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minor
Rod Fogg
B7 add 1
first inversions
major
riffs
coda
bridg
Guitar
THEULTIMATE
T H E U LT I M AT E G U I TA R C O U R S E
SECTION ONE
GETTING STARTED
Getting in tune
Before playing any music, the most important thing is to get your guitar in tune. Track 1 on the CD will give you notes you can tune to, but it is far easier to use a modern electronic tuner. Some you plug your electric guitar into, or you can use the sort that clips to the headstock of the instrument and picks up its vibrations. Or, if you have a smartphone, you can probably download a free guitar tuner app; I have one on my Android phone and I use it all the time. With the guitar plugged in, turn your tuner on and play each string, one at a time. Make adjustments at the tuning peg (follow the string back to the peg to make sure you are turning the right one) until the tuner indicates that the pitch is correct, usually with a needle pointing to the centre or with a display that changes color. Check that the tuner displays the letter name of the string you are tuning; if the guitar is new the strings may well be below their correct pitch and need several turns before they are in tune. If you begin to get erratic readings from your tuner, it may be that the battery needs changing.
On the left is a tuner with a jack for you to plug your guitar into. It also has a built-in microphone. The string is recognized automatically, and the guitar is in tune when the green light in the center is lit, or when the electronic needle points directly upwards. On the right is a clip-on tuner that senses the vibration of the guitar strings. The display changes color when the guitar is in tune. Follow the string you are picking back up the neck and across the nut (the block of bone or plastic that keeps the strings in position) to make sure you are turning the right tuning peg.
To avoid confusion, throughout this book we will refer to the hand holding down the strings as the fret hand, and the hand doing the strumming and picking as the pick hand. As youve probably gathered, the exercises are intended for electric guitar played with a pick, but most of them will convert quite readily to a steel-string acoustic or maybe even to a nylon-string guitar. If you dont want to use a pick, you can try using the thumb and fingers of the picking hand to pluck the strings: this is known as fingerstyle. Some of the exercises, particularly in the later stages of the book, are intended to be played this way. Study the two pictures below and get used to holding the pick in this way, balanced lightly between thumb and index finger. Then listen to CD track 01 and take a look at Exercise 1.
Below left: The pick is held against the thumb by the index finger and points directly at the strings. Below right: If you get it right, the thumb will be pointing along the strings and the index finger pointing at the guitar. Above left: A good strap is essential. One that doesnt slide around is best. Above right: A strap can still be useful to keep the guitar up at the best angle even when sitting down to play.
T H E U LT I M AT E G U I TA R C O U R S E
The music is divided up by vertical lines every four beats; these are known as bar lines. There are six bars in this piece of music and, as in most rock music, there are four beats to a bar. (Sometimes a bar is also called a measure but were sticking to bar in this book.) At the start of the piece there is this sign: 4/4. We call that a time signature. The top number tells us how many beats there are in the bar, and the bottom number tells us they are quarter notes; so that means four quarter notes to a bar in this exercise. The clicks in the background introduce the idea of pulse, the steady background beats that underlie virtually all music. EXERCISE 1 CD TRACK 01
4 &4
w
E
w
A
w
D
w
G
w
B
0
w
E
0
Upstroke sign
Downstroke sign
CD 1
PRO TIP Low and high: In music, terms like low and high always refer to the pitch of the music, so the low end of the guitar is near the nut on the first few frets, where the lowest notes are found. If you read go up one fret it means go one fret higher in pitch. This would mean moving your hand one fret nearer the bridge and therefore nearer the floor. You might have noticed that we have two E-strings. The high E-string is the highest sounding one, nearest the floor, and the low E-string is the lowest sounding one, nearest the ceiling. Just remember that low and high always refer to the pitch of the note.
4 &4
0
q=85 Rock
&
9
0 0 0 0
0 0 0 0
0 0 0 0
0 0 0 0
&
w
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
CD 02/03
Moving on to bars nine through 12, each bar contains two quarter notes followed by four of another new kind of note; these are known as eighth notes. When more than one appears together, they are grouped (beamed) by joining their tails together. There are two eighth notes to a beat (that would be eight to a bar), so we tend to count them by saying and in between each beat, like this: One-and two-and three-and four-and So the count for these four bars would go: One two three-and four-and S O U N D S Both the rhythm and lead parts on this track were played using the middle pick-up on a Strat through a Fender Deluxe Reverb amp.
Once we start playing eighth notes we usually start using alternate picking. This is where every downstroke is followed by an upstroke. In bar nine you can see the signs for both downstrokes and upstrokes. Some guitarists call alternate picking economy picking.
T H E U LT I M AT E G U I TA R C O U R S E
T E C H N I Q U E There is no need to lift your first finger off the first fret when you add your second finger at the second fret. In fact, it is generally recognized as good technique to keep your fingers down when playing successive notes on the same string, so you should end up with all four fingers down on the E-string before releasing them to place them one at a time on the B-string. With your pick hand you should be playing downstrokes, smoothly and in a steady rhythm.
10
&
w
E open string
0
w
F first fret
1
#w
F-sharp second fret
2
w
G third fret
3
#w
G-sharp fourth fret
4
& w
B open string
0
w
C first fret
1
#w
C-sharp second fret
2
w
D third fret
3
#w
D-sharp fourth fret
4
E B G D A E
F F# G G# D# C C# D
12
15
A fingerboard diagram showing the notes on the first four frets of the E-string and B-string.
11
T H E U LT I M AT E G U I TA R C O U R S E
T H E O R Y Notice that there is no rhythmic information in the tab stave. It is possible to write rhythms on the tab stave, but when there is a notation stave (often referred to as dots by musicians) tab rhythms are normally omitted to avoid unnecessary duplication. So you can read your rhythms from the dots and read your notes from the tabor better still read the whole thing just using the notation stave. A common approach for guitar players who cannot learn to read music, or do not want to, is to learn the music by ear from the CD track and then use the tablature to guide their fingers to the correct notes.
CD 04/05
There is one new rhythmic value: the dotted half note. Putting a dot after any note adds half its value. So if we put a dot after a half note, which is worth two beats, it will now be worth three beats. Most of the bars of this exercise use this note valuethere is a quarter note on beat one followed by a dotted half note on beat two, which rings on through beats three and four. Check out the CD track and when youre ready play along with the backing track.
S O U N D S The lead part on this track was played on a Fender Telecaster using the bridge pickup through a Roland Jazz Chorus amp. This amp has a built in chorus effect which is used to provide movement to the otherwise static long notes in the exercise.
With the new dotted half note we now have rhythm signs for four beats, three beats, two beats, one beat, and half a beat.
12
4 &4
0
#
2
&
#
2
CD 04/05
&
0
#
2
13
&
0 0
1 1
#
2 2
3 3
w
0
13
T H E U LT I M AT E G U I TA R C O U R S E
T H E O R Y Theres one new element in the notation stavethe curved line that joins together two notes of the same pitch in bars four, eight, and twelve. Its called a tie, and makes the two notes into one long note. It is a way of writing a note longer than one bar or, as in this example, lengthening a note beyond the bar line.
Remember, in bars five and six the fourth note is F-sharp, because the sharp sign in front of the second note affects every F in the bar. The exercise is 12 bars long, after which there is a double bar line; these are often used to mark out sections in a piece of music. Then there is one more bar to bring the music to a close, in which you have to play two notes at once. Just use a downstroke. Two notes played at once are sometimes called a double stopa term we have borrowed from classical instruments like the violin. We also sometimes call them a diad.
CD 06/07
T E C H N I Q U E In bars three and nine there are pick directions. Notes on the downbeats are played with downstrokes, notes on the upbeatsthe and that falls between the four beats of the barare played with an upstroke. Weve already met this basic principle for guitar picking and we will stick to it for most of the book.
This exercise uses a form known as a 12-bar blues; its blues in style, and its 12 bars long. The form is commonly found in blues, rhythm and blues, rocknroll, and classic rock. When guitarists jam together they often use a 12-bar blues, taking it in turns to solo or play rhythm. Each time through the 12-bar is known as a chorus. Well be learning some ways to play the rhythm track in Section Four. On the backing track (CD track 07), there are three choruses, so you can play the piece three times if you wish. Well come back to this track in the future and use it to practice blues and rock soloing.
14
4 # &4
0 2 3 2
#
0 2 3 2
# w
0
2 0
&
#
0 2
#
0 2
#
0 2
w
2 0
CD 06/07
&
#
0 0 1 2
#
0 0 1 2
# w
0 2 3 2 0
w w
0 0
15
T H E U LT I M AT E G U I TA R C O U R S E
CD 08/03
Keep your fingers on their tips so you dont touch the open strings when theyre meant to be ringing on.
16
4 &4
let ring
0 0
q=85 Rock
...sim
0 0 0
0 1 0
&
9
0 0 0 0
0 0 0 0
0 1 0 1
2 0 2 0
CD 08/03
&
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
11
&
1 0 1 0 1 0 1 0
#
0 2 0 2 0 2 0 2
w
3
17
T H E U LT I M AT E G U I TA R C O U R S E
& w
G open string
0
#w bw
nw
#w
bw
nw
B fourth fret
4
18
Sharps and flats and the keyboard For historical reasons we think of the musical alphabet as starting on the note C. The distance from C in this diagram of a keyboard to the next appearance of the note C is known as an octave. The black notes on a keyboard are the sharps and flats. As we mentioned before, there is no black note (sharp or flat) between B and C or E and F. The distance from C to C-sharp (or D-flat) is known as a half step and is the same as one fret on the guitar. The distance from C to D is known as a whole step and is two frets on the guitar.
C# Db D# Eb F#
Gb
G# Ab
A# Bb
T H E O R Y if we play all the white notes from C to C we get a C major scale; we will cover major scales later in the book. If we played all the notes, both white and black, we would produce a chromatic scale. There is a chromatic scale starting on G coming up in Exercise 10.
& &
Equivalent rests:
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T H E U LT I M AT E G U I TA R C O U R S E
PRO TIP Try not to get caught up in looking at your hands. If you know the music, you can play looking at your fret hand. If not youll need to look at the music and play the guitar by feel. Its best not to look at your pick handyoull soon learn to find the strings accurately if you persevere. When youre confident with a piece of music, practice without looking at either hand; this will let you make eye contact with your fellow band members or your audience on a gig.
CD 09/07
S O U N D S This one was played with a Telecaster guitar on the bridge pickup. The warm, fuzzy guitar tone comes from a small tube-amp turned up loudan effect sometimes known as overdrive.
T E C H N I Q U E The pick directions may seem random but in fact theyre based on the idea that your hand is moving rhythmically back and forth in an eighth-note rhythm. As before, downstrokes are on downbeats and upstrokes are on upbeats.
4 # # & 4 # J J J
0 1 0 2 3 2 0
# #J J # J
0 1 0 2 3 2 0
20
# # # J J J &
1 2 0 2 3 2 0
# # # J J J
0 1 0 2 3 2 0
& b
0 0 0
j j w # # J
0 1 2 3 0
w #w w
0 0 1
CD 09/07
T E C H N I Q U E There is a technique that we use on guitar whenever we are playing scales or single-note lines. The idea is not to remove fingers from a string if the music is rising in pitch until its time to start playing a different string. This is how it works, starting with the first note of the scale. Play the open G-string and then hold down G-sharp with your first finger; leave that finger in place when you play the A with finger 2, and leave both fingers in place when you play A-sharp or B-flat with finger 3. Then release all three fingers at once as you play the open B-string. Keep them close to the guitar so you can continue up the B-string adding and holding the fingers one at a time and releasing all four as you play the E-string. When you reach the top note of the scale you should have three fingers on the E-string; release them one by one to descend again. This may seem complicated, but its not so hard, and in fact reduces your workloadinstead of thinking about taking a finger off as you put another one down, you just leave the fingers that are already there in place. Then you think release fingers as you move onto the next string.
21
T H E U LT I M AT E G U I TA R C O U R S E
EXERCISE 10 CD TRACK 10
4 # &4
0 1
q=80
#
2 3
#
1 2
#
4
#
1 2
&
CD 10
b
3 2
b
0 4
b
3 2
b
0 3
b
2 1
E B G D A E
F C
G# Ab
F# Gb C# Db
G D
A# Bb
G# Ab D# Eb
Here are the notes of the first four frets on the top three strings.
12
15
PRO TIP As you play all the notes from your open G-string to the third fret on the E-string see if you can say aloud the note names. Say them in full: G, G-sharp or A-flat, A, A-sharp or B-flat, and so on. This is a great way to memorize the guitar note names.
22
T H E O R Y Musical sounds are waveforms, and waveforms have frequency. Each time the music goes up an octave, the frequency of the note doubles. Frequency is measured in Hertz (or Hz), and is the number of complete cycles of the waveform per second. The frequency of your open A string is 110 Hz, the octave up (on the G-string) is 220 Hz. The octave above that note, which would be on the fifth fret of the top E-string, is 440 Hz. This is the note that an orchestra tunes to at the beginning of a concert and is known as concert pitch.
4 &4
q=80
EXERCISE 11 CD TRACK 11
3 0
3 0
2 0
CD 11
T E C H N I Q U E When using a pick it is not easy to play two notes simultaneously if they are not on adjacent strings. You could use a big downstroke and mute the string in the middle with a spare fret-hand finger. You could also put the pick down and use your thumb of your pick hand to pick the low note and your index finger to pick the high note. The method we use on the CD track is to use the pick on the low note and the middle finger of the pick hand on the high note. Using the pick and fingers at the same time is sometimes known as hybrid picking and is often used by country guitar players.
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T H E U LT I M AT E G U I TA R C O U R S E
Exercise 12: Rocking the first position notes; top three strings
If you are playing notes with the first finger at the first fret, the second finger at the second fret, and so on, we would say you were playing in the first position. If your first finger was at the second fret, with the other fingers occupying the succeeding frets, we would say you were in the second position. On a typical modern guitar with 22 frets you can potentially have 19 positions. Guitar positions can be very useful for describing where on the guitar to play a piece or a sequence of notes.
T H E O R Y This exercise introduces the dotted quarter note, one and a half beats long. (The quarter note is one beat, and the dot adds half its value.) Looking at bar one, we would count: one two and three four, playing the dotted quarter note on one and the following eighth note on and.
As a general rule it is best to play the guitar in position and to avoid sliding the hand around as much as possible. A common rookie error is to move the hand around so you can use fingers 1 and 2 when you should keep the hand still and use the weaker fingers, fingers 3 and 4. If you use them, theyll get stronger. Exercise 12 is a legato solo tune for the top three strings in the first position. Together with Exercises 5, 6, 9, and 10 it works to build dexterity for the fret hand and coordination between the pick and fret-hand fingers. In bars four, eight, and 12 it will be tempting to use finger 1 at the second fret and finger 3 at the fourth fret (in other words, to use second position fingerings) but unless your hands are really small you should stay in the first position and use fingers 2 and 4 at the second and fourth frets. Gradually, your hand will get better at stretching.
CD 12/03
T E C H N I Q U E Pick directions are given only where necessary in this exercise as youve probably got the idea of alternate picking by now.
With practice you can get used to opening out your hand and using one finger per fret.
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4 & 4
5
0
q=85 Rock
j
2 0
J
1 3
J
3 0
# # J
0 2 4
&
0 0
3 3 1 0
0 0 3 1
# # #
2 4 2 2
CD 12/03
# # # w &
3 3 2 0 0 3 3 1 0 0 0 0 3 1 0 2 2 0 4 2 3
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T H E U LT I M AT E G U I TA R C O U R S E
CD 13/14
4 &4
5
2 0 1 0 2
0 2 0 2 0
#
2 0 1 0 2 2 3 2 3
&
2 0 1 0 2
0 2 0 2 0
2 0 1 0 2
3 0 0 0
26
&
3 0 1 0
1 1 0 3 2
# #
0 3 0 1 2 0 2 2
13
&
3 0 1 0
# # #
1 1 0 3 1 2 4 2 3 4 0 4
CD 13/14
17
&
2 0 1 0 2
0 2 0 2 0
#
2 0 1 0 2 2 3 2 3
21
&
2 0 1 0 2
#
0 2 0 2 0 1 0 0 3
1 1 0 2
27