
d tIttt↑
tttt
5776
↓
tttt
5776
↑
d
1333
tIttt
1333
↑
d
1333
tIttt↑
d tIttt↑
tttt
3555
↓
tttt
3555
↑
d
3555
tIttt
3555
↑
tttt
3555
↓
tttt
3555
↑
d tIttt↑
tttt
3555
↓
tttt
3555
↑
d
1333
tIttt
1333
↑
d
1333
tIttt↑
d tIttt↑
tttt
3555
↓
tttt
3555
↑
d
3555
tIttt
3555
↑
tttt
3555
↓
tttt
3555
↑
d tIttt↑
Ä "âtttt
3555
↓
tttt
3555
↑
d
3555
tIttt
3555
↑
tttt
3555
↓
tttt
3555
↑
tIttt↓
d Ω øΩΩ øtttt
5776
↓
tttt
5776
↓
tttt
5776
↑
tttt
5776
↓
tttt
3555
↑
d
1333
tIttt↑
«t «t «t «t
1333
1333
1333
tIttt
3555
↑
tttt↓
tttt↑
d tIttt↑
tttt
3555
↓
tttt
3555
↑
d
3555
tIttt
3555
↑
tttt
3555
↓
tttt
3555
↑
d tIttt↑
æøææø
tttt
3555
↓
tttt
3555
↑
d
3555
tIttt
3555
↑
tttt
3555
↓
tttt↑
c
1
4
2
Dm V
3
1
Song #15
1
3 3
C III
3
1
3 3
Bb I
3
1
A I
11
2
1
F I
3
1 1
3 3
C III
3
1
3 3
Bb I
3
1
4
2
Dm V
3
1 1
3 3
Bb I
3
1
3 3
C III
3
1
3 3
Bb I
3
1
3 3
C III
3
1
4
2
Dm V
3
1 1
3 3
C III
3
1
3 3
Bb I
3
1
3 3
C III
3
Barre Chord Songs (continued) cp 1.6048cp 1.6048
326
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.622
Ä !!!! 22â 22
Swing Eighths
12141314
||||10121112
# |||#|79797
AA#AAA12141314
||||10121112
# |||#|79797
||#|||5767
||||
Ä !!!!â 2
100
||||342
#ttt4
t342
ttt0202
tIt#tt0
«t2120
tIttt2
«t2100
«t «t «t «t20212
tYtttt20212
tYtttt d20212
ttttt AAAAA aÄ !!!!â
Ω øΩΩ ø 02tt
02
tt04
tt04
tt02
tt02
tt2
t4
tH
22
tt4
t éé
éé
éé
Ä !!!!â
02
tt02
tt04
tt04
tt02
tt02
tt2
tH
4
t2
t4
t éé
02
tt02
tt04
tt04
tt02
tt02
tt2
t4
tH
22
tt4
téé
Ä !!!!â
244
ttt244
ttt3
toI
46
|S3 1
1
44
tItd44
tt1
31
6
1
t4
t6
t3
02
tt02
tt04
tt04
tt05
t#t05
tt04
tt04
tt0
t 3
#t0
tY0
«t0202
tIt#tt0
«t
2120
tIttt2
«t2100
«t «t «t «t20212
tYtttt20212
tYtttt d20212
ttttt1.
æøææø
AAAAAa
æææ0
2213
AAAA#A2.
2
E6 XII
3
1
4
2
E9 X
3
1
4
E7 VII
3
1
4
1 12
E6 XII
3
1
4
2
E9 X
3
1
4
E7 VII
3
1
4
1 1
2
A6 V
3
1
4
1
E I
2 3
E7 II
3
2
4
13
A7 I
2 2
1
B7 I
3 41
E I
2 3 2
1
B7 I
3 4
E
A E
B A7 EA7 B7 E B7
1
E7 I
2 3
4
Mississippi Blues #1 In Ecp 1.622 cp 1.622
327
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.741
Ä ! 44â 44
022000
||||||↓
tttttt
02010
ttttt
02010
↑
d
02010
ttttt↓
«t «t «t «t «t↑
022000
||||||↓
tttttt
00232
ttttt
00232
↑
d
00232
ttttt↓
«t «t «t «t«t
↑
022000
||||||↓
tttttt
02010
ttttt
02010
↑
d
02010
ttttt↓
«t «t «t «t «t↑
022000
||||||↓
tttttt
00232
ttttt
00232
↑
d
00232
ttttt↓
«t «t «t «t«t
↑
Ä !
â02010
|||||↓
ttttt
320033
tttttt
00232
↑
d
00232
ttttt↓
«t «t «t «t«t
↑ ↓
02010
||||| ttttt
320033↑
tttttt
00232
d
00232
↓
ttttt
↑
«t «t «t «t«t
022000
||||||↓
tttttt
02010
ttttt
02010
↑
d
02010
ttttt↓
«t «t «t «t «t↑
022000
||||||↓
tttttt
00232
ttttt
00232
↑
d
00232
ttttt↓
«t «t «t «t«t
↑
Ä !
â3443
tJttt↓
d«
3443
3443
3443
tJttt↓
d« tJttt↓
d« tJttt↓
d«
31202
tJ!tttt↓
d«
31202
31202
31202
tJtttt↓
d« tJtttt↓
d« tJtttt↓
d«
02010
tJtttt↓
d«
02010
02010
02010
tJtttt↓
d« tJtttt↓
d« tJtttt↓
d«
31202
tJ!tttt↓
d«
31202
31202
31202
tJtttt↓
d« tJtttt↓
d« tJtttt↓
d«
Ä !
â02010
tJtttt↓
d«
02010
02010
02010
tJtttt↓
d« tJtttt↓
d« tJtttt↓
d«
02010
tJtttt↓
d«
02010
tJtttt↓
d«
02010
tJtttt↓
d«
02010
tJtttt↓
d«
022000
||||||↓
tttttt
02010
ttttt
02010
↑
d
02010
ttttt↓
«t «t «t «t «t↑
æø
ææø022000
||||||↓
tttttt
00232
ttttt
00232
↑
d
00232
ttttt↓
«t «t «t «t«t
↑
æ
ææ022000
||||||↓
b
Em I
32
1
Am7 I
2
Em I
32 2
D I
3
1
Em I
32
1
Am7 I
2
Em I
32 2
D I
3
1
1
Am7 I
2
2
1
G I
3
2
D I
3
11
Am7 I
22
1
G I
3
2
D I
3
1
Em I
32
1
Am7 I
2
Em I
32 2
D I
3
1
2
Gma7 III
43
12
1
B7 I
3 4
1
Am7 I
2 2
1
B7 I
3 4
1
Am7 I
2
Em I
32
1
Am7 I
2
Em I
32 2
D I
3
1
Em I
32
Albert King Style #1rhythm guitar
cp 1.741 cp 1.741
328
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.770
Ä !!!! 44â 44
ÛSwing Eighths
S
SS
# toYtt
111010 12
1213
ttt121213
ttt121213
ttt Û121213
ttt121213
ttt121213
ttt Û121213
ttt121213
ttt121213
ttt Û4
15
t1
12
t15
t4
S
2
toY
1213
t2
14
t
1216
tt
1216
tt
1214
tt
1214
tt
1216
tIt d
Ä !!!!â
Û# toYtt
111010
ttt121213
SSS
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Û4
t
15
1
t12
t
15
S2
!toY
12
t13
2
#t14
tt
1216
tt
1216
tt1214
toY
1213
t1212
tt
Ä !!!!â
57
tt57
tt59
tt59
tt57
tt57
tt59
tt59
tt57
tt57
tt59
tt59
tt57
tt57
tt59
tIt d Û# toYtt
111010
ttt121213
SSS
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Û4
t
15
1
t12
t
15
S2 2
toY
12
t13
t14
tt
1216
tt
1216
tt1214
S
toY
12
t13
tt1212
Ä !!!!â
79
tt79
tt7
11
tt7
11
tt79
tt79
tt7
11
tt7
11
tt tt57
tt57
tt59
tt59
tt57
tt57
tIt59
d
0
0
tt
0
5
#tt0
5
tt
4
0
tt
4
0
tt
3
0
# tt
3
0
tt
2
0
tt0
# toI
1
!tH
2
t t202
ttt202
ttt
E7 E7
A7E7
B7 A7E7
B7
Chicago Blues #2 in Ecp 1.770 cp 1.770
329
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.771
Ä !!!! 44â 44
Ω øΩΩ ø 79tt
79
tt
711
tt
711
tt
79
tt
79
tt
711
tt
711
tt tt
57
tt
57
tt
59
tt
59
tt
57
tt
57
tIt
59
d Û# toYtt
111010
ttt121213
SSS
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Û4
t
15
1
t
12
t
15
S2
!toY
12
t
13
2
#t
14
tt
1216
tt
1216
tt
1214
S
toY
12
t
13
tt1212
Ä !!!!
âtt
57
tt
57
tt
59
tt
59
tt
57
tt
57
tt
59
tt
59
tt
57
tt
57
tt
59
tt
59
tt
57
tt
57
tIt
59
d ÛSSS
# toYtt
111010
ttt121213
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Ûttt121213
ttt121213
ttt121213
Û4
t
15
1
t
12
t
15
S22
toY
12
t
13
t
14
tt
1216
tt
1216
tt
1214
S
toY
12
t
13
tt1212
Ä !!!!
âtt
79
tt
79
tt
711
tt
711
tt
79
tt
79
tt
711
tt
711
tt
57
tt
57
tt
59
tt
59
tt
57
tt
57
tIt
59
dtt
0
0
#tt0
5
tt0
5
tt
4
0
tt
4
0
# tt
3
0
tt
3
0
æøææø
tt
2
0
# toI
0
!t1
H
t2
t202
ttt202
ttt1.
Ä !!!!â
æææ0
2
tt111112
t! t$ t121213
ttt |||2.
E7 A7E7
A7E7
B7A7
E7 B7
E7 D#7 E7
Chicago Blues #2 in E (continued)
cp 1.771 cp 1.771
330
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.820
Ä !!!! 44
â 44
Swing Eighthsb
20 1 2
d3
tI Û0
#t1
!t2
t Ω ø
ΩΩ ø02tt02
00
tt00
04
tt04
00
tt00
05
t#t04
00
tt00
04
tt04
00
tt00
ç
çç
çç
ç
Ä !!!!
â02
tt01
22
tt11
04
tt03
22
tt11
05
t#t04
22
tt11
04
tt03
22
tt11
02
tt01
22
tt11
04
tt03
22
tt11
05
t#t04
22
tt11
04
tt03
22
tt11
tt
02
01
tt
00
00
tt
04
03
tt
00
00
t#t
05
04
0
t0
2
t2
H
# toI
0 1
!t0 1
02
tt02
00
tt00
04
tt04
00
tt00
05
t#t04
00
tt00
04
tt03
00
tt00
Ä !!!!
â24
tt13
24
tt13
0
#t0
1
!t1
24
tt13
24
tt13
1
t1
4
t4
02
tt01
02
tt01
3
# t2
4
! t3
02
tt01
02
tt01
04
tt03
04
tt03
0
t0
ÛS
toI
2 4
t2 2
4
t3
4
t2
Û3
"t2
3
#t3
3
t2Û
2
t2
2
t3
2
t2
1.
æø
ææø0
100
ttt0
31
120
ttt0
d
120
31
tItt
120
0
1
d3
tItt0
c
Ä !!!!
â0
t0
ÛH
# toI
0 2
t0 2
2
t2
2
t2
Û! toI
0 2
t0 2
H
0
#t0
2
t2
Û
1
" t1
0
t0
3
# t3
2.
æø
ææø2
t2
3
# t3
Û
0
t0
1
! t1
2
t2
|
cp 1.820
E7
cp 1.820
A7 E7
B7 A7E7
Edim7 F#m7b5 E B7
E7 Edim7 F#m7b5 E B7
Mississippi Blues #2 in E
331
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.821
Ä !!!!
âΩ ø
ΩΩ ø# toI
000
!tttH
1022
ttt # toI
000
tt!tH
1
d
2
tI0
2
1
Û#t0
2
!t21
t çç
çç
çç
Ä !!!!
â# toY t!t# t555
H
6
t#tt # toY t!tt777
d tI555
H
Û
6
t !t3
7
t1
5 6
2 3
75
# toY
565
t!t# tH
777
t#tt
5
# toY
565
t!ttH
d
7
3 1
tI
5
t
6
2
!t
7
3
t
Ä !!!!
â# toI
000
!tttH
1022
ttt # toI
000
!tttH
2
1
d
2
0
tI0 1
Û#t21
2
!t t # toI
000
!tttH
1022
ttt # toI
000
!tttH
1
d
2
02
tI0 1
Û#t1
2
!t2
t
Ä !!!!
â# toY
777
t!ttH
8999
ttt # toY
777
t!ttH
8
d
9
3 1
tI
7 8
Ût2 3
9
!t t # toY
555
t!t# tH
6787
ttt # toY
555
t!ttH
Û
6
H
1 3
d
3 5
# toIt
3
Û1
t
3
1 1
"t
2
t
1
E I
2
A I
3
1
E I
1
A7 V
11
23
D VII
33 1
A7 V
11
2
1
A7 V
11
2
3
D VII
33 1
A7 V
11
2
1
E I
2
A I
31
E I
1
E I
2
A I
3
1
E I
1
B7 VII
11
2
3
E IX
33 1
B7 VII
11
21
A7 V
11
2
3
D VII
33 1
A7 V
11
2
Mississippi Blues #2 in E (continued)
cp 1.821 cp 1.821cp 1.821
332
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.822
Ä !!!!
ât
0
0
Û# toI
0
t
2
0 2
H
t
2
2
t
2
2
ÛtoI t
2
0 2
H
0
t
0
0
t
2
2
Û" t
1
1
t
0
0
# t
3
3 2
t
2
3
# t
3
Û0
t
0
1
! t
1
2
t
2
| tt
02
10
tt
00
00
tt
04
30
tt
00
00
t#t
05
40
tt
00
00
tt
04
30
tt
00
00
ç
çç
çç
ç
Ä !!!!
âtt
02
10
tt
22
11
tt
04
30
tt
22
11
t#t
00
40
tt
22
11
tt
04
30
tt
22
11
tt
02
10
tt
22
11
tt
04
30
tt
22
11
t#t
00
40
tt
22
11
tt
04
30
tt
22
11
tt
02
10
tt
00
00
tt
04
30
tt
00
00
t#t
05
40
tt
00
00
tt
04
30
tt
00
00
tt
02
10
tt
00
00
tt
04
30
tt
00
00
t#t
05
40
tt
00
00
tt
04
30
tt
00
00
Ä !!!!
â31
tt
24
31
tt
24
0
#t
0
1
!t
1
31
tt
24
31
tt
24
1
t
1
4
t
4
1
02
tt0
1
02
tt0
2
# t
3
3
! t
4
1
tt
02
01
tt
02
03
tt
04
03
tt
04
0
t
0
0
ÛS
toI
2
t
4
2 2
t
4
3
t
4
2
Û"t
3
2
#t
3
3
t
3
2
Ût
2
2
t
2
3
t
2
2
æ
ææ001
tItt
100
2
d
323
31
2
# tt!t
434
31
!t# tt |||
E7 Edim7 F#m7b5 E B7 E7
A7 E7
B7 A7 E7 Edim7 F#m7b5 E
D#7 II
1
2 3
E7 III
1
2 3
Mississippi Blues #2 in E (continued)
cp 1.822 cp 1.822
333
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.823
Ä 44â 44
Swing Eighths
" toY
8888
tI" t#ttH
9
d
8
tI
8
d
8
t101010
t
8
ttt t "toY
8888
tI" t#ttH
9
d
8
tI
8
d
8
t101010
t
8
ttt t "toY
8888
tI" t#ttH
9
d
8
tI
8
d
8
t101010
t
8
ttt t "toY
8888
tI" t#ttH
9
d
8
tI
8
d
8
t101010
t ttt d
Äâ 8
878
tY"ttt d
8
tI
8
d
8
t101010
t
8
ttt t8878
tY"ttt d
8
tI
8
d
8
t101010
t
8
ttt t "toY
8888
tI" t#ttH
9
d
8
tI
8
d
8
t101010
t
8
ttt t "toY
8888
tI" t#ttH
9
d
8
tI
8
d
8
t101010
t ttt d
Äâ 10
109
10
tYttt d
10
tI
10
d
10
t9
1010
t
8
ttt t8878
tY"ttt d
8
tI
8
d
8
t101010
t
8
ttt t "toY
8888
tI" t#ttH
9
d
8
tI
8
d
8
t101010
t
8
ttt t æøææø
" toY
8888
tI" t#ttH
9
d
10
t8
108
10
tttt
108
108
tttt
8
t101010
ttt
8
t1.
Äâ
æææ
"toY
8888
tI" t#ttH
9
d c b2.
2
1
C7 VIII
1 1 1
3
1
33
F/C VIII
2
1
C7 VIII
1 1 1
3
1
33
F/C VIII
2
1
C7 VIII
1 1 1
3
1
33
F/C VIII
2
1
C7 VIII
1 1 1
3
1
33
F/C VIII
3
F9 VII
2
1
33
1
33
F VIII
3
1
33
F VIII
2
1
C7 VIII
1 1 1
3
1
33
F/C VIII
2
1
C7 VIII
1 1 1
3
1
33
F/C VIII
31
32
G9 IX
3
F9 VII
2
1
33
1
33
F VIII
2
1
C7 VIII
1 1 1 2
1
C7 VIII
1 1 1
42
1
3
G7 VIII
3
1
33
F/C VIII
C7
Albert's King Style #2 - rhythm guitarpluck the bass notes with the thumb and the chords with the fingers
cp 1.823 cp 1.823
334
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.865
Ä 44â 44
8898
t"ttt1
7
t2
8
t4
10
t8788
tt"tt
6
"t1
10
t4
9
"t3
8898
t"ttt
7
t1
8
t2
9
!t3
10
t4
889
10
tttt1
8
"t1
7
t4
10
t
Äâ
8788
t"ttt5
t1
6
" t1
7
# t1
8
t2
8788
t"ttt6
"t1
10
t4
9
"t3
8898
t"ttt
7
t1
8
t2
9
!t3
10
t3
889
10
tttt8
"t1
7
t1
89
tt7
t1
Äâ
10101010
tttt7
t1
8
t2
9
!t2
109
1010
tttt8
t1
7
t1
10
t4
8898
t"ttt
6
" t1
5565
tt!tt
4
! t1
æøææø5
756
tttt
4
" t1
3343
tttt
7
t1
Äâ
æææ3
898
tt"tt c b
2
1
C7 VIII
1 11
3
3 3
F9 VII
1
2 3 2
1
C7 VIII
1 11
3
2
1
C VIII
3
1
3 3
F9 VII
1
2 3 3 3
F9 VII
1
2 3 2
1
C7 VIII
1 11
3
2
1
C VIII
3
1
3
2
Am7 no3 VII
1
3 3
Dm7 X
32
3 3
G9 IX
1
2 32
1
C7 VIII
1 11
32
1
A7 V
1 11
3
2
1
Dm7 V
11
3
2
1
G7 III
1 11
3
2
1
C7 VIII
1 11
3
© 1998 Jim Gleason. All Rights Reserved.
Swing Blues #1 Rhythm Guitar
cp 1.865 cp 1.865
335
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.867
Ä !!! 44
â 4457565
tIt#ttt d
57565
tItttt
57565
d
57565
tItttt d tItttt d
5455
tIt#tt d
5455
tIttt
5455
d
5455
tIttt d tIttt d
57565
tIt#ttt d
57565
tItttt
57565
d
57565
tItttt d tItttt d
57565
tIt#ttt d
57565
tItttt d
57565
tItttt d
57565
tItttt d
Ä !!!
â5455
tIt#tt d
5455
tIttt
5455
d
5455
tIttt d tIttt d
5455
tIt#tt d
5455
tIttt d
5455
tIttt d
5455
tIttt d
57565
tIt#ttt d
57565
tItttt
57565
d
57565
tItttt d tItttt d
57565
tIt#ttt d
57565
tItttt d
57565
tItttt d
57565
tItttt d
Ä !!!
â 7767
tYttt d7767
tYttt7767
d7767
tYttt d tYttt d
5455
tIt#tt d
5455
tIttt
5455
d
5455
tIttt d tIttt d
57565
tIt#ttt d
4545
tIttt
5455
d
6757
tIt#tt d !tIttt d7677
tYttt c7767
tYttt ||||
Ä !!!
âæ
ææ57565
tIt#ttt d c b
2
1
A7 V1 11
3
2
1
D9 IV
3 33 2
1
A7 V1 11
3
2
1
D9 IV
3 33 2
1
A7 V1 11
3
2
1
E9 VI
3 33 2
1
D9 IV
3 33 2
1
A7 V1 11
3
2
1
D9 IV
3 33 2
1
A dim7 V
3 4
2 3
A6 VI
1
4 2
1
E9 VI
3 33
2
1
A7 V1 11
3
Swing Blues #2cp 1.867 cp 1.867
336
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.870
Ä !!! 44
â 44 7677
tYttt d7677
tYttt7677
d6656
tYttt d #tY" t#t" t d
5455
tIt#tt d
5455
tIttt
5455
d6566
tIttt d #tYt" t"t d7677
tYttt d7677
tYttt7677
d7677
tYttt d tYttt d7677
tYttt d7677
tYttt7677
d6656
tYttt d #tY" t#t" t d
Ä !!!
â5455
tIt#tt d
5455
tIttt
5455
d
5455
tIttt d tIttt d
5455
tIt#tt d
5455
tIttt
5455
d6566
tIttt d #tYt" t"t d7677
«t «t «t «t
5445
tIttt «t «t «t «t
4545
tI#ttt «t «t «t «t
4535
tIt"tt ||||
Ä !!!
â7777
tIttt d
7777
tIttt
7777
d
7777
tIttt d tIttt d7767
tYttt d7767
tYttt7767
d7767
tYttt d tYttt d
9999
tYttt d
9999
tYttt
9899
d
9899
tYt!tt d tYttt d1. æø
ææø7777
tYttt d
7777
tYttt7767
d7767
tYttt d tYttt d
Ä !!!
â 7677
tYttt d
4545
tYt#tt
5455
d
6757
tY#ttt d tYtt!t d2.
æ
ææ7767
tYttt d8788
#tt" t#t7677
tttt ||||
4
A6 VI
1
32 3
Eb9 V
3
1
2 3
D9 IV
3
1
2 4
Ab6 V
1
32 4
A6 VI
1
32 3
Eb9 V
3
1
2
3
D9 IV
3
1
2 4
Ab6 V
1
32 4
A6 VI
1
32 3
D6/9 IV
11
2 4
A9 IV
2
3
1
4
A7b9 III
1
3
2
3
Bm7 VII
332
3
E9 VI
3
1
2
3
C#m7 IX
332
3
F#9 VIII
3
1
2
3
Bm7 VII
332
3
E9 VI
3
1
2
4
A6 VI
1
32 4
A9 IV
2
3
1
3
D9 IV
3
1
2
4
D# dim7 V
1
3
2 3
E9 VI
3
1
2 4
Bb6 VII
1
32 4
A6 VI
1
32
rhythm guitar for B.B King Style
cp 1.870 cp 1.870
337
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.897
Ä !! 44â 44 10
70
ttt
0
t0
t0
t1070
tItt870
tItt770
tItt870
tItt ttt
0
t0
t0
t8
t7
t9
t7
t
Ä !!â 8
90
ttt770
tItt d770
ttt560
ttt
0543
d tIttt tttt0
t0
t0
t0
t0
t0
t0
t0
t0
t0
t0
t0
t0
t0
t0222
tttt
Ä !!âΩ øΩΩ ø 0222tttt
0222
tttt
0223
tttt
0
t0
t0
t0
t3003
tttt tttt
3003
tttt
20023
ttttt
3003
d
20023
tttt
0222
ttttt d tIttt tttt
0222
tttt
0223
tttt
0
t0
t0
t0
t3003
tttt æøææø
tttt
3003
tttt
20023
ttttt
3003
d
20023
tttt
0222
ttttt d tIttt
1
D VII
1
4
D sus.4 VII
1
2
D VII
1 1
D sus.4 VII
1
2
Em7/D VII
1
23
1
D VII
1 1
D V
2
1
3 4
D∆9 V
2
1
G/A III
2
1
3
A I
11 1
A I
11 1
D/A I
11 1
23
2
G5 I
3
2
D/F# I
3
1
G D/F#
A I
11 1
D/A I
11 1
23
2
G5 I
3
2
D/F# I
3
1
G D/F# A
Page, Townsend and Young Rhythm Style
cp 1.897 cp 1.897
338
© 2000 Jim Gleason. All Rights Reserved.
CHORD PROGRESSION
Chord Progression 1.898
Ä !!âtttt
0
t0
t0
t0
t0
t0
t0233
tttt tttt2
t3
t2
t0
t3
t2
t0
t0222
«| «| «| «|
3
# t 022
ttt ttt
2
H
t3
t0
t3
# t0
t2
t0
t
Ä !!âΩ øΩΩ ø 0232tttt
0
t0
t0
t0
t0
t0233
tttt tttt2
t3
t2
t0
t3
t2
t0
t0222
«| «| «| «|3
# t022
ttt æøææø
ttt
2
H
t3
t0
t3
# t0
t2
t0
t
Ä !!â
0222
tttt0222
tttt0223
tttt0
t0
t0
t0
t3003
tttt tttt
3003
tttt
20023
ttttt
3003
d
20023
tttt0222
ttttt d tIttt tttt
0222
tttt0223
tttt0
t0
t0
t0
t3003
tttt tttt
3003
tttt
20023
ttttt
3003
d
20023
tttt0222
ttttt d tIttt
Ä !!âtttt
0222
tttt0223
tttt0
t0
t0
t0
t3003
tttt tttt
3003
tttt
20023
ttttt
3003
d
20023
tttt0222
ttttt d tIttt AAAA æ
ææAAAA
2
D sus.4 I
3
1
4
2
D I
3
1
D sus.2 I
3
1
A I
11 1
2
D I
3
1 2
D sus.4 I
3
1
42
D I
3
1
D sus.2 I
3
1
A I
11 1
A I
11 1
D/A I
11 1
23
2
G5 I
32
D/F# I
3
1
G D/F# A D/A G D/F# G D/F# A
D/A G D/F# G D/F#
Page, Townshend and Young(continued)
cp 1.898 cp 1.898
339
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.060
Ä
4
4
speak names:
0
t
0
t
1
t
3
t
1
3
t
1
t
0
t
3
t
1
t
1
t
3
t
0
t
0
«t
3
tY
3
|
Ä
0
t
0
t
1
t
3
t
5
3
t
1
t
0
t
3
t
1
t
1
t
3
t
0
t
3
«t
1
tY
1
|
Ä
3
t
3
t
0
t
1
t
9
3
t
0
t
1
t
0
t
1
t
3
t
0
t
1
t
0
t
3
t
1
t
3
t
0
|
Ä
0
t
0
t
1
t
3
t
13
3
t
1
t
0
t
3
t
1
t
1
t
3
t
0
t
æ
3
«t
1
tY
1
|
Ode To Joyfrom Beethoven's Ninth Symphony
mel 1.060 mel 1.060
340
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.065
Ä
4
4
â
4
4
fretting:
picking:
3
t
3↓
0
t
0↑
3
t
3↑
0
t
0↓
0
tI
0↑
2
t
2↑
2
tI
2↓
1
0
t
0↑
2
t
2↑
0
t
0↓
2
t
2↑
3
tI
3↑
0
«t
0↓
Swing Eighths
d
0
tY
3
0↓
t
0
3↑
t
3
0↓
t
0
3↓
t
3
0↑
t
0
3↑
t
0↓
0
0
A
↓
Ä
â
Swing Eighths
tI
0
0↓
t
2
2↑
tI
2
2↓
tI
0
0↑
t
2
2↓
tI
2
2↑
5
t
0
0↓
t
2
2↑
t
2
2↓
t
2
2↑
t
0
0↓
t
2
2↑
c
3
t
3↑
Straight Eighths
0
t
0↓
3
t
3↑
2
t
2↓
t
0
t
2
0↓
0
t
2
2↑
t
0↓
t
2↑
t
3
3↑
t
0
0↓
t
3
3↑
t
2
2↓
|
Ä
â0
t
0↑
3
t
3↓
0
t
0↑
0
t
0↓
t
3
t
0
3↑
3
t
0
0↓
t
3↑
t
0↓
9
0
t
0↑
3
t
3↓
0
t
0↑
0
t
0↓
|
2
t
2↓
2
t
2↑
0
t
0↓
2
t
2↑
d
1
" tI
1↓
d
0
tI
0↑
d
0
t
I
0↑
3
t
3↓
0
t
0↑
0
t
0↓
2
t
2↑
0
t
0↓
Ä
â
Swing Eighths
0
t
0↓
0
t
0↑
3
t
3↑
0
t
0↓
d
3
"tY
2
3↑
dtI
2↓
13
d
2
tI
2↑
0
t
0↓
2
t
2↑
2
t
2↓
0
t
0↓
3
t
3↑
c
0 2
Straight Eighths
d
0
tI
2
0↓
t
0
2↑
t
0↓
t
2↑
t
0↓
2
«t
2↑
0
tI
0↑
2
t
2↓
0
t
0↓
3
t
3↑
0
|
0↓
b
Ä
â
c
20
d
3
tI
0
2↑
t
3
0↓
t
3↑
t
0↓
t
3↑
18
0
«t
0↓
2
tI
3↑
0
t
0↓
3
t
3↑
0
t
0↑
2
|
2↑
b
Pick alternately down-up when you stay on a string. Pick in the direction of a new string you are moving to.
E Minor 7/11 Pentatonic Licksopen position
mel 1.065 mel 1.065
341
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.066
Ä
4
4
â
4
4
b
0 20
20
d«
tJ
0↓
t
2↑
t
0↓
t
2↑
t
0↓
21
2
t
2↑
2
t
2↓
0
t
0↑
2
t
2↓
2
t
2↑
0
t
0↓
2
t
2↑
0
t
0↓
e
0
tJ
2
0↑
t
0
2↓
t
2
0↓
t
0
2↑
t
0↓
2
2
t
↑0
0
t
↓2
2
t
↑1
1
" t
↓0
0
t
↑3
3
t
↑0
0
t
I
↓
d c
Ä
â
b
20 3 0 3
d« tJ
2↑
t
0↓
t
3↑
t
0↓
t
3↑
24
0
t
0↓
0
t
0↑
3
t
3↑
0
t
0↓
0
t
0↑
3
t
3↑
0
t
0↓
3
t
3↑
e
2
tJ
0
2↑
t
3
0↓
t
0
3↑
t
3
0↓
t
3↑
0
t
0↓
3
t
3↑
0
t
0↓
3
"t
3↑
2
t
2↓
0
t
0↑
2
tI
2↑
d c
Ä
â
0
t
0↓
2
t
2↓
0
t
0↑
2
t
2↓
t
0
t
2
0↑
t
2↓
0
t
0↑
3
t
3↑
27
2
t
2↓
0
t
0↓
3
t
3↑
0
t
0↓
t
3
t
0
3↑
t
0↓
3
t
3↑
0
t
0↑
Swing Eighths
2
tI
2↓
d
2
t
0
2↑
t
2
0↓
t
0
2↑
t
2
0↓
t
1
2↑
" t
1↓
0
«t
0↑
3
tI
3↑
3
tI
3↓
0
«t
0↓
Ä
â
Swing Eighths
0
tY
0↓
d
0
t
3
0↑
t
0
3↑
t
3
0↓
t
0
3↑
t
3
0↓
"t
3↑
31
2
«t
2↓
0
tI
0↑
0
tI
0↓
3
«t
3↓
2
t
2↓
Straight Eighths
2
t
2↑
3
t
3↑
0
t
0↓
2
t
2↑
0
t
0↓
2
t
2↑
2
t
2↓
2
t
2↑
0
t
0↓
0
t
0↓
0
t
0↑
0
t
0↑
2
t
2↓
0
t
0↓
3
t
3↑
0
t
0↓
0
t
0↑
0
t
0↓
3
t
3↑
Ä
â
2
t
2↓
2
t
2↑
0
t
0↓
2
t
2↑
d
2
tI
0
2↓
t
3
0↑
t
3↑
35
0
«t
0↓
3
tI
3↑
|
0
t
0↓
0
t
0↑
3
t
3↓
0
t
0↑
d
0
tY
2
0↓
t
0
2↑
t
0↓
2
«t
2↑
0
tI
0↓
|
mel 1.066 mel 1.066
342
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
4
4
â
4
4
Swing Eighths
c
0 3
0
t
2
↓
3
t
0
↑
2
t
2
↑
0
t
0
↓
2
t
↑
0
t
↓
39
2
2
t
↑
c b d
2
tI
0
2
↓
t
0
↓
2
t
0
2
↑
t
2
0
↓
t
0
2
↑
t
0
↓
2
t
2
↑
c b
0
c
00
3
t
t
2
0
↓
"t
0
3
↑
t
2
2
↓
t
0
0
↑
t
2
↑
t
0
↓
2
2
t
↑
c b
Ä
â
Straight Eighths
b
20 2
d
tI
2↑
t
0↓
t
2↑
45
2
tI
2↓
0
t
0↑
2
tI
2↑
t
2 2
t
2↑
t
2↓
0
tI
0↓
2
t
2↑
0
tI
0↓
tI
d c
Ä
â
Û
0
t
0↓
3
t
3↑
0
t
0↓
Û
3
t
3↑
0
t
0↓
2
t
2↑
Û
0
t
0↓
2
t
2↑
0
t
0↓
Û
2
t
2↑
0
t
0↓
2
t
2↑
48
Û
0
t
0↓
2
t
2↑
0
t
0↓
Û
2
t
2↑
0
t
0↓
2
t
2↑
Û
0
t
0↓
2
t
2↑
0
t
0↓
Û
2
t
2↑
0
t
0↓
3
t
3↑
Û
0
t
0↓
3
t
3↑
0
t
0↓
Û
3
t
3↑
0
t
0↓
3
t
3↑
Û
0
t
0↓
3
t
3↑
0
t
0↓
Û
3
t
3↑
0
t
0↓
2
t
2↑
Û
0
t
0↓
2
t
2↑
0
t
0↓
Û
2
t
2↑
0
t
0↓
2
t
2↑
Û
0
t
0↓
2
t
2↑
0
t
0↓
Û
2
t
2↑
0
t
0↓
2
t
2↑
Û
0
t
0↓
2
t
2↑
0
t
0↓
Û
2
t
2↑
0
t
0↓
3
t
3↑
Û
0
t
0↓
3
t
3↑
0
t
0↓
2
t
2↓
Ä
â
0
t
0↓
3
t
3↑
0
t
0↓
2
t
2↑
3
t
3↓
0
t
0↓
2
t
2↑
0
t
0↓
53
0
t
0↑
2
t
2↓
0
t
0↓
2
t
2↑
2
t
2↑
0
t
0↓
2
t
2↑
0
t
0↓
0
t
0↑
2
t
2↓
0
t
0↓
2
t
2↑
2
t
2↑
0
t
0↓
2
t
2↑
0
t
0↓
0
t
0↑
2
t
2↓
0
t
0↓
3
t
3↑
2
t
2↑
0
t
0↓
3
t
3↑
0
t
0↓
Ä
â
0
t
0↑
3
t
3↑
0
t
0↓
2
t
2↑
3
t
3↓
0
t
0↑
2
t
2↑
0
t
0↓
57
0
t
0↓
2
t
2↑
0
t
0↓
2
t
2↑
2
t
2↓
0
t
0↑
2
t
2↑
0
t
0↓
0
t
0↓
2
t
2↑
0
t
0↓
2
t
2↑
2
t
2↓
0
t
0↑
2
t
2↑
0
t
0↓
0
t
0↓
2
t
2↑
0
t
0↓
3
t
3↑
2
t
2↓
0
t
0↑
3
t
3↑
0
t
0
mel 1.067 E Minor 7/11 Pentatonic LicksOpen Position (continued)
mel 1.067
Melody 1.067
343
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
4
4
â
4
4
Û
0
0
t
↓3
3
t
↑0
0
t
↓
Û
2
2
t
↓0
0
t
↑3
3
t
↑
Û
0
0
t
↓2
2
t
↑0
0
t
↓
Û
2
2
t
↓0
0
t
↑2
2
t
↑
61
Û
0
0
t
↓2
2
t
↑0
0
t
↓
Û
2
2
t
↓0
0
t
↑2
2
t
↑
Û
0
0
t
↓2
2
t
↑0
0
t
↓
Û
3
3
t
↓0
0
t
↑2
2
t
↑
Û
0
0
t
↓3
3
t
↑0
0
t
↓
Û
3
3
t
↓0
0
t
↑3
3
t
↑
Û
3
3
t
↓0
0
t
↓3
3
t
↑
Û
0
0
t
↑3
3
t
↓0
0
t
↓
Û
2
2
t
↑0
0
t
↓3
3
t
↑
Û
0
0
t
↑2
2
t
↓0
0
t
↓
Û
2
2
t
↑0
0
t
↓2
2
t
↑
Û
0
0
t
↑2
2
t
↓0
0
t
↓
Û
2
2
t
↑0
0
t
↓2
2
t
↑
Û
0
0
t
↑2
2
t
↓0
0
t
↓
Û
3
3
t
↑0
0
t
↓2
2
t
↑0
0
t
↑
Ä
â
2
t
2↓
0
t
0↑
3
t
3↑
0
t
0↓
0
t
0↓
2
t
2↑
0
t
0↓
3
t
3↑
66
2
t
2↓
0
t
0↑
2
t
2↑
0
t
0↓
0
t
0↓
2
t
2↑
0
t
0↓
2
t
2↑
2
t
2↓
0
t
0↑
2
t
2↑
0
t
0↓
0
t
0↓
2
t
2↑
0
t
0↓
2
t
2↑
3
t
3↓
0
t
0↑
2
t
2↑
0
t
0↓
0
t
0↓
3
t
3↑
0
t
0↓
2
t
2↑
Ä
â
3
t
3↓
0
t
0↑
3
t
3↑
0
t
0↓
0
t
0↑
3
t
3↓
0
t
0↓
3
t
3↑
70
2
t
2↑
0
t
0↓
3
t
3↑
0
t
0↓
0
t
0↑
2
t
2↓
0
t
0↓
3
t
3↑
2
t
2↑
0
t
0↓
2
t
2↑
0
t
0↓
0
t
0↑
2
t
2↓
0
t
0↓
2
t
2↑
2
t
2↑
0
t
0↓
2
t
2↑
0
t
0↓
0
t
0↑
2
t
2↓
0
t
0↓
2
t
2↑
3
t
3↑
0
t
0↓
2
t
2↑
0
t
0↓
2
|
2↑
E Minor 7/11 Pentatonic LicksOpen Position (continued)
mel 1.068 mel 1.068
Melody 1.068
344
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.130
Ä
3
4
â
3
4
speak names:
b
0 0
G
t
G
t
2
t
A
0
t
G
201
tt
t
C
000
|
||
B
0
t
G
0
t
G
2
t
A
0
t
G
003
t
t
t
D C
201
||
|
G
0
t
G
0
t
Ä
â
31
t
t
G
0
t
E
1
t
C
1
t
C B
320
ttt
A
2
t
F
1
t
F
1
t
010
tt
t
E
1
t
C
003
t
t
t
D
æ
ææ
201
||
|
C
c
2
1
C I G I G I
32
1
C I
1
C I
33
G9 I
2
1
C I G I
32
1
C I
Happy Birthdayuse the guitar pick on this one
mel 1.130 mel 1.130
345
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.131
Ä
!3
4
â
3
4
Dfingers:
speak names:
3
3
t
G
0
0
t
A
2
2
t
B
0
0
t
C
1
1
t
D
3
t
3
G
0
t
0
G
0
t
0
E
0
t
0
C
1
t
1
D
3
t
3
E
0
t
0
F#
2
t
2
G
33
t
G
0
0
t
G
0
0
t
Ä
!
â
C
1
t
1
D
3
t
3
C
1
t
1
B
0
t
0
A
2
t
2
B
0
t
0
C
1
t
1
B
0
t
0
A
2
t
2
G
0
t
0
F#
4
t
4
G
0
t
0
A
2
t
2
B
0
t
0
G
0
t
0
B
0
t
0
A
2
|
2
Ä
!
â
D
3
t
3
G
0
t
0
A
2
t
2
B
0
t
0
C
1
t
1
D
3
t
3
G
0
t
0
G
0
t
0
E
0
t
0
C
1
t
1
D
3
t
3
E
0
t
0
F#
2
t
2
G
3
t
3
G
0
t
0
G
0
t
0
Ä
!
â
C
1
t
1
D
3
t
3
C
1
t
1
B
0
t
0
A
2
t
2
B
0
0
t
C
1
1
t
B
0
0
t
A
2
2
t
G
0
0
t
A
2
t
2
B
0
t
0
A
2
t
2
G
0
t
0
F#
4
t
4
æø
ææø
G
0
«|
0
Minuet In Gfrom J.S. Bach's Anna Magdelana Notebook
mel 1.131 mel 1.131
346
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.132
Ä
!3
4
â
3
4
Ω ø
ΩΩø
B4
speak names:
fingers:
7
t
G1
3
t
A2
5
t
B4
7
t
G1
3
t
A
5
t
4D
3
t
2E
0
t
0F#
2
t
1D
3
t
2G
3
t
3E
0
t
0F#
2
t
2G
3
t
3E
0
t
0C1
1
t
B0
0
t
C1
1
t
A2
2
t
Ä
!
â
A
2
t
2B
0
t
0C#
2
!t
2D
3
t
3E
0
t
0F#
2
t
2G
3
t
3F#
2
t
2E
0
t
0F#
2
t
2A
2
t
2C#
2
!t
2D
3
«|
3
Ä
!
â
D
3
t
3G
0
t
0F#
4
t
4G
0
t
0E
0
t
0G
0
t
0F#
4
t
4G
0
t
0D
3
t
3C
1
t
1B
0
t
0A
2
t
2G
0
t
0F#
4
t
4G
0
t
0A
2
t
2
Ä
!
â
D
0
t
0E
2
t
2F#
4
t
4G
0
t
0A
2
t
2B
0
t
0C
1
t
1B
0
t
0A
2
t
2B
0
t
0D
3
t
3G
0
t
0F#
4
t
4
æø
ææø
G
0
«|
0
Minuet In G (continued)mel 1.132 mel 1.132
347
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.280
Ä
!3
4
â
3
4
Û
B
0
7
t
t
3
0
t
0
t
Û
B
7
t
3
0
t
0
t
Û
B
7
t
3
0
t
0
t
Û
B
0
7
t
t
3
0
t
0
t
Û
A
5
t
1
0
t
0
t
Û
G
3
t
1
0
t
0
t
Û
G
0
3
t
t
1
0
t
0
t
Û
F#
2
t
1
0
t
0
t
Û
E
0
t
0
t
0
t
Û
E
0
0
t
t
0
t
0
t
Û
G
3
t
1
0
t
0
t
Û
B
7
t
1
0
t
0
t
Ä
!
â
Û
E
0
12
t
t
4
0
t
0
t
Û
E
12
t
4
0
t
0
t
Û
E
12
t
4
0
t
0
t
Û
E
0
12
t
t
4
0
t
0
t
Û
D
10
t
4
0
t
0
t
Û
C
8
t
4
0
t
0
t
Û
C
8
0
t
t
4
5
t
5
t
Û
B
7
t
3
5
t
5
t
Û
A
5
t
1
5
t
5
t
Û
A
5
0
t
t
1
5
t
5
t
Û
B
7
t
3
5
t
5
t
Û
C
8
t
4
5
t
5
t
Ä
!
â
Û
B
7
t
1
0
t
0
8
!t
2
Û
C
8
t
3
0
t
0
8
t
2
Û
B
7
t
1
0
t
0
8
t
2
Û
D#
11
! t
3
0
t
0
11
t
2
Û
C
8
t
1
0
t
0
9
t
2
Û
B
7
t
1
0
t
0
8
!t
2
Û
0
7
t
t
B
1
0
t
0
t
Û
5
t
A
1
0
t
0
t
Û
3
t
G
1
0
t
0
t
Û
0
3
t
t
G
1
0
t
0
t
Û
2
t
F#1
0
t
0
t
Û
0
t
E
0
t
0
t
Ä
!
â
Û
F#
2
2
t
t
31
0
t
0
2
t
2
Û
F#
2
t
0
t
2
t
Û
F#
2
t
0
t
2
t
Û
F#
2
1
!t
t
13
0
t
0
2
t
2
Û
G
3
t
4
0
t
0
2
t
2
Û
F#
2
t
3
0
t
0 2
2
t
Û
E
2
0
t
t
2
0
t
0
t
Û
E
2
0
t
t
2
0
t
0
t
Û
E
3
0
t
t
3
0
t
0
tæ
ææ
E
0
0
«|
«|
Em
sustain each bass note for three beats
1
Am V
4
1 1
Am add 9 V
3
1 1
Am V
1 1 1
Am add 9 V
3
1 1
Am V
4
1
1
B VII
2
1
B7b9 VII
2 3
1
B VII
2
B XI
2 3
Cma7 VIII
2
1 1
B VII
2
Em
1
B7 I
2 3
1
B7/D# I
2 3
Em
Romanzamel 1.280 mel 1.280
348
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
4
4
â
4
4
Swing Eighths
3
t
1↓
5
t
3↑
3
t
3
S0
t
0↓
2
t
2↑
S
4
t
2
3
t
1↓
5
t
3↑
|
a
a 3
t
o
Yt
5
3 3↓
S
Straight Eighths
t
0
0↓
t
3
3↑
t
0
0↓
2
toIt
4
2 2↑
S
t
0
0↓
t
2
2↑
t
0
0↓
t
2
2↑
c
c
b
b
Ä
â
S
2
Swing Eighths
c
43
4
toIt
2
2 2
↓
t
0
1
↓
t
o
Y t
2
2 2
↑
t
0
0
↓
t
2
↑
t
0
↓
2
t
2
↑
c b d
2
tI
0
2
↓
t
0
↓
3 2
S
" t
o
Y t
0
2 2
↑
t
2
0
↓
t
0
2
↑
t
0
↓
2
t
2
↑
c b
0
c
00
3
S
t
t
2
0
↓
"t
0
2
↑
t
2
2
t
0
0
↓
t
2
↑
t
0
↓
2
t
2
↑
c b
Ä
â
Straight Eighths
c
2
S
4
d
3
tY
5
2↓
t
3
2
t
1↓
t
3↑
t
1↓
5
«t
3↑
2
tY
2↑
S
4
t
2
3
t
1↓
0
t
0↑
2
|
2↑
b
S
2
t
o
Y
4
t
2 2↓
4
t
2↑
3
t
3↓
S
2
toI
4
t
2 2↑
2
S
d
4
toItY
2
2 2↓
t
0
1↑
t
0↓
«t
2
1↑
tI
0
0↓
«t
Ä
â
b
2 4
S
34
3
d« tZ
2↓
t
2
t
1↓
t
2↑
t
1↓
5
t
3↑
5
t
3↓
3
t
1↑
5
t
3↓
5
t
3↑
3
t
1↓
5
t
3↑
3
t
1↓
e
2
S
tZ
4
2↑
t
3
2
t
4
1↓
t
3
2↑
t
1↓
5
t
3↑
3
t
1↓
4
t
2↑
S
3
"t
2
2
t
1↓
5
t
4↑
2
tI
1↑
d c
E Minor 7/11 Pentatonic Licksopen position, with slides
mel 1.311 mel 1.311
Melody 1.316
349
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
!
!4
4
â
4
4
Swing Eighths
2
t
2
4
t
2
S
3
t
1
1
Ω ø
ΩΩø
0
t
0
0
t
0
0
t
0
0
t
0
0
t
0
22
t
t
23 3
22
t
t
2
00
t
t
00
æø
ææø2
2
t
t
23
0
t
0
0
t
0
0
t
0
0
t
0
2
t
2
4
t
2
S
3
t
1
5
t
3
3
t
1
4
t
2
S
2
t
2
0
t
0
2
t
2
0
t
0
0
t
0
0
t
0
0
t
03
22
t
t
23
22
t
t
2
00
t
t
00
Ä
!
!
â
S
2
toI
4
t
2 2
0
t
0
0
t
0
0
t
0
0
t
0
4
t
2
2
t
2
S
0
t
0
6
2
t
2
0
t
0
0
t
0
0
t
0
0
t
0
2
t
2
SÛ
4
t
2
0
t
00
t
03
t
30
t
0
3
t
3
3
"t
3
P
2
t
2
0
t
0
2
t
2
0
t
0
0
t
0
0
t
0
0
t
03
22
t
t
2
22
t
t
23 0
00
t
t
0
Ä
!
!
â
t
t
22
2
0
t
0
0
t
0
0
t
0
0
t
0
22
t
t
23 3
22
t
t
2
t
t
00
00
10
1
# t
o
Yt
12
tt
34
2 2
S
S1 1
tt
34
21
tt
34
21
tt
34
2
tt
34
21 1
tt
34
21
tt
34
2
tt
34
21
S
toI
4 2
t
2 2
0
t
0
#
3
t
3
2
t
2
t
1
" t
0
1
t
3
0
t
3
0
t
0
22
t
t
23
d
22
3
t
It
1
2
d
0
" tI
3
1
t
0
t
3
Ä
!
!
â 2
t
3
22
t
t
23
22
d
3
1
t
It
2
0
d
3
" tI
1
t
0
t
3
14
0
t
03
22
t
t
2
22
d
3
1
t
It
2
0
d
3
" tI
1
t
0
t
3
2
A
2
Mojo/Voodoo Blues #1 in Emel 1.315 mel 1.315
Melody 1.329
350
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.316
Ä
!
!4
4
â
4
4
|
0 30
t
t
0
t
3
#t
0
17
3
22
t
t
2
0
t
0
0
t
0
0
t
0
0
t
03
22
t
t
23
22
t
t
20
00
t
t
03
22
t
t
2
0
t
0
0
t
0
0
t
0
0
t
0
22
t
t
23
00
t
t
00
22
t
t
23
22
t
t
23
0
t
0
0
t
0
0
t
0
0
t
0
43
tt
32 1
22
tt
1
00
tt
00
22
t
t
2
0
t
0
0
t
0
0
t
0
0
t
02
43
tt
31
22
tt
10
00
tt
0
Ä
!
!
â
S
S
2 2
32
t
o
I
t
54
t
t
1 1
t
0
t
0
t
0
0
t
0
0
t
t
2
0
t
t
2
0
t
t
03
22 2
2
3 0
00
22
22
t
t
23
0
t
0
0
t
0
0
t
0
0
t
03
33
"tt
3
22
tt
22 0
00
t#t
03
22
t
t
2
0
t
0
0
t
0
0
t
0
0
t
03
22
t
t
2
00
t
t
00 3
22
t
t
232
22
t
t
0
0
t
0
0
t
0
0
t
0
0
t
33
33
"tt
2
22
tt
2 00
00
t#t
Ä
!
!
â
S
t
o
Y
t
32
t
t
1 1
t
0
t
0
t
0
S
2 2
54
t
0
0
t
t
1
0
t
t
1
0
tt
0
0
54
2
23
2
00
0
26
23
t
t
12
0
t
0
0
t
0
0
t
0
0
t
02
43
tt
31
22
tt
10
00
tt
02
22
tt
2
0
t
0
0
t
0
0
t
0
0
t
03
33
"tt
3
22
tt
22
00
t#t
00 3
2
22
t
t
0
0
t
0
0
t
0
0
t
0
0
t
3 3
t
o
Y
5 6
" t
S35
t
13
t
Ä
!
!
â
5
t
3
t
0
0
t
0
0
t
0
0
t
0
0
S
toI
2
t
4
2 2
t
3
1
t
5
3
30
#
3
t
1
0
t
0
0
t
0
0
t
0
0
t
I
0
S
t
o
Y
5 6
" tY
3 35
t
33
t
15
t
3
#
3
t
1
5
t
3
4
t
2
#
3
t
1
5
t
3
0
t
0
0
t
0
0
t
0
0
t
0
22
t
t
23
00
t
t
00 3
22
t
t
2
æ
ææ
3
22
t
It
2
c b
Mojo/Voodoo Blues #1 In E (continued)mel 1.316 mel 1.316
351
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.329
Ä
â
0
«|
0
«|
3
«|
0
«|
0
«|
0
«|
0
«|
0
«|
Ä
â
0
«|
0
«|
3
«|
0
«|
1
«|
0
«|
0
«| «|
a
!
Ä
!
â
3
«|
3
«|
3
«|
0
«|
0
«|
0
«|
0
«|
0
«|
Ä
!
â
3
«|
3
«|
3
«|
0
«|
1
«# |
0
«|
0
«|
æ
ææ
«|
a
Greensleeves This shows only the bass for Greensleeves. Try to find the melody "by "ear". The melody is shown with the bass on the next page, if you need some hints.
mel 1.329 mel 1.329
352
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.330
Ä
3
4
i
t
|
|
mp
t
m
«t
«t
ap
tY
a
t
a
|
|
mp
t
m
«t
«t
ip
tI
i
t
m
|
|
mp
t
i
«t
«t
ip
!tI
i
t
i
|
|
mp
t
i
|
|
ip
t
i
Ä
mp
|
|
m
t
«t
«t
ap
tY
a
t
a
|
|
mp
t
m
«t
«t
ip
tI
i
t
m
«t
«t
mp
tY
m
t
i
«t
«!t
ip
!tI
i
t
i
«|
«|
ip
«|
«|
!
Ä
!
ap
«|
«|
«t
«t
ap
tY
a
t
a
|
|
mp
t
m
«t
«t
ip
tI
i
t
m
|
|
mp
t
i
«t
«t
ip
!tI
i
t
i
|
|
mp
t
i
«|
«|
ip
Ä
!
ap
«|
«|
«t
«t
ap
tY
a
t
a
|
|
mp
t
m
«t
«t
ip
tI
i
t
m
«# t
«t
mp
tY
m
t
i
«t
«! t
ip
tI
i
t
i
«|
«|
ip
æ
«|
«|
Ä
!
â
0
t
2
t
3
t
0
t
2
t
3
t
0
t
2
t
4
t
0
t
1
!t
2
t
1
Am I Am I
2
G I
3
Em I
1
Am I
2
Am I Em I
32
1
Am I Am I
2
G I
3
Em I
3
2
F I
1 1
E I
2
Am I
2
C I
3 2
G I
3
Em I
1
Am I
2
Am I Em I
32
2
C I
3 2
G I
3
Em I
3
2
F I
1 1
E I
2
Am I
E F G A B C D E F# G G# A
Greensleevesmel 1.330 mel 1.330
353
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.331
Ä
4
4
â
4
4
Straight Eighths
«t
3
3
tI
0
0
t
2
2
t
0
0
t
2
2
t
0
0
1
«t
0
0
tY
2
2
t
4
2S
t
3
1
t
5
3
t
3
1
Swing Eighths
«t
3
3
tI
0
0
t
2
2
t
0
0
t
2
2
«t
0
0
tY
2
2
t
4
2S
t
3
1
t
5
3 1
t
3
3
t
5
2
t
4
2
t
2
S0
t
0
Ä
â 2
Swing Eighths
t
o
Y
4
t
2 2S
3
t
1
t
3
t
5
1
t
3
3
t
1
6
1
t
3
3
t
5
1P
t
3
2
t
4
2
t
2
0S
t
0
2
t
22
«t
2
2
tI
2S
4
t
2
0
t
0
A
a
Ä
â
b
0 20
S
2 4
Swing Eighths
t
0
t
2
t
0
toIt
2 2
10
d
0
tI
0
d
2
tI
2
0
t
0
0
t
0
2
t
2
b
0 20 2
S
4
t
0
t
2
t
0
toIt
2 2
d
0
tI
0
0S
2
d
4
tI
0
t
o
Yt
3
2 2
t
1
|
b
a
Ä
â
b
3
Swing Eighths
c d!tY
2
15
Û
S
t
4
2
t
3
1
t
5
3
t
3
1
t
3
1
d
3
S
!tY
4
2
3
Û
t
2
5
t
1
t
3
t
3
1
t
3
1
c
c
b
b
Ä
3
4
â
3
4
Û
3
t
0
t
3
t
Û
0
t
3
t
0
t
Û
3
t
0
t
2
t
18
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
Û
0
t
2
t
0
t
Û
2
t
0
t
3
t
Û
3
t
0
t
2
t
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
Û
0
t
2
t
0
t
Û
2
t
0
t
3
t
Û
0
t
3
t
0
t
3
t
G Major 6/9 Pentatonic Licksopen position with slides
mel 1.331 mel 1.331
354
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
3
4
â
3
4
Û
2
t
0
t
3
t
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
24
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
Û
0
t
2
t
0
t
Û
3
t
0
t
2
t
Û
0
t
3
t
0
t
Û
3
t
0
t
3
t
Û
3
t
0
t
3
t
Û
0
t
3
t
0
t
Û
2
t
0
t
3
t
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
Û
0
t
2
t
0
t
Û
2
t
0
t
2
t
Û
0
t
2
t
0
t
3
t
Ä
4
4
â
4
4
3
t
0
t
3
t
0
t
0
t
3
t
0
t
2
t
30
3
t
0
t
2
t
0
t
0
t
2
t
0
t
2
t
2
t
0
t
2
t
0
t
0
t
2
t
0
t
2
t
Ä
â 2
t
0
t
2
t
0
t
0
t
2
t
0
t
3
t
33
3
t
0
t
2
t
0
t
0
t
2
t
0
t
2
t
2
t
0
t
2
t
0
t
0
t
2
t
0
t
2
t
2
t
0
t
2
t
0
t
0
t
2
t
0
t
3
t
2
t
0
t
3
t
0
t
3
|
Ä
â
0
t
3
t
0
t
3
t
2
t
0
t
3
t
0
t
38
0
t
2
t
0
t
3
t
2
t
0
t
2
t
0
t
0
t
2
t
0
t
2
t
2
t
0
t
2
t
0
t
0
t
2
t
0
t
2
t
3
t
0
t
2
t
0
t
Ä
â 0
t
2
t
0
t
3
t
2
t
0
t
2
t
0
t
42
0
t
2
t
0
t
2
t
2
t
0
t
2
t
0
t
0
t
2
t
0
t
2
t
3
t
0
t
2
t
0
t
0
t
3
t
0
t
2
t
0
|
G Major 6/9 Pentatonic Licksopen position (continued)
mel 1.332 mel 1.332
Melody 1.332
355
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.335
Ä
3
4
â
3
4
c
0
ct
i
3
0
«t
«t
pi
0
tY
m
Û
0
t
m
2
t
i
0
t
i
00
|
|
pm
2
t
i
30
|
|
pi
2
t
ip
30
|
|
i
Û
0
t
i
2
t
i
0
t
i
Ä
â
3
0
«t
«t
pi
0
tY
m
Û
0
t
m
2
t
i
0
t
i
3
0
|
|
pm
3
t
m
03
|
|
pm
0
t
a
3
3
|
|
pm
3
t
m
Ä
â
2
3
«t
«t
pm
0
tY
m
Û
0
t
m
2
t
i
0
t
i
00
|
|
pm
2
t
i
30
|
|
pi
2
t
i
30
|
|
pi
Û
0
t
i
2
t
i
0
t
i
Ä
â
p
3
0
«t
«t
i
0
tY
m
Û
0
t
m
2
t
i
0
t
i
00
|
|
pm
2
t
ip
3
0
|
|
ii
300
tt
t
m
p
æ
ææ
i
200
||
|
m
p
c
G I
3
G I
3
C I G I
3
G I
3
G I
3
D I
3
D7 I
32
G/B I
3
1
G I
3
C I G I
3
G I
3
D13 I G I
3
G sus. 4 I
3
G/B I
2
Amazing Gracemel 1.335 mel 1.335
356
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
4
4
â
4
4
S
Swing Eighths
c
3 53
S
3 3
t
o
Y
5
t
3
1
t
1
3 3
t
o
Y t
2
1
t
0
2
t
0
tt
2
2
c
c
b
b
d
2
tI
1
2
t
1
4 3
S
" toI t
1
3 3
t
2
1
t
0
2
t
0 2
t
2
c
c
b
b
Ä
â
c
c
33
55
t
t
2
4
"t
2
3
t
S
1
1
t
2
2
t
0
0
tt
2
2
c
c
b
b
Straight Eighths
c d
0
tI
0
2
t
2
0
t
0
2
t
2
1
t
1
2
«t
2
0
tI
0
2
t
2
0
t
0
3
t
3
0
|
0
b
Ä
â
2
2
t
2
2
t
0
0
t
2
2
t
d
2
2
tI
0
0
t
3
3
t
0
«t
0
3
tI
3
3
«t
Swing Sixteenths
b
0 20
20
d«
0
tJ
2
t
0
t
2
t
0
t
2
t
2
2
t
2
0
t
0
2
t
2
2
t
2
0
t
0
2
t
2
1
t
1
e
0
tJ
0
2
t
2
0
t
0
2
t
2
0
t
0
2
t
2
0
t
0
2
t
2
1
"t
1
0
t
0
3
t
3
0
t
0
c
Ä
â2
tI
2
d
2
t
0
2
t
2
0
t
0
2
t
2
0
t
1
2
"t
1
0
«t
0
3
tI
3
3
tI
3
1
«t
1
Swing Eighths
d
2
tI
2
0
t
0
2
t
2
1
t
1
2
t
2
0
t
0
2
t
2
2
A
2
Ä
â
Swing Eighths
1
tY
1
2
t
2
2
tI
2
0
tI
0
2
t
2
2
tI
2
1
t
1
2
t
2
3
t
3
2
t
2
1
t
1
2
t
2
c
3
t
3
Straight Eighths
0
t
0
3
t
3
2
t
2
2
t
1
t
1
2
t
2
0
t
0
2
t
2
3
t
3
0
t
0
3
t
3
2
t
2
2
|
A Minor 7/11 Pentatonic Licksopen position, with slides
mel 1.435 mel 1.435
Melody 1.435
357
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.436
Ä
4
4
â
4
4
Straight Eighths
2
2
t
2
2
t
0
0
t
2
2
t
d
1
1
"tI
0
d
0
tI
d
0
0tI
3
3
t
0
0t
0
0
t
2
2
t
0
0
t
2
2
t
2
2
t
0
0
t
2
2
t
d
2
2
tI
0
0
t
3
3
t
0
0
«t
3
3
tI |
Ä
â
0
0
t
0
0
t
3
3
t
0
0
td
0
0
tY
3
3
t
1
1
t
2
2
«t
1
1
tY | b
20 2
d
2
tI
0
t
2
t
3
3
tY
1
1
t
2
2
tI t
2 2
2
t
2
t
0
0
tI
2
2
t
1
1
tY tY d c
Ä
â
Û
5
t
4
3
t
3
0
t
0
Û
3
t
3
0
t
0
3
t
3
Û
0
t
0
3
t
3
1
t
1Û
3
t
3
1
t
1
2
t
2
Û
1
t
1
2
t
2
0
t
0
Û
2
t
2
0
t
0
2
t
2
Û
0
t
0
2
t
2
0
t
0
Û
2
t
2
0
t
0
3
t
3
Û
0
t
0
3
t
3
0
t
0
Û
3
t
3
0
t
0
2
t
2
Û
0
t
0
2
t
2
0
t
0
Û
2
t
2
0
t
0
2
t
2
Ä
â
Û
0
t
0
2
t
2
1
t
1Û
2
t
2
1
t
1
3
t
3
Û
1
t
1
3
t
3
0
t
0
Û
3
t
3
0
t
0
3
t
3
5
|
4
b
Û
0
t
0
3
t
3
5
t
4
Û
3
t
3
0
t
0
3
t
3
Û
1
t
1
3
t
3
0
t
0Û
2
t
2
1
t
1
3
t
3
Û
0
t
0
2
t
2
1
t
1
Û
2
t
2
0
t
0
2
t
2
Û
0
t
0
2
t
2
0
t
0
Û
3
t
3
0
t
0
2
t
2
Ä
â
Û
0
0
t
3
3
t
0
0
t
Û
3
3
t
0
0
t
3
3
t
Û
0
0
t
3
3
t
0
0
t
Û
3
3
t
0
0
t
3
3
t
Û
0
t
0
3
t
3
0
t
0
Û
3
t
3
0
t
0
2
t
2
Û
0
t
0
2
t
2
0
t
0
Û
2
t
2
0
t
0
2
t
2
Û
0
t
0
2
t
2
1
t
1
Û
2
t
2
1
t
1
3
t
3
Û
1
t
1
3
t
3
0
t
0
Û
3
t
3
0
t
0
3
t
3
5
|
4
b
A Minor 7/11 Pentatonic Licksopen position (continued)
mel 1.436 mel 1.436
358
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
4
4
â
4
40
t
0
3
t
3
0
t
0
2
t
2
3
t
3
0
t
0
2
t
2
0
t
0
0
t
0
2
t
2
0
t
0
2
t
2
2
t
2
0
t
0
2
t
2
1
t
1
0
t
0
2
t
2
1
t
1
3
t
3
2
t
2
1
t
1
3
t
3
0
t
0 1
1
t
3
3
t
0
0
t
3
3
t
3
3
t
0
0
t
3
3
t
4
5
t
Ä
â
5
t
4
3
t
3
0
t
0
3
t
3
3
t
3
0
t
0
3
t
3
1
t
1
0
t
0
3
t
3
1
t
1
2
t
2
3
t
3
1
t
1
2
t
2
0
t
0
1
t
1
2
t
2
0
t
0
2
t
2
2
t
2
0
t
0
2
t
2
0
t
0
0
t
0
2
t
2
0
t
0
3
t
3
2
t
2
0
t
0
3
t
2
0
t
0
Ä
â 2
t
2
0
t
0
3
t
3
0
t
0
0
t
0
2
t
2
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t
0
3
t
3
2
t
2
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t
0
2
t
2
0
t
0
1
t
1
2
t
2
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t
0
2
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2
3
t
3
1
t
1
2
t
2
0
t
0
0
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0
3
t
3
1
t
1
2
t
2
3
t
3
0
t
0
3
t
3
1
t
1
5
|
4
Ä
â
3
t
3
0
t
0
3
t
3
5
t
4
1
t
1
3
t
2
0
t
0
3
t
3
2
t
2
1
t
1
3
t
3
0
t
0
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t
0
2
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2
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t
1
3
t
3
2
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2
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0
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2
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t
1
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t
0
2
t
2
0
t
0
2
t
2
3
t
3
0
t
0
2
t
2
0
t
0
2
|
2
A Minor 7/11 Pentatonic Licksopen position (continued)
mel 1.437 mel 1.437
Melody 1.437
359
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.440
Ä
4
4
â
4
43
«t
3
0
tI
0
2
t
2
0
t
0
2
t
2
1
t
1 2
Swing Eighths
2
t
0
0
t t
0
0
t
2
2
t
0
0
t
1
t
1
2
t
2
0
t
0
2
t
2
0
t
0
3
t
3
0
t
0
0
t
0
2
t
2
3
t
3
|
b
30 3
S
1 2
Swing Eighths
3
t
0
t
3
t
2 2
! toIt
Ä
â
d
3
tI
3
d
0
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0
3
t
3
3
t
3
0
t
0
b
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S
1 2
t
3
t
0
t
3
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3
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t
12
| b
a
b
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t
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t
1
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t
1
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t
2
d
1
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2
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2
t
0
0
t
2
2
t
1
1
t
1
1
t
1
c b
Ä
â
Straight Eighths
3
c
55
toIt
5
3 3
t
3
3
t
1
3
t
3
3
t
1
t
3
3
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5
t
3 3
3
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1
5
t
3
3
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3
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1
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2
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0
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2
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0
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2
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0
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t
3
0
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0
3
|
3
b
Ä
â
Û
1
t
1
2
t
2
0
t
0
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2
t
2
0
t
0
2
t
2
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0
t
0
2
t
2
0
t
0
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2
t
2
0
t
0
3
t
3
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3
t
3
0
t
0
2
t
2
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0
t
0
2
t
2
0
t
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2
t
2
0
t
0
2
t
2
1
t
1
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2
t
2
0
t
0
3
t
3
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0
t
0
2
t
2
0
t
0
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2
t
2
0
t
0
2
t
2
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1
t
1
2
t
2
0
t
0
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0
t
0
2
t
2
1
t
1
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2
t
2
0
t
0
2
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t
0
2
t
2
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0
3
t
3
Ä
3
4
â
3
4
1
t
1
2
t
2
0
t
0
2
t
2
2
t
2
0
t
0
2
t
2
0
t
0
0
t
0
2
t
2
0
t
0
3
t
3
3
t
3
0
t
0
2
t
2
0
t
0
0
t
0
2
t
2
0
t
0
2
t
2
2
t
2
0
t
0
2
t
2
1
t
1
C Major 6/9 Pentatonic Licksopen position, with slides
mel 1.440 mel 1.440
360
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.545
Ä
!
!
!
4
4
â
4
4
c
55
55
11
t
Yt
55
d
77
11
t
t
55
11
t
t
33
tt
11
t
td
7
S
3
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9
3
t
8
2
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89
32
tt
89
32
tt
89
32
tt
89
32
tt
c
55
t
Yt
11
d
55
t
t
11
55
t
t
11
77
tt
33
55
t
t
11
d
7
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3
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9
3
t
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9
2
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7
3 3
t
o
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5
1
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7
3
td
Ä
!
!
!
â
11
55
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11
55
tt
33
77
tt
11
55
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7
3
t
77
33
tt
55
11
tttt
7
3
t
77
33
tt
55
11
tt
7
3
tt
5
1
t
7
3
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1
t t
55
55
t
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55
11
d
77
t
t
55
11
t
t
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tt
31
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t
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55
t
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tt
55
33
t
t
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|
|
Ä
!
!
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â
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129
11
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11
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129
11
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11
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10
t
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tt
1
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13
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10
4
t
11
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t
9
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t
12
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t
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t
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55
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55
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t
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t
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t
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t
11
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55
t
t
11
|
|
A7
D7 A7
E add9 IX
4
3
1
D9 arpeggio IX
1
4
2
1
1
3
1
3
A7
Chuck Berry Style #1mel 1.546 mel 1.546
361
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.615
Ä
4
4
â
4
4
33
t
0
0
t
33
t
0
0
t
0
0
t
3
3
t
0
0
t
2
2
t
1
0
t
0
2
t
2
0
t
0
2
t
2
3
t
30
t
0
d
0
tY
3
0
t
0
3
t
3
0
t
0
3
t
3
0
t
0
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0 0
0
A
Ä
â
3
3
t
0
0
t
3
3
t
2
2
t
2
t
0
0
t
2
2
t
0
0
t
2
2
t
5
3
t
30
t
0
3
t
32
t
2
|
c
0 2
d
0
0
tI
2
2
t
5
0
t
2
t
0
t
2
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2
0
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0
2
t
2
0
t
0
3
t
30
|
0
b
Ä
â
c
2 4
S
d
3
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5
2
t
3
2
t
1
t
3
t
1
10
5
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3
2
tI
2
S
4
t
2
3
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1
5
t
32
|
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b
3
t
3
0
t
03
t
3
0
t
0
0
t
03
t
3
0
t
0
2
t
2 3
t
3
0
t
0
2
t
2
0
t
0
2
|
2
Ä
â
t
3
1
t
5
3
t
3
1t
4
2
t
5
3
t
3
1
t
0
2
S
t
2
2
15
0
t
0
2
t
2
b b
2 4
S
34
3
Swing Sixteenths
d«
2
tJ
2
t
1
t
2
t
1
t
3
5
t
3
5
t
1
3
t
3
5
t
3
5
t
1
3
t
3
5
t
1
3
t
e
2
S
2
tJ
4
2
t
3
1
t
4
2
t
3
1
t
Ä
â
3
5
t
1
3
t
2
4
t
1
3
"t
1
2
t
4
5
t
1
2
t
c
19
E Minor 7/11 Pentatonic Licksopen position, with slides and blue notes
mel 1.615 mel 1.615
362
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
!
!
!
! 4
4
â
4
42
tI
0
#t
1
!t
2
t
2
t
0
#t
2
t
d
2
tI
0
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1
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2
t
2
t
0
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2
t
d
2
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0
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1
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2
t
2
t
0
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2
t
d
2
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0
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1
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2
t
2
t
0
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2
t
d
2
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0
t
1
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Ä
!
!
!
!
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t
2
t
1
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2
td
2
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0
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1
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2
t
2
t
1
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2
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0
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t
2
t
0
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t
d
2
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2
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2
t
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2
t
d
2
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I
0
t
1
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Ä
!
!
!
!
â
2
t
2
t
0
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2
t
d
2
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I
2
t
1
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0
|
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2
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0
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2
t
2
t
0
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2
t
d
2
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1
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2
t
2
t
2
t
2
t
2
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d c
Ä
!
!
!
!
â
00
00
t
t
00
00
t
t
00
00
t
t
3
3
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00
00
t
t
00
00
t
t
00
00
t
t
00
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t
t
00
00
t
t
00
00
t
t
3
3
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00
00
t
t
00
00
t
t
00
00
t
t
00
00
t
t
00
00
t
t
00
00
t
t
3
3
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00
00
t
t
00
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t
t
00
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t
t
00
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t
t
00
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t
t
00
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t
t
333
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# t
t
t
00
00
t
t
00
00
t
t
00
00
t
t
Ä
!
!
!
!
â
11
55
t
t
11
55
t
t
11
55
t
t
4
8
#t t
55
11
t
t
55
11
t
t
55
11
t
t
11
55
t
t
11
55
t
t
11
55
t
t
4
87
! t
t
t
t
55
11
t
t
55
11
t
t
55
11
t
t
00
00
t
t
00
00
t
t
00
00
t
t
3
3
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t
00
00
00
t
t
00
00
t
t
00
00
t
t
00
00
t
t
00
00
t
t
00
00
t
t
3
3
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00
00
t
t
00
00
t
t
00
00
t
t
E
A E
B A E B
E
AE
Surf's Up!mel 1.620 mel 1.620
Melody 1.620
363
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.621
Ä
!
!
!
!
â
11
77
t
t
11
77
t
t
11
77
t
t
4
10
t
1
7
t
1
7
t
11
77
t
Yt
d
11
55
t
t
11
55
t
t
11
55
t
t
4
8
#t
1
5
t
0
0
t
3
3
#t
00
00
t
t
t
t
00
00
t
t
00
00
t
t
3
3
#t
0
0
t
0
0
t
00
00
t
Yt d d
24
31
t
It
24
31
t
t
24
31
24
t
t
31
t
It
2
tI
0
#t
1
!t
Ä
!
!
!
!
â 2
t
2
t
0
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2
t
d
2
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0
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1
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2
t
2
t
0
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2
t
d
2
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0
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1
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2
t
2
t
0
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2
t
d
2
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2
t
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t
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2
t
d
2
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0
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t
2
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1
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2
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1
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2
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2
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t
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t
0
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d
2
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1
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2
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2
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d
2
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1
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â
2
t
2
t
0
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2
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d
2
t
I
2
t
1
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0
|
d
2
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0
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1
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2
t
2
t
0
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2
t
d
2
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0
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1
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2
tI
c«
121213
|
||
B A EB
E
A E
B A E
Surf's Up!(continued)
mel 1.621 mel 1.621
364
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Ä
4
4
â
4
4
d
tI
2
t
0
t
2 t
1
t
2
t
0
t
2
a
1
A
2
a
t
3
t
0
t
3t
2
tt
1
t
2
t
0
t
2
a
t
3
t
0
t
3t
2
|
a
Ä
â
c d
tI
0
t
2
t
0
t
2 t
1
a
5
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2
tI
0
t
2
t
0 t
3
a
|
0
b
a
t
1
t
2
t
0
t
2
t
2
t
0
t
2
t
0
a
t
0
t
2
t
0 t
3
|
0
a
Ä
â
b d«
0
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2
t
0
t
2
t
0
t
a
10
t
2
t
2
t
0
t
2
t
2
t
0
t
2
t
1e
tJ
0
t
2
t
0
t
2
t
0
a
t
2
t
0
t
2
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1
t
0
t
3t
0
c
a
Ä
â
S
3
c
53
5
3 3
t
o
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3
S
1
t
1
3 3
t
o
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2
1
t
0
2
t
0
t
13
2
t
2
c b d
2
tI
1
2
t
1
4
S3
" t
o
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1
33
t
2
1
t
0
2
t
0
2
t
2
c b c
55 4
S
t
t
3
3
"t
1
2
t
2
2
t
0
1
t
2
t
0
2
t
2
c b
Ä
â
d
0
0t
I
3
3t
0
0
t
3
3
t
0
0
t
3
3
t
2
2
t
19
t
1
1
t
2
2
t
2
2
t
3
3
t
0
0
t
c
mel 1.650 mel 1.650A Minor 7/11 Pentatonic Licksopen position, with slides and blue notes
Melody 1.650
365
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.705
Ä
4
4
â
4
4
Swing Eighths
S
15
t
o
Y
17
t
3 3
15
t
1
Û
#17
t
3
15
t
3
S
12
t
1
14
S
t
o
Y
16
t
3 3
15
t
2
Û
16
t
3
14
t
3
S
12
t
1
#
14
|
3
a
Straight Eighths
15
t
o
Y
17
t
4 4
S12
t
1
15
t
4
#12
t
1
14
t
o
Y
16
t
3 3
S
12
t
1
14
t
3
12
t
1
#
14
t
3
c
c
b
b
Ä
â
Swing Eighths
14
S
c
1615
16
t
o
Yt
14
3 3
S
t
12
2
t
o
Y t
14
3 3
t
12
1
#
t
3
t
1
#
5
14
t
3
c b d
14
tY
12
3
t
1
15 14
S
" t
o
Y t
12
3 3
t
14
1
#
t
12
3
#
t
1
14
t
3
c b
Ä
â
c
1212
1
15
S
t
t
14
1
" t
12
3
t
14
3
t
12
1
#
t
3
#
t
1
9
14
t
3
c b
Straight Eighths
c
12
S
14
d
12
tY
14
3
t
12
3
t
1
t
3
t
1
#
14
«t
3
12
tY
3
S
14
t
3
12
t
1
#
15
t
4
12
|
1
b
Ä
â
c
14 16
S
d
15
tY
17
2
t
15
2
t
1
t
3
t
1#
14
17
«t
3
14
tY
3
S
16
t
3
15
t
2
12
t
1
#
14
|
3
b
14
t
o
Y
16
t
3 3
S
12
t
2
15
t
3
14
t
o
Y
16
t
3 3
14
S
d
16
S
t
o
YtY
14
3 3
t
12
1
#
t
1
14
«t
3
12
tY
1
#
«t
mel 1.705 mel 1.705E Minor 7/11 Pentatonic Lickstwelfth position with slides and blue notes
366
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.706
Ä
4
4
â
4
4
b
14 16
S
1516
15
d«
2
tZ
2
t
1
t
2
t
1
t
19
17
t
3
17
t
3
15
t
1
17
t
3
17
t
3
15
t
1
17
t
3
15
t
1
#
e
14
tZ
16
2
t
15
2
t
16
1
t
15
2
t
1
17
t
3
15
t
1
16
t
2
15
" t
2
S
14
t
1
17
t
4
#
14
tY
1
d c
Ä
â
b
12 14
S
1214
12
d« tZ
3
t
3
t
1
t
3
t
1
22
14
t
3
14
t
3
12
t
1
14
t
3
14
t
3
12
t
1
14
t
3
12
t
1
#
e
12
S
tZ
14
3
t
12
3
t
14
1
t
12
3
t
1
14
t
3
12
t
1
14
t
3
13
"t
2
12
t
1
15
t
4
#
12
tI
1
d c
E Minor 7/11 Pentatonic Lickstwelfth position with slides and blue notes (continued)
mel 1.706 mel 1.706
367
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.717
Ä
!
!
!
4
4
â
4
4
speak names:
fingers:
2
t
C#1
2
t
3
C#1
0
t
D2
t
E0
1
0
t
E0
3
t
2
D2
0
t
C#1
t
B0
2
t
A1
2
t
0
A1
2
t
B0
t
C#1
C#1
2
«t
B0
0
tI
B0
0
|
Ä
!
!
!
â
2
t
C#1
2
t
3
C#1
0
t
D2
t
E0
5
0
t
E0
3
t
2
D2
0
t
C#1
t
B0
2
t
A1
2
t
0
A1
2
t
B0
t
C#1
0
«t
B0
2
tI
A1
2
|
A1
Ä
!
!
!
â
0
t
B0
0
t
2
B0
2
t
C#1
t
A1
9
0
t
B0
2
t
3
C#1
t
2
D2
t
2
C#1
t
A1
0
t
B0
2
t
3
C#1
t
2
D2
t
0
C#1
t
B0
2
t
A1
0
t
B0
2
|
E1
Ä
!
!
!
â
2
t
C#1
2
t
C#1
3
t
D2
0
t
E0
13
0
t
E0
3
t
D2
2
t
C#1
0
t
B0
2
t
A1
2
t
A1
0
t
B0
2
t
C#1
æ
ææ
0
«t
B0
2
tI
A1
2
|
A1
Ode To Joyfrom Beethoven's Ninth Symphony
mel 1.717 mel 1.717
368
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.718
Ä
!
!
!
4
4
â
4
4
A
2
t
1
0
t
0
2
t
1
0
t
0
3
t
2
0
t
0
0
t
4
0
t
0
1D
0
t
4
0
t
0
3
t
2
0
t
0
2
t
1
0
t
0
0
t
0
0
t
0
A
2
t
1
0
t
0
2
t
1
0
t
0
0
t
0
0
t
0
2
t
1
0
t
010
0
|
2
«t
0
tI
0 00
0
|
0
|
E7
Ä
!
!
!
â
A
2
t
1
0
t
0
2
t
1
0
t
0
3
t
2
0
t
0
0
t
4
0
t
0
5 D
0
t
4
0
t
0
3
t
2
0
t
0
2
t
1
0
t
0
0
t
0
0
t
0
A
2
t
1
0
t
0
2
t
1
0
t
0
0
t
0
0
t
0
2
t
1
0
t
0
E7
0
0
«t
0
|
0
2
tI
1 1
2
|
0
|
0
A
Ä
!
!
!
â
E7
0
t
0
0
t
0
0
t
0
0
t
1
2
t
1
A
0
t
0
2
t
1
0
t
0
9 E7
0
t
0
0
t
0
2
t
1
3
t
2
2
t
1
A
0
t
0
2
t
1
0
t
0
0
t
0
E7
0
t
0
2
t
1
3
t
2
2
t
1
A
0
t
0
0
t
0
E7
0
t
0
B7
2
12
!t
t
1
0
t
02
22
t
t
1
E7
0
t
0
Ä
!
!
!
â
A
2
t
1
0
t
0
2
t
1
0
t
0
3
tI
2
0
tI
0
0
tI
4
0
tI
0
13 D
0
t
4
0
t
0
3
t
2
0
t
0
2
t
1
0
t
0
0
t
0
0
t
0
A
2
t
1
0
t
0
2
t
1
0
t
0
0
t
0
0
t
0
2
t
1
0
t
0
E7
0
0
«t
0
|
0
2
tI
111
0
|
22
|
|
0
A
Ode To Joypluck the bass notes with the thumb, remaining notes with the fingers
mel 1.718 mel 1.718
369
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.719
Ä
!
!
!
4
4
â
4
422
tt
11
A
0
t
0
22
tt
11
0
t
0
43
tt
23
0
t
0
56
tt
23
0
t
0
17D
56
tt
23
0
t
0
43
tt
23
0
t
0
22
tt
11
0
t
0
10
tt
01
0
t
0
22
t
t
11
A
0
t
0
22
t
t
11
0
t
0
24
t
t
31
0
t
0
22
tt
11
0
t
0
0
11
22
«t«t
0
|
01
10
tIt
0 0
01
10
||
0
|
E7
Ä
!
!
!
â
A
22
tt
11
0
t
0
22
tt
11
0
t
0
43
tt
23
0
t
0
56
tt
23
0
t
0
21 E7
56
tt
23
0
t
0
43
tt
23
0
t
0
22
tt
11
0
t
0
10
tt
01
0
t
0
22
t
t
11
A
0
t
0
22
t
t
11
0
t
0
24
t
t
31
0
t
0
22
tt
11
0
t
0
0
|
10
«t
«t
010
E7
22
t
It
11
0
0
|
22
|
|
11
A
Ä
!
!
!
â
E7
10
tt
01
0
t
0
10
tt
01
0
t
0
22
tt
11
A
0
t
0
22
t
t
11
0
t
0
25
10
tt
01
E7
0
t
0
22
tt
11
43
tt
23
22
tt
11
A
0
t
0
22
t
t
11
0
t
0
10
tt
01
E7
0
t
0
22
tt
11
43
tt
23
22
tt
11
A
0
t
0
00
t
t
00
E7
12
!t
t
21
B7
0
t
0
22
t
t
21
E7
0
t
0
Ä
!
!
!
â
A
22
tt
11
0
t
0
22
tt
11
0
t
0
43
tt
23
0
t
0
56
tt
23
0
t
0
D29
56
tt
23
0
t
0
43
tt
23
0
t
0
22
tt
11
0
t
0
10
tt
01
0
t
0
22
t
t
11
A
0
t
0
22
t
t
11
0
t
0
24
t
t
31
0
t
0
22
tt
11
0
t
0
10
«t
«t
0
|
01
E7
0
22
t
It
11
22
|
|
0
|
11
A
0
Ode To Joy (continued)mel 1.719 mel 1.719
370
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.720
Ä
!
!
!
4
4
â
4
4
2
t
3
A
2
t
2
2
t
3
2
t
2
3
t
4
2
t
2
0
t
0
2
t
2
33 E7
0
t
0
1
t
1
3
t
4
1
t
1
2
t
3
1
t
1
0
t
0
2
t
2
A
2
t
3
2
t
2
2
t
3
2
t
2
0
t
0
E7
2
t
2
2
t
4
2
t
232
4
222
«t
«t«t
A E7
0
010
t
Itt
1 10
0
010
t
tt
0
2
2
t
1
1
t
0
0
t
Ä
!
!
!
â
2
t
3
A
2
t
2
2
t
3
2
t
2
3
t
4
2
t
2
10
t
0
2
t
2
37 E7
0
t
0
1
t
1
3
t
4
1
t
1
2
t
3
1
t
1
0
t
0
2
t
2
2
t
3
A
2
t
2
2
t
3
2
t
2
0
t
0
E7
2
t
2
2
t
4
2
t
21
010
«t
«t
«t
0
0
422
t
I
t
t
113
13
422
||
|
1
A
Ä
!
!
!
â
0
t
0
E7
2
t
0
0
t
2
1
t
0
2
t
1
A
2
t
1
2
t
1
0
t
0
41
0
t
0
E7
1
t
1
2
t
2
3
t
3
2
t
1
A
2
t
1
2
t
1
4
t
30
00
t
t
0
E7
22
t
t
11
43
t
t
23
22
t
t
1
A
1
00
t
t
0
E7
0 12
12
!t
t
B7
01
10
t
t
32
22
t
t
E7
0
0
t
Ä
!
!
!
â
1
222
tt
t
0
t
222
tt
t
0
t
423
t
tt
0
t
567
ttt
0
t
45
546
t
tt
0
t
423
t
tt
0
t
222
tt
t
0
t
010
tt
t
0
t
Ä
!
!
!
â
022
t
t
t
422
t
tt
564
tt
t
776
tt
t
47
æ
ææ5
44
t
tt
4
t
202
t
tt
022
|
|
|
1
A I
111
D/A I
23
11 2
1
A V
3
1
E IV
32
1
D/E II
32 1
A I
11
1
E7 I
A I
11
A I
3
11 1
D#°dim. IV
32
1
A VI
32
Bm IV
2
11
E7sus.4 I
2 3
A I
11
Ode To Joy (continued)mel 1.720 mel 1.720
371
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.728
Ä
3
4
t
«|
t
t
ttt
t
«|
t
t
tttt
3
t
t
t
3
t
3
t tt
t
ttt
Ät!ttttt
tt
t
ttt
t
ttt
!t
t
t
t!tt
tt
Ä
tt
t
ttt
tt
t
ttt t
3
t
t
t
3
t
3
ttt
t
ttt
Ä
tt
t
t
t
tt t
t
t
ttt t
!ttttttt
t
t
tI
d
Ä
tt
t
ttt t
3
t
t
t
3
t
3
t tt
t
tttt!ttttt
Ä
tt
t
t
ttt
3
t
t
t
3
t
3
t tt
t
ttt t
t
!tt
t
Ä
«|
!t
ttt
t
t
t
t
t
c
tt
c
t
tt
«|
t
t
ttt
t
ttt
t
t
1
Am I
322
E7 no 3 II
3
1 1
Am I
32
1
E I
32
1
Am I
32 3
Dm II1
2
4
F7 II1
21
E I
32
1
Am I
32 2
E7 no 3 II
3
1 1
Am I
32
2
B dim. III
3
1 1
Am I
32
1
E I
321
Am I
32
1
Am I
32 2
E7 no 3 II
3
1 1
Am I
32
1
E I
32
1
Am I
32 2
E7 no 3 II
3
1 1
Am I
321
E I
32
3
A7 I
2 3
Dm II
1
2
3
G I
3
2
1
C I
Estudio VFernando Sor
mel 1.728 mel 1.728
372
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.729
Ä
â 3
"t
5
t
3
t
5
t
c
3
t
3
t
c
3
t
6
t
5
t
3
t
3
t
5
t
3
t
3
"t
5
t
3
t
2
t
2
«! |
4
!t
3
t
4
t
2
t
4
t
0
«|
1
!t
2
t
2
t
1
t
0
t
0
t
Ä
t
«|
t
t
ttt
t
«|
t
t
ttt t
3
t
t
t
3
t
3
ttt
t
ttt
Ät!ttttt
tt
t
ttt
t
ttt
!t
t
t
t!tt
t
t
Ä
â
5
t
8
«|
5
t
7
t
5
t
5
t
5
t
7
!t
7
«|
8
!t
7
t
8
t
7
t
8
t
9
!t
7
«|
7
t
9
t
7
t
9
t
7
t
5
t
8
«|
7
t
5
t
7
t
5
t
7
t
Ä
â
1
t
0
«|
0
t
2
t
0
t
1
t
0
t
0
t
2
«|
1
t
2
t
1
t
0
t
1
t
0
«|
0
t
0
t
1
!t
0
t
0
t
1
tæ
ææ3
2
|
|
5
|
c
c
3
1 1
Bb III1
3
Bb III
4
1 1 1
3
1 1
Bb III1 1
3
F# dim. II
21 1
E I
32
1
Am I
32 2
E7 no 3 II
3
1 1
Am I
32
1
E I
32
1
Am I
32 3
Dm II1
2
1
4
E7 VII11
3
4
F7 II1
2
1
E I
32
11
Fma7 V
43
1
1
E7 I
2
1
Am/C V
43
1
2
1
B7 VII1 11
3
1
Dm6 I
2
1
Am I
32
1
E7 I
22
Am II
4
1
Estudio V - Fernando Sor (continued) mel 1.729mel 1.729
373
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.742
Ä
!4
4
â
4
4
S
2
2 2
t
o
Y
4
«t
0
0
t
2
2
t
0
0
t
2
2
t
4
4
t
0
0
t
1
tc b
a
S
2
t
o
Y
4
«t
2 2
0
t
0
2
t
2
2
t
2
0
t
0
2
t
2 2
4
tI
S
d c b
Ä
!
â
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MELODY
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MELODY
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376
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MELODY
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MELODY
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E Minor 7/11 Pentatonic LicksOpen and twelfth position. With slides, hammers, pull-offs and blue notes
mel 1.815 mel 1.815
Melody 1.815
378
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.816
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E Minor 7/11 Pentatonic LicksOpen and Twelfth Position. With hammers, pull-offs, slides and blue notes. (continued)
mel 1.816 mel 1.816
379
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.817
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E Minor 7/11 Pentatonic LicksOpen and Twelfth Position. With hammers, pull-offs, slides and blue notes. (continued)
mel 1.817 mel 1.817
380
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.818
Ä
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t
14
P
1
t
12
3
t
14
PPPPPP
t
14
3
t
12
1
t
14
3
P
t
12
1
t
12
1#
t
14
3
P
t
12
1
t
14
3
t
14
3
P
t
12
1
t
14
3
t
12
1
P
t
12
1
t
14
3
P
t
12
1
t
15
4 3
t
14
1
t
12
P
4
t
10
#1
t
12
«|
Ä
â
t
10
1
H
t
12
3
t
10
1
t
12
3
H
t
12
3
t
10
1
H
t
12
3
S
t
14
3
t
10
1
t
12
3
H
t
14
3
t
12
1
t
12
1
H
t
14
3
t
12
1
t
14
3
H
t
14
3
t
12
1
H
t
14
3
t
12
1
#
t
12
1
H
t
14
3
t
12
1
H
t
14
3
t
14
3
t
12
1
H
t
14
3
t
12
1
t
12
1
H
t
14
3
t
12
1
t
15
4
H
t
14
2
t
16
2
S
t
15
1
t
17
3
H
t
16
2
t
15
1
H
t
17
3
t
15
1
#
|
17
3
Ä
â
Swing Eighths
b
1615
H
1715
d
2
tY
Û
1
t
3
t
1
t
15
t
o
Yt
17
13H
t
15
1
Û
#
t
17
3
t
15
1
P
t
16
2
15
t
o
Yt
17
13
H
t
15
1
Û
t
16
2
S
t
14
2
t
12
1
14
3 3
t
o
Yt
16
1
S
t
12
Û
#3
t
14
P
1
t
12
3
t
1412
H
13
t
o
Yt
14
1
t
12
Û
3
t
14
P
1
t
12
4
t
15
#
t
12
1
c b
E Minor 7/11 Pentatonic LicksOpen and Twelfth Position. With hammers, pull-offs, slides and blue notes. (continued)
mel 1.818 mel 1.818
381
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.824
Ä
4
4
â
4
4
Swing Eighths
S
7
2 21
t
o
Y
9
t
1+
8
t
12
8
t
S
10
3 3+
toI
13
t
3 + 4 +
|
S13
t
o
Y
14
" t
3 31 +
13
t
32 +
11
" t
13
#+
13
t
34
13
t
3+ 1 +
t
1112
S
" t
10
12
t
8
2+
t
10
23
"t
1+ +
t
34
11
8
"t
#
32
10
t
3+
10
t
+ +3 4
b
Ä
â
H11
" t
o
Y
13
t
1 3
1 +
11
t
1
2
13
t
3
+
13
t
3
3 +
11
t
Y
1
4 +
d
1
13
d
14S
t
o
Y" t
Y
13
3 3
+
t
11
3
2
" t
13
1
+
t
11
3
3
t
13
1
+
t
13
3
4
t
3
+ 1 2 3+ + +
«|
2020
3
2020
31
t
t
3
4
t
t
3
+ 2+
c
108
d
10
tI
8
3
+
"t
10
1
3
t
3
+
"t
1
4
t
3
+
Ä
â
S
10
3 31
t
o
Y
12
t
2+
11
" t
3 32
12
t
o
Y
10
t
S
1+
8
"t
33
10
«t
2+
8
tY
8
"tY
11
8
«t
2+ 2 + 3 + 4
t
6 8
S
Û
t
t
1trip
t
1let
Û
8
t
11
11
" t
4trip
8
t
1let
10
t
32
Û
+
8
t
13
11
t
4trip
8
t
1let
Û
10
t
34
8
"t
1trip
10
t
3let
æ
ææ
8
"t
11
#
10
t
3+
10
t
32
10
t
3+ 4 ++3
tc
C7
F9 C7
G9 F9 C7 G7
Albert King Style #2mel 1.824 mel 1.824
382
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.825
Ä
!
!
!
4
4
â
4
4
2
i
2
tI
Û
2
4
t
S
1
m
3
t
2
i
4
t
1
H
5
toI
3
t
5
1 3
m
3
t
4
3
m
t
2
1
m
S
0
t
1
2
m
H
t
2
2
m
# toI!t
0 1
i
t
2
i2
m
22
tt
2
a
2
t
2
i
0
0
m
0
# toI
1
!tt
0
a1
H
2
t
2
i
2
d
t
22
2
m
tt
2
2
i2
t
m
2
a0
0
# toI
10
!tt
0
i
H
1
2
t
2
am
d
22
tt
2
2
im
0 10
t
2
a
H
0
# toI !tt
2
0
i a1
t
2
i
2
b
4
S3
4
dtI
2
i
Û
t
2
t
1
m
t
2
i
Ä
!
!
!
â
H
53
toIt
5
1 3
m
3
t
4
3
m
t
2
1
m
S
t
0
2
i
t
2
2
#t
0
i
t
2
i
6
2
m
22
tt
2
a
2
t
2
i
0
00
#tt
0
a
2
m m
22
tt
2
a
d
2
m
t
22
2
i
tt
2
2
a
2
t
2
i
0
0
m
0
# toI
1
!tt
0
a
1
H
2
t
2
i
d
2
m
tI
22
2
i
tt
2
2
a
2
H
0
m
0 1
t
2
i
0 1
# toI!tt
0 2
a
t
2
0
i
4
d
t
4
4
p
tI
0
4
p
t
0
0
p
t
1
0
p
! t
1
1
p
t
1
p
Ä
!
!
!
â
2
t
2
P
2
t
3
i
0
t
0
m
2
t
3
i
2
t
4
a
2
t
4
a
d
3
!t
3
i
10
0
t
0
m
0
t
0
a
0
t
0
m
3
"t
3
i
S
2
t
3
2
t
2
i
22
tt
2
am
2
2
t
2
i
0
10
m
0
a i
0
# toI!tt
1
H
2
2
t
d
2
m
2
i
t
22
2
a
tt
2
H
0
m
2
i
0 1
t
0 1
0
a
# toI!tt
2
2
i
t
m
22
tt
2
a
0H
10
m
0
# toI
1
!tt
0
a
2
t
2
i
2
t
2
p
tI
dc
E7
A7
To Coda
E7
2
1
B7 I
3 4
2
1
C b7&7 I
3
2
1
B7 I
3 4
E7B7
Acoustic Shuffle In Ewithout bass
(a version will appear shortly after with bass)
mel 1.825 mel 1.825
383
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.826
Ä
!
!
!
â
S
5
toI
3
t
0
3 3
m
t
3
0
a
P
0
Û
t
3
m
2
t
0
3
t
2
i
2
Û
"t
3
i
P P
0
t
2
2
#t
0
i
P
0
Û
t
2
i
2
t
0
t
2
i
14
S
5
toI
3
t
0
3 3
m
t
3
0
a
0
Û
t
3
m
1
t
0
2
t
0
i
t
2
i
0
t
0
p
S
53
toIt
0
3 3
m
t
3
0
a
0
Û
t
3
m
P
2
t
0
3
t
2
i
2
Û
"t
3
i
P
0
t
2
P
2
#t
0
i
P
0
Û
t
2
i
2
t
0
t
2
m
SS
Û
i
2
12
t
o
Yt
34
tt
1 1
m2
34
tt
1
mi
2
34
tt
1
m
Û
i
2
34
tt
1
mi
2 2
34
tt
1
mi
2
34
tt
1
mi
toI
4 2
t
2 2
i
S
0
#t
0
i
2
d
t
1
i
Ä
!
!
!
â 2
t
1m
2
t
1a
d
4
t
2
3i
t
3
1m
t
0
2a
d
#t
3i
18
0
#t
0m
5
t
4a
d
4
tI
2
3i
t
3
1m
t
2a
c
5
S
t
o
Y
3
t
0
3 3m
t
3
0
0
Û
t
3a
P
2
t
0m
3
t
2
2
Û
"t
3i
P
0
t
2i
2
#t
0
0
Û
t
1i
P
2
t
0i
t
1
Û
1i
2
t
0i
0
t
P
p1
2
t
0
0
t
p p3
3
# t
Û
p1
1
" t
P
0
0
t
3
3
t
p0
0
t
p
Ä
!
!
!
â
4
5
t
2m
3
t
3m
4
t
1i
2
t
Û
3i
4
t
1i
2
t
P
4
0
t
p1
2
t
p
22
0
t
0p
0
#t
0
3
t
3i
2
t
2m
t
0
t
3
0m
# t
3p
P
5
t
o
Y
3
t
0
3 3i
t
3
0m
0
Û
t
3
P
2
t
0a
3
t
2m
2
Û
"t
3
P
0
t
2i
2
#t
0i
0
Û
t
2
P
2
t
0i
t
2i
æ
ææ
0
0
t
3i
3
t
0a
10
t
0m
0
t
p2m
2
t
1m
1
# t
p
1
A I
11
1
A I
11
2
1
D I
3
A7 I
3 4
2
1
D I
3 E7
D.S. al Coda
B7 A7E7
repeat from the "slashed S" symbol near the beginning to the words "to Coda", then play the ending section
on the page after this one marked "Coda".
B7
Acoustic Shuffle In E without bass (continued)
mel 1.826 mel 1.826
384
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.827
Ä
!
!
!
â
m0 10
# toI!tt
0
H
0 1
2
a
2
t
d
2
2
t
22
22
i
tt
2
2
t
0
m
0
H
1
0 10
i a
# toI !tt
2
2
i
t
26
æ
ææ0
2
t
0
ap
2
t
2
m
22
tt
2
i
2
2
t
2
m0 1
# toI !tt
0
0
i a
H
0 12
t
2
i p
0
t
a
E7
Coda
decelerando (gradually slower)
Acoustic Shuffle In E without bass (continued)
mel 1.827 mel 1.827
385
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.860
Ä
4
4
â
4
4
c
20
d
2
2
tI
0
S
2
0
t
4
2
t
0
t
2 2
toIt
1
t
3
S
4
t
2
3
toIt
0
2 2
t
2
0
t
0
2
t
2
0
t
0
2
t
0
t
0
t
3
0
t
3
3
P
"t
2
3
t
0
2
t
2
0
t
2 0
0
|b
Ä
â
c
1412
d
14
tY
12
3
14
t
16
1
S
t
3
t
3
t
o
Yt
1 3
5t
1516
t
14
4
S
t
o
Y t
12
3 3
t
14
1
t
12
3
t
14
1
t
12
3
t
1
t
12
t
15
1
t
15
4
P
" t
14
4
t
12
3
t
14
1
t
3
12
|
1
b
Ä
â 0
t
0
H
2
t
2
0
t
0
H
0
toI
2
t
0 2
d
02
tI
4
0
S
toIt
2
2 2
t
2
9
t
0
t
2
0
t
0
2
t
0
0
t
0
0
t
2
0
t
2
0
t
0
H
2
t
2
0
t
0
2
S
toI
4
t
2 2
d
34
S
tY
2
3
t
o
Y t
0
2 2
t
0
t
0
t
2
0
t
0
2
t
0
0
tI
0
d c
Ä
â 12
t
1H
14
t
3
12
t
1
12
H
t
o
Y
14
t
1 3
d
1214
tY
16
1S
t
o
Yt
14
3 3
t
3
13t
12
t
14
1
t
12
3
t
12
1
t
12
1
t
14
1
t
3
12
t
1H
14
t
3
12
t
1
14
S
t
o
Y
16
t
3 3
d
1516
S
tY
14
4
t
o
Y t
12
3 3
t
1
t
12
t
14
1
t
12
3
t
12
1
tY
1
d c
Ä
â14
t
3
S
16
t
3
15
t
2
16
t
3
14
t
3
S
12
t
1
14
t
3
14
t
o
Y
16
t
3 3S
17
17
t
4
16
t
3
15
t
2
16
t
3
14
t
3
S
12
t
1
14
t
3
d
12
t
1
H
14
t
3
12
t
1
14
t
3
12
t
3
S
10
t
1
12
t
3
12
toI
14
t
3 3S
14
t
3
14
t
3
12
t
1
14
t
3
12
t
3S
10
t
1
12
t
3
10
t
1
10
|
1
b
G Major 6/9 Pentatonic LicksOpen and twelfth position. With slides, hammers and pull-offs.
mel 1.860 mel 1.860
386
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.861
Ä
4
4
â
4
4
0
H
toI
01
t
t
1 21
0
t
1
2
t
3
0
t
1
0
toI
02
t
t
1 31 3
H
00
t
t
11
20
tt
13
0
t
1
22
1
30
tt
14
20
tt
13
00
t
t
4
3
t
0
H
11 3
toI
20
||
Ä
â
12
t
o
Y
1312
t
t
1 21
H
12
t
1
14
t
3
12
t
1
12
t
o
Y
1214
t
t
1 31
H
1212
t
t
11
1412
tt
13
12
t
1
24
1512
tt
14
1412
tt
13
1212
t
t
11
15
t
4
12
toI
1412
||
11 3
H
G Major 6/9 Pentatonic LicksOpen and Twelfth Position. With hammers, pull-offs, slides and blue notes. (continued)
mel 1.861 mel 1.861
387
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.866
Ä"4
4
â
4
4
Swing Eighths
fretting:
count:
b
8 98
d
1+
!tY
24
t
1+
t
11
8
t
1+
8
t
2
11
d
12S
4 4+ 3 + 4 +
! t
o
Yt
Y
b
11
8
t
4+
11
t
32
10
t
1+
8
t
43
11
" t
3+
10
t
14
8
!t
2+
9
t
Ä"
â
3
S
1
10
t
3+
10
t
2 + 3 + 4 +
c b
11
8
!t
2+
9
t
32
10
t
4+
11
!t
13
8
t
1+
8
" t
c
4 +31
10
t
2+
9
" t
12
8
t
1+
8
" t
13
7
t
3+
10
t
+
c
4
Ä"
â
3 31
10
toI
12
t
S
1+
10
t
42
13
" t
1+
10
t
13
8
t
S
3+
10
t
14
7
t
3+
10
t
1 2 3+ +
|
810 8
d
1+
tY
34
t
1+
t
11
8
t
1+
8
t
32
10
t
1+
8
t
13
8
t
4 4+
11
! t
o
Y
12
t
S4 +
c
10
t
11
13
t
4+
12
# t
32
10
t
1+
10
t
13
12
t
3+
10
t
14
9
# t
1+
Ä"
â
1 2 3 4+ + + +
t c b
a
31
10
t
3+
10
t
12
7
t
3+
10
t
8
1 23
!t
o
Y
9
t
H
1+
8
t
4 +
c
31
10
t
2+
9
" t
12
8
t
2+
9
# t
43 ++
|
æ
ææ
31
10
t
3+
10
t
4+ + +2
c b
3
C6 F9
C6 F9
Dm7C6
G9 C6 Am7 Dm7G9
C6
Swing Blues #1mel 1.866 mel 1.866
388
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.868
Ä
!
!
!
4
4
â
4
4
Swing Eighths
H
5
1 2
# t
o
Y
6
!t
3
7
td
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MELODY
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A Minor 7/11 Pentatonic LicksOpen and twelfth position. With slides, hammers, pull-offs and blue notes
mel 1.926 mel 1.926
392
© 2000 Jim Gleason. All Rights Reserved.
MELODY
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A Minor 7/11 Pentatonic LicksOpen and Twelfth Position. With hammers, pull-offs, slides and blue notes. (continued)
mel 1.927 mel 1.927
393
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.928
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A Minor 7/11 Pentatonic LicksOpen and Twelfth Position. With hammers, pull-offs, slides and blue notes. (continued)
mel 1.928 mel 1.928
394
© 2000 Jim Gleason. All Rights Reserved.
MELODY
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t
7
t t
7
t
7 7
Û
t
7
t
5
t
7
Û
t
7
t
7
t
5
Û
t
7
tt
æø
ææø
Û
5
t
7
t
5
t
Û
7
t
5
t
7
t
7
t
7
t
Û
5
t
7
t
5
t
A minor arpeggio
Am7/11 pentatonic scale, emphasizing Am arpeggio tones
Jeff Beck & Albert Kingsolo study
mel 1.929 mel 1.929
395
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.945
Ä
4
4
â
4
4
c
20
d
2
tI
1
2
3
t
5
0
S
t
2
t
1
t
o
Yt
3 3
1
t
35
t
3
1
S
t
o
Y t
1
3 3
t
3
1
t
1
3
t
2
1S
3
t
5
2
toIt
3 3
t
5
t
3
3
t
4
1
"t
3
2
P
t
1
1
t
2
1
t
2 1
1
| b
Ä
â
c
1412
d
14
tY
13
2
15
t
17
1
S
t
2
t
1
t
o
Yt
3 3
5 t
1517
t
15
1S
t
o
Yt
13
3 3
t
15
1
t
13
3
t
14
1
15
t
17
2S
toIt
3 3
t
17
t
15
3
t
16
1
" t
15
2P
t
13
1
t
14
1
t
2
13
|
1
b
Ä
â 0
t
0
2
t
2
1
t
1
0
H
toI
2
t
0 2
d
03
S
tI
5
0
t
o
Yt
3
3 3
t
3
9
t
1
t
2
1
t
0
2
t
1
0
t
1
1
t
3
1
t
3
1
t
1
H3
t
3
1
t
1
3
t
o
Y
5
t
3 3
S
d
35
S
tY
3
1
t
o
Y t
1
3 3
t
1
t
1
t
2
1
t
0
2
t
1
0
tY
1
d c
Ä
â12
t
1
14
t
3
13
t
2
12
H
t
o
Y
14
t
1 3
d
1215
tY
17
1S
t
o
Yt
15
4 4
t
4
13
15
t
13
t
2
14
t
3
12
t
1
13
t
2
13
t
2
15
t
4
13
t
1
15
t
3H
13
t
1
15S
t
o
Y
17
t
3 3
d
1517
t
Y
15
1S
t
o
Yt
13
3 3
t
1
13
t
13
t
1
14
t
3
12
t
1
13
tY
2
d c
Ä
â 0
t
0H
2
t
2
1
t
1
2
t
2
P
0
t
0
3
t
3
0
t
0
toI
2
t
0 2
H
17
2
t
2
2
t
2
0
t
0
2
t
2
0
t
0
P
3
t
3
0
t
0
3
t
3
3
|
3
b
12
t
1
H
14
t
3
13
t
2
14
t
3
12
t
1
P
15
t
4
12
tI
1
t
o
Y
14
tY
1 3
H
14
t
3
14
t
1
12
t
1
14
t
3
12
t
1
P
15
t
4
12
t
1
15
t
4
15
|
4
b
C Major 6/9 Pentatonic LicksOpen and twelfth position. With slides, hammers and pull-offs.
mel 1.945 mel 1.945
396
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.946
Ä
4
4
â
4
4
Swing Eighths
b
0
H
20 2
d
0
tI
Û
2
t
0
t
2
t
23
1
t
1
1
t
1
2
t
2
3
S
t
o
Y
5
t
3 3
t
35
S
t
3
1
dt
o
Y tY
3 3
t
1
t
2
1
3
S
t
5
2
t
o
Yt
0
3 3H
d
20
tI
0
2
Û
t
2
t
0
t
2
1
t
1
1
t
1
2
t
2S
3
t
o
Y
5
t
33
t
35
S
t
3
1
dt
o
Y tY
3 3
t
1
1
t
2
2
t
1
1
t b
Ä
â
b
12 1412
H
14
dtY
1
Û
t
2
t
1
t
2
28
13
t
1
13
t
1
14
t
2S
15
t
o
Y
17
t
3 3
t
1517
t
15
1S
d
t
o
YtY
33
t
13
t
14
1
15
t
17
2S
t
o
Yt
12
3 3
H
d
1412
tY
1
14
Û
t
2
t
1
t
2
13
t
1
13
t
1
14
t
2
15
t
o
Y
17
t
33S
t
1517
t
15
1S
d
t
o
YtY
33
t
13
t
14
1
t
13
2
t
1
b
Ä
â
b
3
c d
tI
3
33
0
t
0
H
2
t
2
0
t
0
2
t
2
H
3
tI
3
01
tt
t
10
3
H
toI
35
tYt
11 3
tt
3
S
t
1
1
t
2
1
t
01
2
H
t
t
2
10
t
0
2
t
2
0
H
toIt
0 2
|
b
a
Ä
â
b
15
c d
4
tY
37
12
t
1
14
t
3
H
12
t
1
14
t
3
15
tY
4
H1312
t
tt
21
15
t
o
Y
1517
t
Y
t
11 3
H
tt
15
t
13
2
S
t
14
2
t
1312
3
t
t
14
2
H
t
1212
t
14
1
H
t
o
Yt
1 3
|
b
a
C Major 6/9 Pentatonic LicksOpen and Twelfth Position. With hammers, pull-offs, slides and blue notes. (continued)
mel 1.946 mel 1.946
397
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.947
Ä
!2
2
â
2
223
2 23 3
t
o
Yt
54
t
t
SS
0
0
t
0
0
t
0
0
t
0
0
t
0
0
t
1
23
32
t
t
23
54
t
t
SS
1
3
t
23
54
t
t
23
23
t
t
SS
0
0
t
2
2
t
0
0
t
0
00
tt
0
3
t
3
3
t
30
00
t
t
0
3
t
30
01
t
t
1
0
t
0
P
2
t
2
P
0
t
0
2
t
2
P
0
t
0
2
t
2
Ä
!
â
0
t
0
2
t
2
2
t
31
01
||
0
5
1
33
t
t
1
H
3
5
t
1
33
t
t
1
5
t
32
34
tt
1
SS
2
12
tt
10
00
tt
0
022000
|
|
|||
|
2
S
4
t
0
3
t
4
3
t
0
t
3
S
2
t
3
0
t
0
2
t
2
1
" t
1
0
t
0
H
1
t
1
0
t
0
P
3
t
3
0
t
0
Ä
!
â
1
2
t
3
4
t
12
23
t
t
12
32
t
t
12
32
t
t
9
1
23
t
t
23
H
4
t
1
23
t
t
2
4
t
3
S
3
#t
3
1
"t
1
3
t
3 0
0
t
2
2
t
3
2
t
31
12
tt
H
4
3
t
1
12
tt
3
3
#t
3
5
t
S
4
5
t
1
3
t
3
5
tI
4
5
«t
E Aeolian
Em G
1
Am I
32
Em I
32
2
1
Bm7 II
3
11
Bb
1
Am I
32
1
C III
43
mel 1.947 mel 1.947
Hendrix-Style Double Stops
398
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.948
Ä
!
â
2 21 1
12
t
o
Yt
34
tt
SS
21
12
tt
SS
00
00
tt
2
3
t
3300
t
t
t
t
13
3103
t
t
t#t
3
t
3
3
t
3
3
t
3
3
t
3
3103
t
t
tt
0
t
0
H
2
t
20
01
t
t
14
31
"tt
12
21
tt
10
01
t
t
10
2
201
tt
t
1
0232
t
t
tt
Û
0
t
0
0
t
0
0
t
0
0232
t
t
tt
Û
0
t
0
0
t
0
0
t
0
Ä
!
â 0232
t
t
tt
Û
0
t
0
0
t
0
0
t
0
3033
t
t
t
t
3030
t
t
tt
17
0232
A
A
AA
A
A
AA
a
Ä
!
â
3302
t
t
tt
0
t
0
0
t
0
0
t
0
0
t
0
20
1
33
t
t
1
H5
t
3
33
t
t
11
33
t
t
1
H
3
5
t
33
t
t
11
5
t
31
334
t
tt
1
2
5
t
3
5
t
3
5
|
312
32
t
t
H
3
4
t
12
32
t
t
4
5
t
32
34
tt
1
2
t
4
5
t
G2
1
G I
3 4
1
F sus. 2 I
3 4 3
2
1
C I
2
D I
3
1
2
1
C add 9 I
43 2
1
C add 9 I
3
2
D I
3
1
3
Em7 I
1
4
1
G III
2
1
3 3
1
II
2
Hendrix-Style Double Stops (continued)
mel 1.948 mel 1.948
399
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.949
Ä
!
â
022
|
|
|
012
«t«t«t
3
2
tI
24
1
01
tt
03H
3
t
01
tt
01 0
10
t
t
12H
2
t
0
t
0
4
t
4
2
t
2
0
t
00
00
|
|
0
0
t
0
3
t
3
0
t
0
1
! t
1
H
2
t
2
0
t
0
0
# t
0
Ä
!
â
2
t
1
4
t
3
232
tt
t
1
2
4
t
3
4
t
3
28
12
32
t
t
H
4
5
t
2
32
t
t
1 12
32
t
t
H
3
4
t
1
2
t
1
1
" t
0
t
0
2
t
2
2
t
3
2
t
2
1
t
1
2
t
3
0
t
0
2
t
2
3
t
3
0
t
0
H
2
t
2
0
t
03
30
#tt
02
20
tt
00
00
t
t
0
3
t
3
Ä
!
â
3
t
3
0
t
0
0
t
00
30
t
t
4
1
t
H
1
30
t
t
40
32
3
#t
3
0
t
0
1
t
1
0
t
0
310
t
t
t
410
2
t
2
H310
t
t
t
410
3
t
3
0
t
0
2
t
2
01
t
t
120
21
tt
1
01
t
t
10
2
t
2
Û
0
t
0
2
t
1
3
t
3
Û
3
t
4
2
t
2
3
t
3
Ä
!
â
2
A
T
36
0
t
2
t
t
2
t
t
t
0
t
t
tt
0
t
t
ttt
0
t
t
ttt
t
t
t
ttt
t
æ
ææ
A
A
AAA
A
a
1
Am I
32
Em I
2
2
1
Bm7 II
3
111
Am I
32
3
2
1
C I
2
1
G I
4
F add 9 I
43
1
3
2
1
C I
2
D sus.4 I
3
1
4
2
D/F# I
3
1T
Em I
32
Hendrix-Style Double Stops (continued)
mel 1.949 mel 1.949
400
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.950
Ä
!
!4
4
â
4
4
b
0222
22
000
00
d
t
0
t
tt
2
t
Itt
0
1
2
22
t
It
22
d
22
t
It
22
22
0
d
3
Û
t
It
0
2
d
3
t
I
0
Û
t
3
#
t
0
t
3
2
tI
22
d
22
t
It
22
22
2
d
2
22
Û
t
It
2
00
d
0
tI
2
tt
2
tt
02
22
t
It
2
d
22
2 2
t
It
22
2
2
d
33
3
Û
2
t
It
22
20
d
00
tI
2
Û
t"t
3
tt
2
#tt
0
22
t
It
22
d
22
2
t
It
22
22
0
d
3
Û
t
It
0
2
d
3
t
I
0
Û
t
3
#
t
0
t
3
Ä
!
!
â 2
t
2
0
t
0
Û
3302
t
Y
t
tt
d
0
t
I
3302
0
Ût
Y
t
tt
3
d
0
H
1
P
tI
0
3
ˆ
3
t
0
" t
1
t
0
t
3
#
6
0
t
0
0
t
0
Û
3302
t
Y
t
tt
d
0
t
I
3302
0
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Y
t
tt
0
d
3
t
I
0
0
Û
t
0
3
t
0
t
0
2
t
2
0
t
0
Û
3302
t
Y
t
tt
d
0
t
I
3302
0
Û
t
Y
t
tt
2
2
d
22
tI
20
00
tt
2
tt
0
2
«|
2
Û
3
t
3
#0
t
0
3
t
3
Ä
!
!
â
0
t
0S
2
toI
4
t
2 2
3
t
3S
4
t
o
Y
2
t
2 2
0
t
0
2
t
2
0
t
0
10
2
t
2
0
t
0
0
t
0
3
t
3#
0
t
0
Û
1
! t
1H
2
t
2
0
t
0
2
t
2
Û
3
t
3P
0
t
0
2
t
2
Û
3
t
3P
0
t
0
2
t
2
Û
3
"t
3
2
t
2
P
0
t
0
2
t
2
0
t
0
2
t
2H
0
# toI
2
t
0 2
2
t
2
0
t
0
Ä
!
!
â
S
2
toI
4
t
2 2
3
t
1
4
t
2
3
tY
1
5
t
3
3
"tY
1
14
3
tY
1
5
t
3
2
tI
2
t
1
3
t
1#
5
t
3
3
t
0
0
t
3
00
tt
0
2
t
0
22
tt
2
22
tt
22
00
tt
00
2
t
2
3
!t
3
0
t
0
0
t
0
2
#t
2
0
t
0
2
t
2
0
t
0
I
1
3 4
I
1
3 4
I
1
3 4
1
III
2
3
1
III
1
31
I
1
3
Mojo/Voodoo Blues Number 3
mel 1.950 mel 1.950
401
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.951
Ä
!
! 4
4
â
4
4 2
t
2
0
t
0
00
t
t
0
0
2
t
2
2
tI
3
402
tt
0
2
tI
1
18
0
tY
3
03
tt
0
2
2
tI
1
3
"t
233033
ttt
02
22
tt
20
00
# tt
0
c
00
0
2
tt
22
0
t
22 2
tt
22
2
00
0
tt
2
tt
0
d
2
tI
00
20
tt
2
0
t
22
2
tt
22
22
2
tt
00
20
tt
0
Ä
!
!
â
S
2
toI
4
t
2 2
3
t
1
0
t
0
4
t
2
t
3
t
0
1
t
3
0
"t
2
22
t
2
t
0
1
t
2
0
t
3
2
t
2
P
't
0
3
t
2
t
0
2
t
2
S
02
toI
002
t
t!t
0
2S
02
3
toI
300
# tt
t
0
2
2 0
t
0
2
t
2
2
t
2
2
|
Û
2
t
0
t
0
H
2
t
2
Û
2
S
t
o
Y
4
t
2 2
3
t
1
3
t
1
Ä
!
!
â
H
3
t
o
Y
5
t
1 3
4
t
2
3
t
1
5
t
3
t
2
t
2
2
Û
H
t
3
2
P
2
P
0
"t
3
t
2
t
0
26
H
toI
2
t
0 2
0
t
0
3
t
3
#
2
t
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Mojo/Voodoo Blues #3 in E (continued)
mel 1.951 mel 1.951
402
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.952
Ä
!
!
â
ˆ
5
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Mojo/Voodoo Blues #3 in E (continued)
mel 1.952 mel 1.952
403
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.953
Ä
!
!
â
3
t
1
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5
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3
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Mojo/Voodoo Blues #3 in E (continued)
mel 1.953 mel 1.953
404
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.954
Ä
!
!
â
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2
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74
I
1
3 4
I
1
3 4
I
1
3 4
I
1
3 4
I
1
32
E7 no 3 I
3
21
Mojo/Voodoo Blues #3 in E (continued)
mel 1.954 mel 1.954
405
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.980
Ä
!4
4
â
4
4
t
tt
t
0
000
t
tt
t
0
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c
Em I
32
Exercise 1 of 3 for bars 1-8.Pluck the bass notes with the thumb. Pluck the remaining notes with the fingers.
2
1
B7 I
3 4
Em I
32 2
1
B7 I
3 4
Em I
32
1
Am I
32
Em I
32 2
1
B7 I
3 4
Em I
32 2
1
B7 I
3 4
Em I
323
2
1
C7 I
4
2
1
B7 I
3 4
Em I
32 2
1
B7 I
3 4
Em I
32
Em
Exercise 2 of 3 for bars 1-8. Bass only. Still finger the chords. Pluck with the thumb.
B7 Em B7 Em Am Em B7
Em B7 Em C7 B7 Em B7 Em
Swing Eighths
mel 1.980 mel 1.980Minor Fingerpicked Blues #1
406
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.981
Ä
!4
4
â
4
4
p
t
0
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t
t
t
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t
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2
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Exercise 3 of 3 for bars 1-8.Em B7 Em B7 Em Am Em B7
Em B7
Minor Fingerpicked Blues #1final version
Em C7 B7 Em B7 Em
Em B7 Em B7 Em Am Em B7
Em B7 Em C7 B7 Em B7 Em
Minor Fingerpicked Blues #1 (continued)
mel 1.981 mel 1.981
407
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.982
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|
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Em B7 Em B7 Em Am Em B7
Em B7 Em C7 B7 Em B7 Em
2
1
Em VII
4
1
3
1
B7 VII
4
21
3
1
2
1
Em VII
4
1
3
1
B7 VII
21
3
112
1
Em VII
4
1
3
Am11 VII
2
3
1
4
Am VII
2
3
12
1
Em VII
4
1
3
1
B7 VII
21
3
11
2
1
Em VII
4
1
3
1
B7 VII
4
21
3
12
1
Em VII
4
1
3
1 1
C7 VIII
21
3
11
C7 VIII
4
211
3
B7#5 VII
4
21
Em I
322
1
C7 I
3
2
1
B7 I
3
Em I
32
Minor Fingerpicked Blues #1 (continued)
mel 1.982 mel 1.982
408
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.983
Ä
2
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Flight Of The Bumblebee by Nicolas Rimsky-Korsakoff
mel 1.983 mel 1.983
409
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.984
Ä
2
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2
4
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a
Flight Of The Bumblebee(continued)
mel 1.984 mel 1.984
410
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.985
Ä
!
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E7
A7
To Coda
E7
2
1
B7 I
3 4
2
1
C b7&7 I
3
2
1
B7 I
3 4
E7B7
Acoustic Shuffle In Ewith bass
mel 1.985 mel 1.985
411
© 2000 Jim Gleason. All Rights Reserved.
MELODY
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A7 I
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D I
3 E7
D.S. al Coda
B7 A7E7
repeat from the "slashed S" symbol near the beginning to the words "to Coda", then play the ending section
on the page after this one marked "Coda".
B7
Acoustic Shuffle In E with bass (continued)
mel 1.986 mel 1.986
412
© 2000 Jim Gleason. All Rights Reserved.
MELODY
Melody 1.987
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E7
Coda
decelerando (gradually slower)
Acoustic Shuffle In E with bass (continued)
mel 1.987 mel 1