Guitar III & IV 1 st night Spring 2006

Guitar III & IV 1st night Spring 2006• Music 379 – 380 Guitar III and Guitar IV, Guitar Ensemble Mus 381 and

665 Blues Overview. • Frank Markovich• To contact me – Preferred method is email!!

– [email protected]– [email protected]– [email protected]– Phone 650-378-7301 mailbox 19246 (least preferred method)– Website for handouts: http://www.smccd.net/accounts/markovich/

• Class is 7:00 to 10:00PM every Thursday• There is an improvisation class from 6:00 to 6:40 for advanced students

where the Blues class will mainly work.• Please hand in the student information sheet tonight!!• Need help with beginners on Tuesday and Wednesday nights. Let me

know if you are interested. Extra Credit for doing this• Guitar Reference and Rock Guitar Fakebook are required.• Tonight we won’t go through all of the slides – Most nights that will be the

case. But we will try to get through the high points.

High Level Goals• Have fun learning new songs, techniques etc.

on the guitar• Increase your technical skills on guitar• Increase your ability to play with others• Introduction to some performers that influenced

guitar development• Develop ear training and music theory as

applied to the guitar.• Develop a better appreciation for guitar skills.• Will stress blues this term!

What is needed• Guitar.• Book "Guitar Reference” If you don’t already have one. • Rock Guitar Fakebook C edition.• Hot Guitar by Arlen Roth – Will be in Bookstore and

Bronstein’s in 2 to 3 weeks.• A folder or binder for music that is passed out.• Music and tablature paper. • A Capo will be needed – Kyser is the one recommended. • You may also want to purchase music and CD’s of tunes we

will do. • I highly suggest listening to any original recordings of songs

played in class!!• There are fliers for both Blue Moon Music and for

Bronsteins music. Books are on sale at both places.

What is nice to have• A tuner - Korg makes a good one.• Sidewinder or string change helper.• Guitar tool.• Guitar polishing cloth.• Guitar polish.• Extra picks, flatpicks and for some thumb pick.• Tape recorder or other method of recording

yourself and others – minidisk is a good alternative.

• Extra set of strings.

Extra Credit Opportunities• Setting up the class. • Being a librarian - In charge of materials • Data entering person to enter phone lists etc.• Assistant for the beginning class. This is really

needed. Tuning and checking fingering. Will be some sort of extra credit plus students who help will get some extras.

• Helping prepare handouts.• Web help. (Could really use help here!)• Help with organizing materials. Need to catalog all

old tapes etc.

Goals• There will be goals in the following areas and

this applies to all 4 classes: • Chords, • Scales, this term pentatonic scales, • Left Hand Techniques, • Fingerpicking and other right hand techniques, • Arrangements, • Theory, • Ear Training, • Rhythmic exercises, • Playing up the neck, CAGED (more of)• Lead guitar and signature licks, • Learning where the notes are on the neck.

What basic knowledge or skills you should have

• Chords: A, Am, A7, B7, Bm, C, D, D7, Dm, E, Em, E7, F, G and G7. While it isn’t required that you know all of them by heart, unless you know at least 75% of them and commit to learning the others in the first 4 weeks of class you should consider taking the beginning class. You should also have had an introduction to Barre Chords.

• Scales: Best if you have played at least on scale – but not absolutely necessary.

• Techniques – You should have basic knowledge of right and left hand position, and some basic strums. You should be able to tune your own guitar.

• At least a working knowledge of Hammering and Pulling off. We will go over that but you should know the concepts.

• For the Guitar Ensemble you should have taken at least 3 of the guitar classes or have had experience that is comparable!!

This is what I intend on covering in each of the areas:

• Chords: Moveable 6th and 5th string (E and A Forms for all students) Barre Chords. Relating to CAGED. These are required for all students. For some of you this will be a review.

• In addition to that if you can already do those chords then it is expected that you will work on the other CAGED forms.

• Advanced players should work on the extended harmonies such as Major 7ths, 9th chords, m11 chords and very advanced learn at least one form of the altered dominant chords. Class will also work on the m7b5 to dominant 7th chords used in minor keys.

• Blues chord progressions in various styles from Country, to Rock, to Jazz to Folk and Urban blues.

Scales

• Both major and minor pentatonic scales. Time permitting will work on major scales and the Dorian Mode.

• Blues scales in same forms.

• Depending on your placement you will need to learn from 2 to 5 scale forms.

• For the Blues class you will have to learn and master the blues scales.

Fretting Hand Techniques

• Barre and ½ Barre, ½ barre with the middle, ring and baby fingers,

• Hammering, Pulling off, • Bending, sliding, • Harmonics, • Correct application of pressure on the left hand, economy of

movement, speed exercises, use of the thumb. • Articulation and how it can bring a piece to life. • First time intermediates should be able to do the majority of

this section and advanced players should grow in their application of these techniques.

Fingerpicking

• Basic arpeggio fingerpicking in both 4/4 and 6/8 time,

• Basic alternate fingerpicking. Not fully sure of what tune we will do this term.

Music Theory• Basic chord theory, • Building chords from scales. • Analysis of chord progressions. This will include

blues and various forms of the blues, rhythm changes, the II V I in major and minor keys as well as the I IV V progressions used in rock and blues.

• Difference between major and minor keys. • Scale construction. The ½ and whole steps. Chord

numbering systems. • Transposing.

Ear Training

• Work on identification of Major, Minor and dominant forms.

• Ability to hear various common progressions including the II V I in Minor keys.

• Will work on the difference between major and minor keys.

• While I won’t work as much in class on this you will be expected to do some at home.

• You will also be expected to figure out things on the guitar.

• Lastly, we will work on listening to others play and working in small groups.

Notes

• Playing up the neck:

• How to move properly up the neck.

• Playing same thing in different positions – easy ways to find them.

• Where all the notes are located.

Hooks and Signature licks

• Lead guitar and signature licks: Just as it implies.

• Will work on a couple of tunes for this section. There is something for everyone in each of those songs.

• Open in this area. Will work more on blues hooks then anything else. Also talk about shout chorus’s.

Week Songs (New) Overall Techniques Scales Blues Chords

1

Proud Mary (with intro), Brown Eyed Girl, Give Me One Reason, Linda Lou, Lodi, Twist and Shout, Kryptonite Back to basics

Bass - X strums, Fingerpicking Arpeggios

D and G Major Pentatonic Scales Shuffle start - Linda Lou

E and A froms of CAGED

2

Proud Mary (with intro), Brown Eyed Girl, Give Me One Reason, Linda Lou, Lodi, Twist and Shout, Kryptonite, Jump Jive and WailStand By Me,Maggie May, Runaway, Summertime.

Back to Basics Pt 2 E and A forms of chords and Pentatonics. Shuffle.

Charleston Rhythm - used in many styles. Look at bass part in introduction – tablature.

D and G Major Pentatonic Scales

Continue with Linda Lou Parts.

E and A froms of CAGED, 7th forms

3Hey Good Looking, All Along the Watchtower. Midnight Special

Some Theory, Cycle of 5ths pentatonics. Leadbelly pt 1.

Some chord theory I, Dominant 7th Arpeggios.

D and G Major Pentatonic Scales - through cycle of 5ths.

Boogie like Midnight Special in E.

C7 form - Chord Variations

4

House of the Rising Sun, Walk the Line, Folsum Prison, Boy Named Sue, Margarettavill, Still the One, When The Saints Go Marching In. Gambler, Big Yellow Taxi

Guide Tones - more Leadbelly some Johnny Cash

Cont. with Arpeggios and add in scales

F# minor pentatonic, F# blues, A Mixolydian. Guide tones for chords

Partial chords - 3rd and 7th only.

5

House of the Rising Sun melody, Goodnight Irene, Backup of Midnight Special, What'd I Say, Your Cheatin' Heart

Leadbelly & R. Charles Blues. Shout Chorus - Melody II chord in Country.

Shout Chorus. Linda Lou or any blues arraingment.

Combining Scales to solo.

Options. Backup ideas for What'd I Say.

Using 6/9 chords.

6

Hit The Road Jack, Unchain My Heart, Georgia, Key To The Highway, Mr. PC, Nobody Knows You When You're Down and Out.

Finishing Up Leadbelly and Ray. Group time R & B Country Minor Other Blues Changes

Minor in E and A forms.

7


Solo Using Melody. Relation of Major and Minor Pentatonics Mainly group work Lots of pentatonics Finish of Unit No new chords

8

Goodnight Irene, Born To Lose, You Don't Know Me, Big Yellow Taxi, Still The One, Margarittaville, Now’s The TimeBillies Bounce

Performance Performance Performance Performance

Performance, Substitutions. Start of Jazz Blues Chords.

9Now’s The Time, Billies Bounce

7th and minor jazz blues - Chord changes and melody

Fixing up the blues, Charlie Parker and Monk

Scales to use in Jazz Blues - Start of playing the changes

Jazz Blues overview part 2

9ths and 13th's

10

Now’s The Time, Billies Bounce, Mr. Bojangles, Wish You Were Here, Words of Love

Extended Jazz Blues, New Fingerpicking, Decending Bass Lines, Robert Johnson turnarouds.

Application to other styles. Turnarounds - Theory. I VI II V

Group Work with Scales.

Robert Johnson turnarouds.

Chord substitution.

11Straight No Chaser, Good Morning Blues, CC Rider, Corinna Corinna,

3rds in Blues, Form 2nd group and time to work on tune, Inverting 3rds to 6th's.


3rds for backup and solos


Backups in all keys.

12Straight No Chaser, Good Morning Blues, CC Rider, Corinna Corinna, Under the Bridge

3rds in Blues, Form 2nd group and time to work on tune, Inverting 3rds to 6th's. Part 2





13

Lodi, Boulivard of Broken Dreams, Crazy Thing Called Love, Your Body is a Wonderland, I'm a Believer, Light My Fire, Dock of the Bay, Arms Wide OpenRockin Bobin, Do You Wanna Dance, I Wanna Hold Your Hand, Louie Louie, Got to get you into my life, Let the Good Times Roll, Reelin and Rockin, Walk on the Wild Side

Groups, More 3rds and 6ths, some new fingerpicking with hammers.

Blues double stops, Hammer intro

Changing scales with chords. Au Privare, Blue Monk

Harmonizing in 10th's

14

Lodi, Boulivard of Broken Dreams, Crazy Thing Called Love, Your Body is a Wonderland, I'm a Believer, Light My Fire, Dock of the Bay, Arms Wide OpenRockin Bobin, Do You Wanna Dance, I Wanna Hold Your Hand, Louie Louie, Got to get you into my life, Let the Good Times Roll, Reelin and Rockin, Walk on the Wild Side

Groups, More 3rds and 6ths, some new fingerpicking with hammers. Pt 2, Group time.

Blues double stops, Hammer intro. Pt 2

Changing scales with chords.Pt 2

Au Privare, Blue Monk, Pt 2

Harmonizing in 10th's, Pt 2

15 Birk's Works Review + Group work.Review + Group work. Review + Group work. Review + Group work.

Review + Group work.

16 Performance Night Performance Night Performance Night Performance Night Performance NightPerformance Night

17 Wrap Up Wrap Up Wrap Up Wrap Up Wrap Up Wrap Up

Notes:1. This is what I have already laid out but it may be more or less

2. At some point there will be a Johnny Cash unit.


1




Shuffle start - Linda Lou


2

Proud Mary (with intro), Brown Eyed Girl, Give Me One Reason, Linda Lou, Lodi, Twist and Shout, Kryptonite, Jump Jive and WailStand By Me,Maggie May, Runaway, Summertime.

Back to Basics Pt 2 E and A forms of chords and Pentatonics. Shuffle.

Charleston Rhythm - used in many styles. Look at bass part in introduction –


Continue with Linda Lou Parts.

E and A froms of CAGED, 7th forms

3Hey Good Looking, All Along the Watchtower. Midnight Special

Some Theory, Cycle of 5ths pentatonics. Leadbelly pt 1.

Some chord theory I, Dominant 7th Arpeggios.

D and G Major Pentatonic Scales - through cycle of 5ths.

Boogie like Midnight Special in E.

C7 form - Chord Variations

4

House of the Rising Sun, Walk the Line, Folsum Prison, Boy Named Sue, Margarettavill, Still the One, When The Saints Go Marching In. Gambler, Big Yellow Taxi

Guide Tones - more Leadbelly some Johnny Cash

Cont. with Arpeggios and add in scales

F# minor pentatonic, F# blues, A Mixolydian. Guide tones for chords

Partial chords - 3rd and 7th only.

5

House of the Rising Sun melody, Goodnight Irene, Backup of Midnight Special, What'd I Say, Your Cheatin' Heart

Leadbelly & R. Charles Blues. Shout Chorus - Melody II chord in Country.

Shout Chorus. Linda Lou or any blues arraingment.

Combining Scales to solo.

Options. Backup ideas for What'd I Say.

Using 6/9 chords.

6


Finishing Up Leadbelly and Ray. Group time R & B Country Minor Other Blues Changes

Minor in E and A forms.

7


Solo Using Melody. Relation of Major and Minor Pentatonics Mainly group work Lots of pentatonics Finish of Unit

No new chords

8

Goodnight Irene, Born To Lose, You Don't Know Me, Big Yellow Taxi, Still The One, Margarittaville, Now’s The TimeBillies Bounce

Performance Performance Performance Performance

Performance, Substitutions. Start of Jazz Blues Chords.

9Now’s The Time, Billies Bounce

7th and minor jazz blues - Chord changes and melody

Fixing up the blues, Charlie Parker and Monk

Scales to use in Jazz Blues - Start of playing the changes

Jazz Blues overview part 2

9ths and 13th's

10

Now’s The Time, Billies Bounce, Mr. Bojangles, Wish You Were Here, Words of Love

Extended Jazz Blues, New Fingerpicking, Decending Bass Lines, Robert Johnson turnarouds.


Group Work with Scales.

Robert Johnson turnarouds.

Chord substitution.

11Straight No Chaser, Good Morning Blues, CC Rider, Corinna Corinna,

3rds in Blues, Form 2nd group and time to work on tune, Inverting 3rds to 6th's.





12Straight No Chaser, Good Morning Blues, CC Rider, Corinna Corinna, Under the Bridge

3rds in Blues, Form 2nd group and time to work on tune, Inverting 3rds to 6th's. Part 2





13

Lodi, Boulivard of Broken Dreams, Crazy Thing Called Love, Your Body is a Wonderland, I'm a Believer, Light My Fire, Dock of the Bay, Arms Wide OpenRockin Bobin, Do You Wanna Dance, I Wanna Hold Your Hand, Louie Louie, Got to get you into my life, Let the

Groups, More 3rds and 6ths, some new fingerpicking with hammers.

Blues double stops, Hammer intro

Changing scales with chords. Au Privare, Blue Monk

Harmonizing in 10th's

14

Lodi, Boulivard of Broken Dreams, Crazy Thing Called Love, Your Body is a Wonderland, I'm a Believer, Light My Fire, Dock of the Bay, Arms Wide OpenRockin Bobin, Do You Wanna Dance, I Wanna Hold Your Hand, Louie Louie, Got to get you into my life, Let the

Groups, More 3rds and 6ths, some new fingerpicking with hammers. Pt 2, Group time.

Blues double stops, Hammer intro. Pt 2

Changing scales with chords.Pt 2

Au Privare, Blue Monk, Pt 2

Harmonizing in 10th's, Pt 2

15 Birk's WorksReview + Group work.

Review + Group work. Review + Group work. Review + Group work.

Review + Group work.

16 Performance Night Performance Night Performance Night Performance Night Performance NightPerformance Night

17 Wrap Up Wrap Up Wrap Up Wrap Up Wrap Up Wrap Up

Notes:1. This is what I have already laid out but it may be more or less

What will be covered tonight


1



D and G Major Pentatonic Scales Shuffle start - Linda Lou


Note that we will play songs but main emphasis will be on basics. It is vital that we have a set starting point.But it is also important that we cover some new material. You may think that you have the basics down but I assure you that each student will have multiple areas that need work!

Let’s play a couple songs to warm up and to just have some fun.

• Don’t worry about the position etc. Can even do in 1st position.

• Just have fun with these tunes.

• Third song is a blues. May try some people doing solo’s on it.

Mustang Sally Wilson Pickett

{Intro: A7} Verse 1 A7 Mustang Sally, guess you better slow that Mustang down D7 A7 Mustang Sally, guess you better slow that Mustang down. E7 ( E7 Eb7 ) D7 You been runnin' all over town D7 A7 G7 A7 Guess I'll have to put your flat feet back on the ground. Refrain A7 All you wanna do is ride around Sally (ride Sally ride) All you wanna do is ride around Sally (ride Sally ride) D7 All you wanna do is ride around Sally (ride Sally ride) A7 All you wanna do is ride around Sally (ride Sally ride) E7 ( E7 Eb7 ) D7 A7 G7 A7 One of these early mornings, I'm gonna be wipin' those weepin' eyes. Verse 2 I bought you a vintage Mustang, a 1965. Now you’re comin' 'round, signifyin' woman You don't wanna let me ride. Mustang Sally, guess you better slow that Mustang down. You been runnin' all over town. Guess I'll have to put your flat feet back on the ground. <Refrain: “All you wanna do is...>

Intro: D |B | A | G ||

Proud MaryIntro: |C A | C A | C A G F |F F F D | Do this introduction as E from barre other than D.Fret 8 5 8 5 8 5 3 1

Verse 1:DLeft a good job in the city, Workin for the man every night and day.And I never lost one minute of sleepin', Worryin' 'bout the way things might have been. A BmBig wheel a-keep on turnin' Proud Mary keep on burnin',DRoll - in', rollin', rollin' on the river. Roll - in', rollin', rollin' on the river.Verse 2:Cleaned a lot of plates in Memphis, Pumped a lot of pain down in New Orleans.But I never saw the good side of the city, Till I hitched a ride on a river boat queen.Big wheel a-keep on turnin,Proud Mary keep on burnin',Roll - in, rollin, rollin on the river. Roll - in, rollin, rollin on the river.Verse 3:If you come down to the river, Bet you're gonna find some people who live.You don't have to worry, cause you have no money,People on the river are happy to give.Big wheel keep on turnin, Proud Mary keep on burnin, Roll - in, rollin, rollin on the river.

Brown Eyed GirlG C G D G C ||: Hey, where did we | go | days when the rains | came. | Down in the | hollow | G D Gplayin' a new | game. | Laughin' and a | C G D G C G runnin', hey, hey, | Skippin' and a | jumpin, | In the misty morn | ing fog with | our |D C D G Em C Dhearts a thumpin' and | you |My Brown Eyed Girl, | | | You're my | Brown EyedG D G CGirl. | Do you remem- | ber when | we used to sing | Sha la la la | la la la la | G D G C G Dla la la te da. | | Sha la la la | la la la la | la la la te da.| la te da.:| |

G C G D G C G D G | | | | | | ||: Sha la la la | la la la la | la la la te da. | :|| ||

Give Me One Reason D G A7 D Give me one reason to stay here and I'll turn right back around. G A7 D Give me one reason to stay here and I'll turn right back around. A7 I said I don't wanna leave you lonely, G D (A7) You've gotta make me change my mind. D G A7 D baby I got your number and I know that you got mine. G A7 D You know that I called you, I called too many times. A7 You can call me baby G D (A7) You can call anytime, Cut you got to call me.

Folsom Prison Blues by Johnny Cash (from "The Songs of Johnny Cash") 4/4||: E | | | | I hear the train a-comin'; it's rollin' 'round the bend, E | | | | And I ain't seen the sunshine since I don't know when, A | | | | E | | I'm stuck at Folsom Prison and time keeps draggin' on. B7 | | | |E | : || But that train keeps a-rollin' on down to San Antone. 2. When I was just a baby, my momma told me, "Son, Always be a good boy; don't ever play with guns." But I shot a man in Reno, just to watch him die. When I hear that whistle blowin', I hang my head and cry. 3. I bet there's rich folk eatin'in a fancy dining car. They're prob'ly drinkin' coffee and smokin' big cigars, But I know I had it comin', I know I can't be free, But those people keep a-movin', and that's what tortures me. 4. Well if they freed me from this prison, if that railroad train was mine, I bet I'd move it all a little farther down the line, Far from Folsom Prison, that's where I want to stay, And I'd let that lonesome whistle blow my blues away.

Solo

• For E it is based off of the A form of E7 at the 7th fret.

• The flat 3rd of the chord (2nd string 8th fret) is slid up to the 3rd (2nd string 9th fret) then play 1st string 7th fret t0 10th fret (2 times) and end on the 1st string 7th fret.

• For A the solo goes to a fingerpicking part – will do that at a later date.

• This sliding from the flat 3rd to the 3rd is one of the most common things to do in blues – of any genre’.

Shuffle

Will do to an old tune Linda Lou – but much more than originally

meets the eye.

Start with Linda Lou• We will do it in A but you should learn it in every key.• Very much a shuffle feel!• Steps in this song.

– Learn chords.– Learn theory of progressions.– Learn the repeating background hook.– Learn the Charleston Rhythm background (2 ways).– Learn the Arpeggios for the chords.

• Guide tone solo• Guide tone backup

– Do the Scales for this on improvising. • Minor Pentatonic• Blues Scale• Mixolydian Mode• Dorian Mode

– Do parts of chord – Make an arrangement.– Add in shout parts and hooks.– Misc. to finish this off. Will take a few of weeks to go through

this.

Linda Lou 12 bar blues in A until bridge:

4/4 ||: A | D | A | | D | | A | | E | D | A | : || Bridge | D | A | D | A | D |A | B7 | E7 ||

||:A | D |A | | Well, they call my sister Sally but her real name, her real name is Linda Lou. Well, they

D | | A | | call my sister Sally but her real name, her real name is Linda Lou. Well that

E |D |A | : || girls so pretty you never know what my baby’s gonna do. My Linda Lou

We’ll go walking on the street, all the guys all the guys they turn and look around. Well they are always batting eyes never know never know what my babies putting out. We’ll go walking on the street, all the guys all the guys they turn and look around Everybody always tells me I’m the luckiest man around.

Here’s why: (Bridge) |D7 |A I’m gonna marry that girl next Saturday night.

D7 |A Keep her home for the rest of my life.

D7 |A |B7 |E7 || From now on my roaming days are through and it’s all because of that chick Linda Lou.

Now tell me tell me, tell me, tell me, what am I gonna do? I had a real bad dream last night someone said someone said that we were through. Now if you ever leave you gonna break my poor my poor heart in two. My Linda Lou.

Yeah, Linda Lou, My Linda Lou, Linda Lou, Love my Linda Lou Well I love that baby, my chick Linda Lou

FormThis form is blues for the first couple of times then the bridge goes away from a traditional blues. The feel also changes from a shuffle to a swing. Very cool overall.Key of A: I = A, II = B, III = C#, IV = D, V = E, VI = F#, VII = G#

4/4 ||: I | IV | I | | IV | | I | | V | IV | I | (V) : ||

Bridge is:

4/4 || IV | I | IV | I | IV | I | II7 | V7 || The II7 is called a secondary dominant.

This is a B7 in the key of A. B is the II in the key of A and it is very common for the II chord to be a 7th chord. So the II is the V chord of E7 which is the V chord of A – Secondary dominant.

This is extremely common in country music. In fact, in traditional country music the II chord is almost always a secondary dominant. Look at Hank Williams “Hey Good Lookin’” as a perfect example In that it is key of C: I = C, II = D, III = E, IV = F, V = G, VI = A, VII = B

HEY, GOOD LOOKIN' Words and music by Hank Williams, Sr. Hey, [C] Hey, Good Lookin', whatcha got cookin' [D7] How's about cookin' [G7] somethin' up with [C] me ... [G7] [C] Hey, sweet baby, don't you think maybe [D7] We could find us a [G7] brand new reci-[C] pe. ... [C7] I got a [F] hot rod Ford and a [C] two dollar bill And [F] I know a spot right [C] over the hill [F] There's soda pop and the [C] dancin's free So if you [D7] wanna have fun come a-[G7] long with me. Say [C] Hey, Good Lookin', whatcha got cookin' [D7] How's about cookin' [G7] somethin' up with [C] me. I'm free and ready so we can go steady How's about savin' all your time for me No more lookin', I know I've been (*tooken) How's about keepin' steady company. I'm gonna throw my date book over the fence And find me one for five or ten cents. I'll keep it 'til it's covered with age 'Cause I'm writin' your name down on ev'ry page. Say Hey, Good Lookin', whatcha got cookin' How's about cookin' somethin' up with me.

The D7 is a secondary dominant chord.

Linda Lou 12 bar blues in A until bridge:

4/4 ||: A | D | A | | D | | A | | E | D | A | : || Bridge | D | A | D | A | D |A | B7 | E7 ||

||:A | D |A | | Well, they call my sister Sally but her real name, her real name is Linda Lou. Well, they

D | | A | | call my sister Sally but her real name, her real name is Linda Lou. Well that

E |D |A | : || girls so pretty you never know what my baby’s gonna do. My Linda Lou

We’ll go walking on the street, all the guys all the guys they turn and look around. Well they are always batting eyes never know never know what my babies putting out. We’ll go walking on the street, all the guys all the guys they turn and look around Everybody always tells me I’m the luckiest man around.

Here’s why: (Bridge) |D7 |A I’m gonna marry that girl next Saturday night.

D7 |A Keep her home for the rest of my life.

D7 |A |B7 |E7 || From now on my roaming days are through and it’s all because of that chick Linda Lou.

Now tell me tell me, tell me, tell me, what am I gonna do? I had a real bad dream last night someone said someone said that we were through. Now if you ever leave you gonna break my poor my poor heart in two. My Linda Lou.

Yeah, Linda Lou, My Linda Lou, Linda Lou, Love my Linda Lou Well I love that baby, my chick Linda Lou

Back to Linda Lou

Do in 5th position. Index at the5th fret, middle finger 2nd fret, ring finger 3rd fret, pinky 4th fret.

This is based off of a number of scales: Mixolydian Mode, blues scale, minor pentatonic or even the Dorian Mode. In reality, it is also the 1, 5 and b7 of the A7 chord. Again the “Chord Rules”.

See for D it is the same thing moved up one string. Still in 5th position.

E is the same as D only up 2 frets to the 7th position.

Put it all together!

Back to Basics

F. Markovich

2005

We will do this before even playing to ensure that everyone is doing proper

technique. May go over a 2 to 3 week period and do some songs to break it up a

bit.

Purpose• Find that students either don’t know some of the basics

or have forgotten them.• Want everyone to be on an even footing. Baseline the

class• These need to be checked from time to time.• Want class to pair up and check each other on these. I

do this even now with a friend on a regular basis. The term “Physician heal thyself” is so misleading as it is almost impossible to see what you are doing incorrectly yourself!

• While I won’t cover everything in this presentation, the basics that all players need will be covered.

• Incorrect technique not only gets in the way of advancing as a player it can also lead to various physical problems such as tendonitis.

• As you go through this note where you have issues! Take notes and then work on problem areas.

Lots of stuff here

• I suggest that you print this out and review it at least once every couple of weeks.

• Pair up with someone to also look at you as you play – I promise that you won’t see the same thing that someone else can see!

• Take this seriously! Technique is key to developing your full potential on the guitar!

Parts of the guitar.

Frets Head

Sound Hole

Bridge

Body

Back part is neck front is finerboard

Nut

Machine Heads or Tuners

Parts Of The Guitar

1234

T (Rarely used)

P, T. +

i, 1 m, 2 a,3

4 (Rarely used)

Note that sometime one dot is used to indicate index, 2 dots middle, and 3 dots ring finger on the right hand.

Left Hand Right Hand

How fingers are numbered on the guitar.

Nut

1st fre t

6th string

1st string

1 2

3

00X

1st finger on 3rd string 2nd fret

2nd finger on 1st string 2nd fret

3rd finger on 2nd string 3rd fret

Hit the 4th and 5th strings open (no fingers)'X' means that you don't hit this string (6th).

Strings are numbered from the highest in pitch to the lowest. The first string is the thinnest and is numbered 1 to the fattest string which is numbered 6. The letter names from highest in pitch to lowest are, e, b, g, d, a, and e. Memorize the names of the strings.

Reading A chord Chart

Sitting or standing

• How you hold the guitar is critical.• Make sure you do it in the same way every time you

play.• I recommend using a strap unless you are playing in the

classical style with a footstool!!• Your fretting arm should be straight. Think of being in a

gun fight and going to draw with your fretting hand. Just bring the arm up from that point – straight up – don’t have the elbow in or out. Men tend to have the elbow out and woman have it in.

• Look at the following slides.

Holding the guitar.• Hold the guitar in an upright position. Be sure to sit

upright with your back straight. • Hold the waist of the guitar on your leg.• Balance without using your hands to support the

guitar.• The neck should be at a slight angle. From parallel to

the ground at about 30 to 45 degrees above that. • Thumb goes behind the neck. About where the 2nd

fret is opposite. Think of holding a baseball. You want the leverage.

• You will strum in the beginning with your thumb over the sound hole or if electric over the neck pickup.

Close-up of holding

Holding when standing

Hand position

To fret a string • Curve your finger so that each joint is

equally curved. • Use just the tip of your finger.• Keep your finger perpendicular to the

fingerboard.• Do not touch any other strings.• Finger needs to be as close to the fret as

possible without going on the fret wire itself.

More advanced• Make sure you place the finger as close to the fret as

possible without being on the fret itself. This helps to get a clear tone, keep you from bending the string out of tune and avoids muting the note.

• Push just hard enough, using each joint of the finger curved, to get the note to sound with no buzzing. Pushing too hard causes the note to bend slightly out of tune, one of the biggest issues that I hear from students.

• Make sure the string is pressed and that the string is not bent up or down – the string should be straight from the bridge nut to the head nut!! You can sit in front of a mirror to see how you are doing. Use another student to watch your hands etc.

• The last segment of your finger should be perpendicular to the fingerboard and centered on the string.

Try what I just said

• Pair up – use a pick or your fingers for the plucking hand – will focus on that later in the presentation.– One person play a first position C chord. Your partner

can check you. • Watch for the items mentioned previously.• If everything looks good then reverse – person watching is

then one playing. – Now play on each string starting with the 6th string fret

1 then 2 then 3 then 4 using your 1st, then 2nd then 3rd , then 4th fingers.

• Watch for the items mentioned previously.• If everything looks good then reverse – person watching is

then one playing.

Lots to remember

• I know that at first this can seem like too much to remember but most of you will have only one or two things that need to be tuned up on the fretting hand.

• Once you make it a habit to do it correctly it will become much easier and you won’t have to think about it.

• The 2 areas that most people have issues with are:– Sitting correctly with the neck at a high enough angle.– Pressing properly without bending the strings.

Plucking and strumming hand

• Will start with the basic strums with the fingers.

• Once these are down we will go to the pick.

Strumming the chord with your thumb.• To start strum with just your thumb in a downward motion. Play

over the sound hole. This is called a sweep. Try to hit the strings quickly. Ideally all at one time. Use your wrist.

• The thumb joint is kept straight! • Use the tip of the thumb by where the fingernail joins the finger.• Make sure that you only strum over the strings and a bit beyond

the strings. Don’t strum more then a few inches on each side of the string!

• We will play in 4/4 time which means that there are four counts per measure. A measure being the distance between bar lines (vertical lines on the staff).

• Pair up again – Check each other on this!

Picking hand position

• Your fingers should all be curved at each joint.• Thumb should be to the left of your fingers (right handed

people) and to the right of your fingers if you play left handed.

• When you look over your picking hand you should see a small triangle between the bottom of your thumb and the index finger. Very important that the thumb not be opposite the index finger!

• Once you get the position – pair up and check each other.

• Do not rest any part of your picking hand or fingers on the guitar or the strings.

The Rest Stroke

• For the bass you should do the rest stroke.• How it works is that when you hit a note

with the thumb you will follow through and rest or stop on the next string.

• This gives you the fullest sound.• Again you use the tip of the thumb and

keep the last joint of the thumb straight. But this time you will pivot at the joint where the thumb joins the rest of the hand!

Bass Sweep Strum

• For a D chord do the rest stoke on the 4th string.

• Then follow through and play the rest of the first 3 strings. This is called a sweep. The strum is the bass sweep strum.

• Count as follows beat 1 hit the 4th string with the thumb, beat 2 do a sweep, beat three the bass (4th string) and beat 4 a sweep.

Here it is in tablature and notes. Top one is for Guitar I, bottom Guitar II.

For the A7 chord

• Do the same as the D but use the 5th string as a bass.– Beat 1 5th (or A string) string bass.– Beat 2 1st 4 strings sweep.– Beat 3 5th string bass.– Beat 4 1st 4 strings sweep.

A7 – Guitar I plays top one and guitar II bottom one.

Pair up again

• Try this on the A7 chord.

• Then try other chords.

• The bass is the root of the chord.

Bass notes to use

• The idea is to use the root for the first bass and the 5th (most of the time) for the 2nd bass note.

• Beat 1 will be the root and beat 3 the alternate or 5th of the chord. But sometimes you will use the 3rd of the chord for beat 3 or be doing a run down or up. But for now look at the following chart.

• This is another reason you need to learn the locations of all of the notes and at some point the basic’s of music theory.

Chord and bass notes

Chord Bass AlternateA, Am, A7 5 4 or 6B7, Bm 5 4 or 6C, C7 5 4 D, Dm, D7 4 3 or 5E, Em, E7 6 4 or 5F 4 3G 6 4

Alternating bass as above is used most of the time when any bass chord type of pattern is used. Here it is in 1st position. First 4 notes are for countoff.

Here it is on A7

Bass Brush Strum

• For a D chord do the rest stoke on the 4th string.• Then use the back of the nails by uncurling the

fingers. Use just the tips of the fingers – don’t dig in.

• Don’t move the hand when doing this – only the fingers.

• Count as follows beat 1 hit the 4th string with the thumb, beat 2 do a sweep, beat three the bass (4th string) and beat 4 a sweep.

Next the pick

• Start with holding but will go through much more.

• Important that you master everything in this section.

Holding the pick

• Hold the pick between your thumb and index finger.

• Have just the very tip of the pick out. It is acting like an extension of your thumb fingernail.

• Have the wrist slightly arched and strum from the wrist.

• Get all the notes to sound at the same time.• Strum over the strings – do not go to far beyond

the strings either up or down.

First just strum down

• Will do all ¼ notes in 4/4 time.

• Strum down, make sure that the tip of the pick strikes the strings so that the pick is in a parallel plane with the strings.

• Don’t dig in.

• Just going over the very tops of the strings.

Names of the notes on the open strings.

E A D G B E

Below are the names of the notes on the open strings. These need to be memorized. From the lowest pitch to the highest pitch:E, A, D, G, B and E. Note that the 6th string is called ‘low E’ and the 1st string is called ‘high E’. Start to learn where they are written.We will even do some exercises towards that.

Below is where the open strings are written on thestaff!

Do all down picking on this.

Do first all down then alternate picking on this.

Reading a chord chart that is a scale.

• This works just like reading a chord chart but start on the lowest string and lowest fret.

• Move up the neck on each string. Then go to the next string.

• Play forward and then reverse and play backwards.

3

2

4

11

D Major Pentatonic

Note the root is on the 5th

string.

3

1

44

Here is the D Major Pentatonic based upon the C Major Form of CAGED.Note in Green is the root.

Start on the 5th string 5th fret with the 4th finger to the 4th string 2nd fret index finger,to the 4th string 4th fret with the ring finger to the 3rd string 2nd fret with the index finger to the3rd string 4th fret with the ring finger etc.

Use this example to understand using chord charts for scales.

3

2

4

11

D Major Scale


string.

3

1

44

2

4

1

3

4

1

3

2

4

11

D Major Pentatonic


string.

3

1

44

See relationship between D major scale and D major Pentatonic.

This is the G Major Pentatonic scale (E form of the CAGED). Notice how similar to the A form (C Major pentatonic on the last page. This is the scale you must focus on tonight. It is in the E form of CAGED.

3

1

2

444

11

3

G Major Pentatonic


string (E form of CAGED). Thisis the same as the E minor

Pentatonic

1 1

I will play a G chord and try soloing using this scale!!

3

1

2

444

11

3

G Major Pentatonic



Pentatonic

1 1 3

1

2

444

11

4

G Major Scale



Pentatonic

2 1

4

1

3

2

Most players use a modified fingering for the Major pentatonic scale as shown below but a fingering of 2 and 4 on the 2nd string and 2 on the1st string is also common.

Understanding tablature

• Start by referring to the “Guitar Reference” to get the basics.

• Following is an example of tablature and how to read it.

123456

4 2 5

2 4 2 2

4 2 5

2 4 5 5 3

5

G D C D G

1 2 3 & 4 1 2 3 & 4 1 2 3& 4 1 2 3 4 1

Introduction to Wonderful Tonight.

This is in tablature format. Each line is a string. The top line is the 1st or theHigh E string. The bottom line is the 6th or Low E string.The numbers indicate which frets to play. For example, the first number is On the 3rd string and is a 4 so you would play the 3rd string 4th fret. TheNext note is on the 2nd fret of the 3rd string then the next is the 5th fret of the4th string (since it is on the 4th line).

Review of tablature:

Idea is that each line is a string and the number on that line tells youwhich fret to play. If the number is ‘0’ it would mean an open string.If the numbers line up vertically then you would play them all at the same time.

Chords• Definition: A chord is a combination of at least three different notes

(letter names) that sound pleasing to the ear.• Chords are the basis for beginning guitar.• There are approximately 20 chords for the beginning guitarist.• This is the place to start. Take your time and get each chord to sound

clearly!• Those chords are used to build all other chords.• Chords such as C mean C major, Cm means C minor and C7 would be

C dominant 7. Remember just the letter name makes it a major chord.• There are in practical terms 36 chords – others are just alterations or

extensions of the basic 36 chords.

How to read a chord diagram.• The strings are numbered 1 - 6 with 1 being the

highest in pitch or the one closest to the ground.• The top line is the head nut. The next line is the

1st fret wire. The third line is the 2nd fret wire.• The numbers on the string tell you which finger

to use. A ‘O’ means to hit that string open (no fingers). An ‘X’ means not to hit that string.

The D Chord• To start do not strike the 6th string. The 5th string can be struck

but for starters just do the first 4 strings. As you work with this though you will add in the 5th string open. The notes in a D chord are D, F# (Sharp), and A.

• Play Guitar Ref CD the D chord as example.

1 2

3

D Major (Guitar I)

0 0

1

3 3 3

D Major (Guitar II)

Rt

5th Fret

While you can barre this, it is mucheasier to play it as above.

A D A D F#

D A D F#

Review of Uses for the Chromatic Scale Remember the chromatic scale can easily be memorized by just remembering a couple of facts: 1. There are sharps and flats between every letter name except between E and F and between B and C, 2. There are enharmonic equivalents as follows: C# = Db, D# = Eb, F# = Gb, G# = Ab, and A# = Bb. Therefor the chromatic scale is as follows (starting on A):

A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab, to A.

From one note to the next is called a 1/2 step so from A to Bb is a 1/2 step. Two 1/2 steps make up a whole step so A to B is a whole step.

Memorize this scale.

Uses:

1. Finding the names of all of the notes on any fretted instrument. Start with the open string and just go one space clockwise (when Chromatic scale on a circle) for each fret (1/2 step). The 12th fret should be the same letter name as the open string.

2. Figuring out the notes in a major scale. Start on the tonic or letter name of the scale and using each letter of the alphabet (using sharps or flats to make the Whole, 1/2 step pattern) do the following pattern: Whole, Whole, 1/2, Whole, Whole, Whole, 1/2. You should end on the same letter name as you started using all of the letter names of the notes. Watch out if you have some sharps and some flats. You should only have either sharps, flats or no sharps or flats but not mixed.

3. Transposing - For this use the Chromatic Scale on a circle. Move all chords the same amount. Only change the letter name and not the type of chord. For example, to change 4/4 ||: Eb | Bb7 :|| to start on D you would move the letter names one place counter-clockwise so it would become 4/4 ||: D | A7 :||. Notice that the A changes and the 7 is carried to the new chord.

4. To map out any other scale or chord pattern. For example, the minor pentatonic scale uses the following pattern: 1 1/2 steps, 1 step, 1 step, 1 1/2 steps, 1 step. So in A it would be: A, C, D, E, G to A. Notice that there are only 5 different notes in this scale and that there are intervals larger than a whole step. The scale is called a pentatonic scale because there are 5 different notes in it. A regular (sometimes called ‘diatonic’) scale has 7 different notes.

Once you have a major scale you can figure out any chord built on that note. For example, the C major scale is: C, D, E, F, G, A, B, C. Major chords are built off of the 1, 3, and 5 notes of the scale so a C major chord would have the notes C, E and G since the first note is C, second note of the scale is D, third note is E, 4th note is F, and 5th note is G. So a C Major is C, E and G. To make it minor flat the 3rd note (E) of the scale so for C minor it would be C, Eb and G. For a dominant use the 1st, 3rd, 5th and flat the 7th of the scale so a C7 would have the notes: C, E, G, and Bb in it. That would give you the 3 main types of chords. Chords are built by taking the odd numbered notes in the scale up to the number indicated. A 9th would have (since it is a dominant 9th) 1, 3, 5, b7 and 9 (to get this we must carry the scale past 1 octave or for C it would be: C=1, D=2, E=3, F=4, G=5, A=6, B=7, C=8, D=9, E=10, F=11, G=12 and A=13 - as high as you can go before repeating notes). For a C9 the notes would be C, E, G, Bb, and D. For a C13 the notes would be 1, 3, 5, b7, 9, 11, and 13 or C, E, G, Bb, D, F, and A. Note that you could not play all of those at one time on the guitar and would have to choose 1 note at least to leave out. Never leave out the 7th and the 3rd but any other note is fair game to leave out.

Any minor pattern uses the flat 3rd and if a 7th or higher you flat the 7th. For major type chords just use the major scale without altering any notes. So a C Major 13 would be: C, E, G, B, D, F, and A. A C minor 13 would be: C, Eb, G, Bb, D, F, and A. You can do this with any chord as the 13th of each type is the most complex. For most music you only need major, minor and 7th chords. The more advanced chords are used more for jazz and complex types of music and should be attempted once all the 3 basic types have been learned in all keys.

The Guitar Fingerboard

Fret E A D G B

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

Write the names of the notes oneach string. Use the chromaticscale and each fret up is oneplace counter-clockwise on the chromatic scale.

E

Notice that the first & 6th string have the sameLetter names!!

Let’s play a simple song for fun! Lodi

G Just about a year ago, C G I set out on the road. G Em Seekin' my fame and fortune. C D7 Lookin' for a pot of gold. G Em Things got bad and things got worse. C G I guess you know the tune. G D C G Oh, Lord! I'm stuck in Lodi again. Rode in on the Greyhound. I'll be walkin' out if I go. I was just passing through. Must be seven months or more. Ran out of time and money, Looks like they took my friends. Oh, Lord! I'm stuck in Lodi again. The man from the magazine. Said I was on my way. Somewhere I lost connections, Ran out of songs to play. I came into town, a one night stand, Looks like my plans fell through. Oh, Lord! I'm stuck in Lodi again. If I only had a dollar for every song I've sung. And every time I've had to play while people sat there drunk. You know I'd catch the next train back to where I live. Oh, Lord! I'm stuck in Lodi again.

To Barre do the following:

• Use your first finger across all of the strings.

• Go off of the side of the finger (just slightly).

• Barre first and then put the other fingers down.

• You don’t need lots of pressure to get a sound.

1

2 3

0 0 0

1 1 1 1 1 1

2

3 4

E Major E Form (G Major Chord)

E Form of the Caged system.

Now let’s just use this chord in the last song. Put the G Major as above in the songLodi. You could also play the C in this form at the 8th fret. You should at least have anidea of this already!!The fret on the 1st and 6th string that you are playing is the root as is the note on the 4th string.

GE

Now with a Barre G Chord Lodi

G Just about a year ago, C G I set out on the road. G Em Seekin' my fame and fortune. C D7 Lookin' for a pot of gold. G Em Things got bad and things got worse. C G I guess you know the tune. G D C G Oh, Lord! I'm stuck in Lodi again. Rode in on the Greyhound. I'll be walkin' out if I go. I was just passing through. Must be seven months or more. Ran out of time and money, Looks like they took my friends. Oh, Lord! I'm stuck in Lodi again. The man from the magazine. Said I was on my way. Somewhere I lost connections, Ran out of songs to play. I came into town, a one night stand, Looks like my plans fell through. Oh, Lord! I'm stuck in Lodi again. If I only had a dollar for every song I've sung. And every time I've had to play while people sat there drunk. You know I'd catch the next train back to where I live. Oh, Lord! I'm stuck in Lodi again.

Some Chord Theory Every major key has 3 principle chords. The ‘tonic’ or I chord, the ‘sub-dominant’ or IV chord and the ‘dominant’ or V chord. Most simple songs can be harmonized using those three chords. The chords in any major key are as follows: I = Major, II = minor, III = minor, IV = Major, V = dominant (7th type of chord), VI = minor, VII = minor 7 flat 5. To extend them into 7ths I = Major 7, II = minor 7th, II = minor 7th, IV = Major 7th, V = Dominant 7th, VI = minor 7th and VII = minor 7 b5. Also chords that are closely related can be substituted. A relative minor can be used in place of a major chord. For example, the relative minor to a I chord is the VI chord. So in the key of C the Am would be the relative minor to the C chord. Other relations within a key are: Relative minor to a IV chord is a II chord and relative minor to a V chord is a III chord.

The most common chord in any key is the I or tonic chord. It will appear most often. The dominant chord to any key will most likely resolve to the I chord. So in the key of D the three main (principle chords) are D (I or tonic), G (IV or sub-dominant), and A7 (V or dominant). The V chord will most likely go to the I chord so an A7 in the key of D will most likely go to a D chord. It could also go though to the relative minor of the D or Bm (VI in D). The V chord can sometimes go to the IV chord such as a strong progression of I IV V IV (like Louie, Louie).

Chords will many times move to their relative minor. In the key of G the Em is the relative minor of the G and it is very common to go from a G chord to a Em chord. Chords also move in intervals of a 5th downward. The cycle of 5ths is as follows: C, G, D, A, E, B, F#(Gb), C#(Db), Ab, Eb, Bb, F back to C. They usually follow the key tonality. So for example in the key of C it is not uncommon to see the following progression:

Key I Chord II Chord III Chord IV Chord

V Chord VI Chord

VII Chord

A A Maj Bm C#m D Maj E7 F#m G#m7b5 Bb BbMaj Cm Dm Eb Maj F7 Gm Am7b5 B B Maj C#m D#m E Maj F#7 G#m A#m7b5 C C Maj Dm Em F Maj G7 Am Bm7b5 Db DbMaj Ebm Fm GbMaj Ab7 Bbm Cm7b5 D D Maj Em F#m G Maj A7 Bm C#m7b5 Eb Eb Maj Fm Gm Ab Maj Bb7 Cm Dm7b5 E E Maj F#m G#m A Maj B7 C#m D#m7b5 F F Maj7 Gm Am Bb Maj C7 Dm Em7b5 F# F#Maj7 G#m A#m B Maj C#7 D#m E#m7b5 G G Maj7 Am Bm C Maj D7 Em F#m7b5 Ab Ab Maj Bbm Cm DbMaj Eb7 Fm Gm7b5 Note that all minor chord extensions are m7, m9, m11, m13 no alteration. For Major it is Maj 7.

Chord Theory 1 - The Numbering System Chords can be built on each note of the major scale. For example, in the key of ‘C’ Major the major scale is: C D E F G A B C Each of these notes can have a chord built on them and each can be numbered as to what note in the scale they are: C is 1, D is 2, E is 3, F is 4, G is 5, A is 6 and B is 7. When we build chords off of these notes we notate them as roman numberals. So a chord off of a C in C major would be a ‘I’ chord, off of the D it would be a ‘II’ chord, off of E a ‘III’ chord, off of F a ‘IV’ chord, off of G a ‘V’ chord, off of A a ‘VI’ chord and off of B a ‘VII’ chord. The chords also have a type associated with them. Following is the type of chord off of each degree - expressed as a type of 7th since that will give you all the information you will need. Degree Chord Type In C Major I Major 7 C Maj7 II Minor 7 D min7 III Minor 7 E min7 IV Major 7 F Maj7 V Dominant 7 G7 VI Minor 7 A min7 VII Minor 7 b5 B min7b5 (1/2 diminished)

Chords can be expressed as numbers.

Lodi G (I Chord) Just about a year ago, C(IV) Chord) G I set out on the road. G Em (VI Chord) Seekin' my fame and fortune. C D7 (V7 Chord) Lookin' for a pot of gold. G Em Things got bad and things got worse. C G I guess you know the tune. G D(V Chord) C G Oh, Lord! I'm stuck in Lodi again. Rode in on the Greyhound. I'll be walkin' out if I go. I was just passing through. Must be seven months or more. Ran out of time and money, Looks like they took my friends. Oh, Lord! I'm stuck in Lodi again. The man from the magazine. Said I was on my way. Somewhere I lost connections, Ran out of songs to play. I came into town, a one night stand, Looks like my plans fell through. Oh, Lord! I'm stuck in Lodi again. If I only had a dollar for every song I've sung. And every time I've had to play while people sat there drunk. You know I'd catch the next train back to where I live. Oh, Lord! I'm stuck in Lodi again.

In the key of G:I II III IV V VI VIIG Am Bm C D7 Em F#m7b5The VII isn’t used much inPopular music, but is used inJazz.You can see that this songcan be expressed as numbers.Fill in the ones that I didn’t!Do this for other songs in theKey of G.

This can then be used for telling a type of progression. For example: 4/4 ||: I IV| V :|| would equate to Twist and Shout in C major 4/4 ||: C F | G7 :|| A standard 12 bar blues would be: 4/4||: I | | | | IV | | I | | V | IV | I | V :|| in C 4/4 ||: C | | | | F | | C | | G7 | F | C | G7 :|| The most common progression in jazz and standards as well as a very common progression in most types of music is the II V I progression. In the key of ‘C’ major it would be: 4/4 ||: Dm7 | G7 | C (Maj7) | :|| Another common progression is: 4/4 ||: I | VI | II | V :|| In C: 4/4 ||: C Maj7 | Am7 | Dm7 | G7 :|| In most jazz style tunes the VI will become a VI7 chord or in C major a A7 chord so the progression is as follows: 4/4 ||: I | VI7 | II | V :|| In C: 4/4 ||: C Maj7 | A7 | Dm7 | G7 :||

Proud MaryIntro: |C A | C A | C A G F |F F F D | Do this introduction as E from barre other than D.Fret 8 5 8 5 8 5 3 1

Verse 1:DLeft a good job in the city, Workin for the man every night and day.And I never lost one minute of sleepin', Worryin' 'bout the way things might have been. A BmBig wheel a-keep on turnin' Proud Mary keep on burnin',DRoll - in', rollin', rollin' on the river. Roll - in', rollin', rollin' on the river.Verse 2:Cleaned a lot of plates in Memphis, Pumped a lot of pain down in New Orleans.But I never saw the good side of the city, Till I hitched a ride on a river boat queen.Big wheel a-keep on turnin,Proud Mary keep on burnin',Roll - in, rollin, rollin on the river. Roll - in, rollin, rollin on the river.Verse 3:If you come down to the river, Bet you're gonna find some people who live.You don't have to worry, cause you have no money,People on the river are happy to give.Big wheel keep on turnin, Proud Mary keep on burnin, Roll - in, rollin, rollin on the river.

Brown Eyed Girl

Introduction and other parts – an example of intervals of a 3rd and of

a 6th.

This is an exercise in 3rd’s Thirds are very consonant and what allchords are made of in traditional harmony. The first 2 notes of each of the measures are the root and 3rd of the chord. The 2nd 2 notes are passing tones and the 3rd group of 2 notes are the 3rd and the 5th of the chord (this applies to the G and C Chords). For the D chord it is outlining the chord with the root then 3rd a passing tone then the 5th of the chord

This is the 1st and 3rd measure

Fingering 0 1 1 1 0 0 2 2 2 0

Counting 1 & 2 & 3 & 4

Counting 1 & 2 & 3 & 4Fingering 0 1 1 1 0 1 3 3 3 1

This is the 1st and 3rd measure

Fingering 0 1 1 1 0 0 2 2 2 0

Counting 1 & 2 & 3 & 4

Count 1 2 (& 3) & 4Fingering 0 4 0 2

Here is the whole intro. Take this slowly. Realize that there are only 3 different measures. The 1st and 3rd measure are exactly the same.

Listen closely to the sound of 3rds. Try to recognize the sound in other songs. 3rds are used quite a bit in harmony. The other common interval used is 6ths which are inverted 3rds.

Finger 0 1 1 1 0 0 1 1 1 0 0 1 1 1 0 0 4 0 2 0 2 2 2 0 1 3 3 3 1 0 2 2 2 0

Watch the fingering. It is vital that you do it correctly! If you use the incorrect fingers you will have difficulty in playing this song. This ideas of 3rd’s is used in many songs: Rhiannon, Lonely Bull, Ramblin’ Man and just many other songs.

Count 1 2 3 (& 4) 1 2 (& 3) & 4Fingering 1 4 1 3 0 0 0 0 0 2 3 2 2 0

Here is one of the fills for when the song goes from G to Em. These intervals are intervals of a 6th. For example, B to G is a 6th. (B C D E F# G) see that!!

The bass part to the song break. All in 1st position

Count (1 2 ) & (3 4 ) & (1 2 ) & 3 & 4

Count (1 2 ) (&3) & 4 (1 2 ) & 3 4 ( 1 2 ) (& 3) & 4 ( 1 2 ) & 3 & 4

Fingering 1 1 1 1 1 2 3 3 3 2

Totally in 7th position So for the 7th fret use your index, 8th fret middle finger, 9th fret ring finger and 10th fret your pinky.

Now memorize this. Take your time. Watch the rests and be sure to stop sound during the rests. This adds the punch into the line.

Here is the whole thing. Take your time and listen closely to what you play. Ideally you should get the CD and listen to it.



For the intro you just play the 1st – 4 chords 2 times. Try the whole song. The break after the repeat is the bass part.

Twist and shout Play with a C F G7 chord progression Well shake it up baby now, twist and shout Come on come on come on come on baby , now work it on out Well work it on out , you know you look so good You know you got me goin' now , just like you knew you would {c:Break ||: C F | G7 :|| x4} G7 Ahh Ahh Ahh Ahh Ahh Well shake it up baby now, twist and shout Come on come on come on come on baby , now work it on out You know you twist it little girl , you know you twist so fine Come on and twist a little closer now, and let me know that you're mine Well shake it up baby now, twist and shout Come on come on come on come on baby , now work it on out You know you twist it little girl , you know you twist so fine Come on and twist a little closer now, and let me know that you're mine Well shake it shake it shake it baby now Well shake it shake it shake it baby now Well shake it shake it shake it baby now

Beatles do it in D so C = D, F = G and G7 = A7

Twist and Shout

Using Chords For Riffs

This is both the Beatles and the Isley Brothers.

Just 3 chords

• The only chords in this are C, F and G7

• The C and F chords should be played as 2 beats each to start and the G7 as 4 beats.

• Once that is mastered the F chord should be played for 1 ½ beats and the G7 should come in a ½ beat early as shown below:

4/4 ||:C F | G7 : || then 4/4 ||: C F G7| : || 1 2 3 4 1 2 3 4 1&2&3 & 4 & 1 2 3 4This may take some time to master as the G7 is anticipated by ½ beatThis is done often in music.

Start with the pickup (notes before the 1st complete measure. Play the 6th string 3rd fret on the & after beat 3, then on beat4 play the 5th string open (no fingers), on the & after 4 play the 5th string 2nd fret. This is a run that is done when a G or G7 chordchanges to a C chord.

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23

C Major

The idea is to play this holding the chord down.Hold a C chord – then hit the 5th string on beat #1.On beat 2 play the 4th string and on the and after2 play the 3rd string. This will mean that you are playing the correct frets.

Beat 1 play the 5th string while holding down the C chord. Beat 2 play

the 4th and 3rd strings while holding the C chord.

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2

3

1

The F Chord

X X

Now switch to the F chord. On beat 3 play the 4th string, on the & after beat 3 play the 2nd and 3rd strings. For this you do not have to Barre the 1st fret as you will not be hitting it. So the strategy is to just move the 2nd and 3rd fingers as a group from the 5th and 4th strings respectively to the 4th and 3rd strings.

1

2

3

0 0 0

G7

On the & after beat 4 of the first measure change to a G7 chord. Start by playing the 2nd and 3rd strings (Open), then play the 6th string on beats 1 through the and after 3of the 2nd measure. Play these as 5 consecutive 1/8th notes. Play them staccato (means detached), byRocking the 3rd finger off and on the string immediately after hitting the note. Then again play the 5th string open to the 5th string 2nd fret and Repeat to the C chord (repeat sign).Note on the G7 how the 2nd and 3rd finger have the same relationship as on the C and the F chords. Those fingers stay in that relationship through most of this piece.

Now put it all together. Take it slowly.

Now work on it!

• If two people are playing have the one person play the guitar part on the previous slide and the other just play the chords.

• Both need to do the anticipation of the G7 on the last beat of the 1st measure.

• The Beatles did this in the key of D which is up a whole step or 2 frets. Use a capo on fret 2 in order to play along with the Beatles.

Dock Of The Bay VERSE 1: G B Sittin' in the morning | sun. C A I'll be | sittin' when the evening | comes. G B Watchin' the ships roll | in. C A Then I | watch 'em roll away a- | gain. G E (I'm)Sittin' on the dock of the | bay. G E Watchin' the | tide roll a- | way. | G E Sittin on the dock of the | Bay Wastin’ | G E Time | | VERSE 2: Sittin’ here restin’ my bones. But this loneliness won’t leave me alone. Two thousand miles I roamed Just to make this dock my home. I’m just sittin’ on the dock of the bay. Watchin’ the tode roll away. Sittin’ on the dock of the bay, wastin’ time. BRIDGE: G D C Looks like | nothing gonna change. | G D C Everything | still remains the same | G D C I can't do what | ten people tell me to do | F D So I'll guess I'll remain the same || FORM: Verse 1 Verse 2 Bridge Solo (verse form) Bridge Verse 1

All Along The Watchtower Bob Dylan

Am G F G There must be some kind of way out of here Am G F G Cried the joker to the thief Am G F G There's too much confusion Am G F G I can't get no relief Am G F G Business men they drink my wine Am G F G Plow men dig my earth Am G F G None will live along the line Am G F Know what any of it is worth No reason to get excited The thief he kindly spoke There are many here among us Who feel that life is but a joke But you and I we've been through that And this is not our fate So let us not talk falsely now The hour's getting late All along the watchtower The Princess kept the view While all the women came and went Barefoot servants too Outside in the cold distance A wildcat did growl Two riders were approaching And the wind began to howl All along the watchtower All along the watchtower All along the watchtower

Another song. Do this as barre in theE Form. This whole song is in the Key of Am but can be related toas C major. The Am is a VI chord, G is aV chord, F is a IV chord. If we did it as Am then Am is a I chord,G is a VII chord, F is a VI chord. But there are some issues with this.Scale to solo is an A natural minor or alsocalled an A Aeolean mode.To change a major to minor in an E formJust lift the 2nd finger. Am will be at the5th fret, G major at the 3rd fret and F majorat the 1st fret.If you can’t do the Barre chords at this timethat is fine just play the regular chords.This song is in 4/4 time and each chordgets 2 beats.

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2 3

0 0 0

1 1 1 1 1 1

2

3 4

E Major E Form (G Major Chord)

Review of the 6th root E form. This will now be the basis of the scale.

E Form Major Scales

3

G A B C D E F# G A B C D E F# G F#Names of notes:

E D C B A G F# ED C B A G

For advanced try to solo to this! Lodi

G Just about a year ago, C G I set out on the road. G Em Seekin' my fame and fortune. C D7 Lookin' for a pot of gold. G Em Things got bad and things got worse. C G I guess you know the tune. G D C Oh, Lord! I'm stuck in Lodi again. Rode in on the Greyhound. I'll be walkin' out if I go. I was just passing through. Must be seven months or more. Ran out of time and money, Looks like they took my friends. Oh, Lord! I'm stuck in Lodi again. The man from the magazine. Said I was on my way. Somewhere I lost connections, Ran out of songs to play. I came into town, a one night stand, Looks like my plans fell through. Oh, Lord! I'm stuck in Lodi again. If I only had a dollar for every song I've sung. And every time I've had to play while people sat there drunk. You know I'd catch the next train back to where I live. Oh, Lord! I'm stuck in Lodi again.

The name is dependent upon the fret.

• 1st fret = F, 2nd F# or Gb, 3rd is G, 4th is Ab or G#, 5th is A, 6th is Bb, 7th is B, 8th is C, 9th is C# or Db, 10th is D, 11th is Eb and 12th is E.

• That is where your index finger will play.• Use this fingering.

Major (F Major)

For the dominant 7th chord

• Remember that a 7th chord is really a dominant 7th.

7th Form (F7)

The name is dependent upon the fret.

• 1st fret = F7, 2nd F#7 or G7b, 3rd is G7, 4th is Ab7 or G#7, 5th is A7, 6th is Bb7, 7th is B7, 8th is C7, 9th is C#7 or Db7, 10th is D7, 11th is E7b and 12th is E7.

• That is where your index finger will play.• Use this fingering.

7th Form (F7)

For tonight you will first play the A7 chord.

• This is the 7th form at the 5th fret.

A7 at 5th fret

5th fret

The G Major Barre Chord in E form.

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4

11111

3

• This will be at the 3rd fret, since G in on the 3rd fret of the 6th string.

To change this frommajor to minor justlift the 2nd finger. To change from a Major to a 7th just lift the 4th finger. For minor 7th lift the2nd & 4th finger.

Correct Picking Hand Position.

• The right hand position is important in order to get not only a good tone but to play progressively more difficult pieces.

• If you are right handed the thumb needs to be in front of the other fingers (to the left). Have it ready to hit the lower pitched strings (4, 5 and 6).

• The fingers should be curved and touching each other. They should be ready to hit the following (index ready to hit the 3rd string, middle finger the 2nd string and ring finger the first string.

The Rest Stroke

• For the bass you should do the rest stroke.

• How it works is that when you hit a note with the thumb you will follow through and rest or stop on the next string.

• This gives you the fullest sound.

The Bass Notes

• Start with the rest stroke on the bass notes.• For the D chord alternate between the 4th and

3rd strings as follows:– Beat 1 thumb strikes the 4th string.– Beat 2 thumb strikes the 3rd string.– Beat 3 thumb strikes the 4th string.– Beat 4 thumb strikes the 3rd string.

• Remember to use the rest stroke

For the A7 Chord

• It is the same as the D chord but now use the 5th and 4th strings.– Beat 1 thumb strikes the 5th string.– Beat 2 thumb strikes the 4th string.– Beat 3 thumb strikes the 5th string.– Beat 4 thumb strikes the 4th string.

Other fingers

• The other fingers use the free stroke.

• With it each of the fingers strikes the string in an upward motion. Using each of the joints.

• Do not touch any strings other than the one you are playing.

• In general, the thumb will do a rest stroke, the rest of the fingers the free stroke.

Now the Outside-Inside fingerpicking (On a D Chord)

• Beat 1 - Thumb strikes the 4th string• And after beat 1 - Middle finger strikes the 1st string• Beat 2 - Thumb strikes the 3rd string• And after beat 2 - Index finger strikes the 2nd string• Beat 3 - Thumb strikes the 4th string• And after beat 3 - Middle finger strikes the 1st string• Beat 4 - Thumb strikes the 3rd string• And after beat 4 - Index finger strikes the 2nd string

Now on an A7 Chord

• Beat 1 - Thumb strikes the 5th string• And after beat 1 - Middle finger strikes the 1st string• Beat 2 - Thumb strikes the 4th string• And after beat 2 - Index finger strikes the 2nd string• Beat 3 - Thumb strikes the 5th string• And after beat 3 - Middle finger strikes the 1st string• Beat 4 - Thumb strikes the 4th string• And after beat 4 - Index finger strikes the 2nd string• Notice that only the bass notes change!!

Lastly, a G chord

• Beat 1 - Thumb strikes the 6th string• And after beat 1 - Middle finger strikes the 1st string• Beat 2 - Thumb strikes the 4th string• And after beat 2 - Index finger strikes the 2nd string• Beat 3 - Thumb strikes the 6th string• And after beat 3 - Middle finger strikes the 1st string• Beat 4 - Thumb strikes the 4th string• And after beat 4 - Index finger strikes the 2nd string• Notice that only the bass notes change!!

1 1 1 1 1

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3 4

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0 0 0

1 1 1 1 1 1

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3 4

BmAsus 2

Chords for Kryptonite. Notice the Bm and F# are at the same fretwith the same basic form. But one is minor and the other major. The Bm has a 5th string root the F# a 6th string root.

F#

Kryptonite – 3 Doors Down Bm G A (x4) Bm G A Well, I took a walk around the world to ease my troubled mind I left my body lying somewhere in the sands of time Well, I watched the world float through the dark side of the moon I feel there's nothing I can't do... yeah I watched the world float through the dark side of the moon After all I knew it had to be something to do with you I really don't mind what happens now and then As long as you'll be my friend at the end Bm G A If I go crazy then will you still call me Superman? Bm E F# If I'm alive and well, will you be there a holding my hand? Bm G A I'll keep you by my side with my superhuman Bm E F# Bm G A (x2) Might, kryptonite You call me strong, you call me weak, but still your secrets I will keep You took for granted all the times I never let you down You stumbled in and bumped your head, if not for me then you'd be dead I picked you up and put you back on solid ground If I go crazy then will you still call me Superman? If I'm alive and well, will you be there a holding my hand? I'll keep you by my side with my superhuman Might, kryptonite *Solo* Bm A G (x4) Bm G A If I go crazy then will you still call me Superman? If I'm alive and well, will you be there a holding my hand? I'll keep you by my side with my superhuman Might, kryptonite Bm G A If I go crazy then will you still call me Superman? Bm E F# If I'm alive and well, will you be there a holding my hand? I'll keep you by my side with my superhuman Might, kryptonite... Intro - Note: Band Enters On The 3rd Repeat Of 1st Measure Guitar 1 (Clean - Arpeggate As Follows) Guitar 2 (Clean - Strum Chords) Repeat - 3x Bm G Asus2 e|------------------------------------------------------------------------------| B|--------------3-----------------------------------------------------------0---| G|*---------4--------4---------0--------------------0-----------------2--------*| D|*-----4-----------------4-------------------0-----------------2--------------*| A|---2-----------------------------------2----------------0---------------------| E|----------------------------------3-------------------------------------------| Bm G A/D e|--------------------------------------------------------------0---------------| B|--------------3-----------------------------------------------------2---------| G|----------4--------4---------0--------------------0-----------------------2---| D|------4-----------------4-------------------0---------------------------------| A|---2-----------------------------------2----------------0---------------------| E|----------------------------------3-------------------------------------------|

For The Next Class• Start working on the E form of the CAGED chords and the D Major

Pentatonic scale.• Go over the basics part of this presentation.• Start memorizing the names of the notes on guitar• Purchase - Rock Guitar Fake Book ‘C’ edition - Guitar. • Look over and read all the handouts• Study the theory and play all of the songs we went over.• Fill out the student information sheet• Send me a message so I can add you to email:

– [email protected]– [email protected]

• Study the theory that we went over tonight. Be able to name the 3 principle chords in G major (the I, IV and V chords).

• Work on intro to Brown Eyed Girl and parts to Twist and Shout.• Please hand in the student information sheet tonight!!

This seems like quite a bit but you can do it all. It may be that we won’t cover all this material in one week. Don’t worry about that. Also, not everyone will have to do everything. Go at your own pace. What you must do is the reading so that you understand the material. Remember the main goal is to have ‘Fun’!!!

Guitar III & IV 1 st night Spring 2006

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Transcript of Guitar III & IV 1 st night Spring 2006