Beginning Guitar

for the
New Millinium

By Ed Rodriguez

This book is dedicated to those students that have

the courage to create and the compassion to understand the spiritual meaning of music and its value to
hamanity.

Copyright 2002 by Paidia Academic Press

Library of Congress Number 68-264
All Rights Reserved
This volume may not be reproduced in whole or part in any form without written permission from the publisher.
Printed in the United States of America

Contents
Tuning the Guitar ...................................................5
Holding the Guitar .................................................7
The Left Hand ........................................................8
The Right Hand HAND .........................................8
How to Practice the Guitar.....................................9
Diagram Systems ...................................................9
IMPORTANT KEYS ...........................................10
Important Chords in the key of G ........................10
Strum System Explained...................................... 11
Important Chords in the key of D ........................12
Important Chords in the key of A.........................14
REVIEW I............................................................16
Theory ..................................................................17
Review of Chords Learned ..................................17
Important Chords in the key of E ........................18
Important Chords in the key of C ........................20
Important Chords in the key of F.........................22
REVIEW II ..........................................................24
BAR CHORDS ....................................................25
The Set 1 Bar Chords...........................................26
The Set II Bar Chords ..........................................28
Notes on the Guitar Fretboard..............................30
Suspension Chords...............................................31
More chords frequently found in songs ...............31
NOTE READING................................................33
Notes On The First String ....................................34
Counting...............................................................35
Notes On The Second String................................36
Notes On The Third String...................................38
Notes On The Fourth String.................................40
Notes On The Fifth String....................................42
Notes On The Sixth String...................................44
3

Tuning the Guitar

FRETS

1
2
3
4
5
6
6

STRINGS

1. Press down the second string at the fifth fret, and when played it
should sound the sme as the first string open. As long as the first
string is fairly tightm, you can tune all the strings to it. If the sound
of the second string is not the same as the first string, try to determine whether the string is higher or lower by listening. If the second
string is higher, loosen: if the string is lower, tighten it to the first
string. try humming the sound of each to determine which is higher
or lower. Always adjust the string you are holding down.
2. Next, press dwon the third string at the fourth fret and compare that
sound with the second string, open. They should sound the same.
If not, adjust the thrird string until both the third and second strings
sound alike.
3. Press the fourth string dwon at the fifth fret. It should sound the
same as the third string, open.
4. Press the fifth sting down at the fifth fret. It should sound the same as
the fourth string open. If not, adjust the fifth string.
5. Press the sixth string down at the fifth fret. It should sounc the same
as the fifth string, open.

Tuning Devices

E
Middle C

E
329.6 cs

Dial tone
=A
440 cs

Electronic Tunner

Holding the Guitar

The guitar should sit comfortably on the right leg and be

held close to the body. Keep the neck of the guitar up, as
in the illustration. The right elbow should rest on top of the
guitar. Stay relaxed at all times. There are points of relaxation to watch for: they are the shoulders, back, forearm,
and wrist. The right leg may be crossed over the left if it is
more comfortable.

The Right Hand

As the illustration shows, the pick
should be held firmly in the right
hand. This method will give you
better pick control and prevent you
from dropping it halfway through a
song. Use medium or heavy picks
only.

The Left Hand

As in the illustration, the thumb should be
placed about in the middle of the guitar
neck. Line it up with the second finger.
do not choke the neck. Round the fingers as the picture shows, as if holding a
small ball in you left hand. When playing
chords, press firmly with both the thumb
and the fingers together.

How to Practice the Guitar

When first learning to play, limit your practice time to a half hour, then take a break.
A half hour in the morning and a half hour in the evening is even better: this way you
are in constant touch with the instrument. Learn to be patient with yourself. Stick to the
lesson when you practice. Dont keep playing chords you have already mastered. Practice the ones you have trouble with. Learn one set of chords a week. As you progress
through the book you can increase your practice time to forty-five minutes before taking
a break.

Diagram Systems

X
FRETS

0
1

2
3

3
4
6

The number next to the circle on

the string represents which finger
of the left hand to use. The strings
are marked on the side of the diagram. X means not to play that
string. O means play that string
even though you are not holding
it down.

IMPORTANT KEYS
STUDY 1
Important Chords in the key of G

Em

The key of G contains one sharp.

1
2

VI

Squeeze with thumb and fingers at the same time. Do not let the
fingers lean against other strings. Learn to change quickly from one
chord to another. It may be difficult at first, but be patient.

D7

C
X

1
2

2
3

IV

V7

When playing chords, try for the best sound possible. Do not cut the
soundlet it ring. Try to memorize all the chords you are learning.
Life is but a stage, and someday you may be playing on it!

10

Strum System Explained

D = One strum for each symbol or mark.

= Use a down and up stroke for the symbole shown.

D U D U D U D U

= Triplet means three strums will equal one beat.

When strumming try to use more

writst action than arm movement.
On the up stum play the first three
strings only. Keep the right wrist
loose.

= Rpeat the previous measure.

Study 1

= Tie. Strum the first mark connected to the tie but do

not strum the second mark. This is called syncopation.

Em

D7

D7

D7

D7

Blues Progression
G

11

STUDY II
Important Chords in the key of D

D
X

The key of D contains two sharps.

2
3

Bm
X

1
2
3

VI

Dont choke the neck of the guitar when playing chords. Relax and
keep the elbows away from the body. Keep the neck of the guitar
pointed up, not down. In the beginning your playing may not sound
good, but remember that practice makes perfect.

A7

G
0

1
2

IV

V7

When holding chords, always start by placng the first finger. Fingers
must not cave in on the fretboard, so use your thumb to give you better support.

12

Study II
Ex. 1

Bm

Ex. 2

Ex. 3

A7

A7

A7

A7

Chords in the Key of G and D Combined

Ex. 4

13

Ex. 5

Ex. 6

Very often songs will contain chords from two or more keys.

A7

Bm

A7

Em

13

STUDY III
Important Chords in the key of A

A
X

The key of A contains three sharps.

F#m
X

F#m Use your

first finger to hold
the three strings at
the second fret.

VI

You have now reached the half-way mark for knowing all the chords
of importance in the first position. Your playing should start sounding pretty good.

E7

D
X

1
1

IV

V7

Rember not to rush through this book. I recommend that you learn
one study a week. If you have any question dont be afraid to ask
your teacher.

14

Ex. 1

Ex. 2
5

Ex. 3
9

Ex. 4

Ex. 5

13

F m

E7

E7

E7

E7

Blues or Rock Progression

D7

Study III

E7

D7

D7

A7

A7

E7

Combining Chords Learned to this Point

Bm

Em

Bm

-- TIE

Em

E7

F m

Em

F m

A7

A7

Strum the first mark connected to the tie, but do not strum
mark. This is called syncopation.
15

REVIEW I

1. How many chords have you memorized?

2. Are you trying to get the best sound possible from each chord? If not, play each
string one by one to find out where the problem is, then corrct it.
3. Try to stop your strum when changing fromchord to chord, even if a your fingers
are not in place yet.
4. Once you learn a new chord put it to use right away. Try to learn a song with that
chord in it.
5. Make sure you are holding the guitar pick correctly.
6. Remember to strum from the wrist; do not use the whole arm.
7. If you are having problems with certain chords, yo may not be squeezing with the
thumb and fingers at the same time. Check that out.
8. Buy as much sheet music or as many song books as you can afford. Once you
learn a new song, play if for your friends. Dont be bashfuland this is no joke:
you will never be a complete musician if dont learn how to perform.

16

Review of Chords Learned

Review of Chords Learned

D5

A9

Em

Bm

F m

D7

A7

E7

Theory
This # on the first line will represent the key G, one sharp. Be sure of which
key you are playing songs in, so you know what to expect in the way of
chords. Roman numberals are also used in music when you want to play the
same song in another key.
Exercise old key:

G
I

Em
VI

C
IV

D7
V

D
I

Bm
VI

G
IV

A7
V

New key:

This is called transposing music. The song will sound the same except a little higher or a
little lower.

17

STUDY IV
Important Chords in the key of E

C#m

1
2

The key of E contains four sharps.

VI

To check for clean sounding chords, play each string one by one
when holding the chords. Remember to squeeze with fingers and
thumb together. Strumming harder will not produce a better sound.

B7

A
X

IV

Triplet;
three strums must be
played in the same time
it takes you to play one
strum.

1
2

V7

Ask you teacher to recommend some easy rock or folk song books
for you to use.

18

Study IV

Ex. 1

C m

Ex. 2

Ex. 3

B7

Ex. 4

B7

B7

B7

The Blues or Rock Progression

A7 3

B7

A7

A7

E7

E7

B7

Other Chords Combined

Ex. 5

(rest)

Ex. 6
5

B7

(rest) D
G
A

Ex. 7

D
E7
A
G
D
E7

13

19

STUDY V
Important Chords in the key of C

Am

The key of C contains no sharps.

2
3

VI

If the chords are not sounding correctly you may have a weak hand.
Buy a small rubber ball and squeeze it a few times a day with your
left hand. This exercise should help to give you more power in the
left hand.

G7

F
X

1
2
3

IV

V7

I have found the F chord to be one of the most difficult chords for
students to learn. If you first finger is kept straight this should help to
learn it quicker. Strum the first four strings only when playing the F
chord.

20

2
3

Study V
Ex. 1

Ex.5 2

G7

Ex. 3

Am

G7

G7

G7

Other Chords Combined

Ex. 4

Em

13

Ex. 5 Am

Ex. 6

Am

B7

Am

B7

Am

B7

B7

Em

21

STUDY VI
Important Chords in the key of F

F
X

Dm

2
3

The key of F contains one flat.

2
3

VI

Remember to practice all the chords you have learned. This is important so you dont forget some of them. Chords are like words; the
more you know, the better you are able to express yourself.

C7

Bb
X

1
2

IV

Bb You must skip

the second fret when
holding this chord.
Strum the first four
strings only.

1
2
3

V7

Now that you have complete learning the important chords in first
position, it is time to think about buying an electric guitar. Consider
that Section II contains advanced chords that would be easier to play
on an electric guitar.

22

Study VI

Ex. 1

Ex. 2

Ex. 3

C7

C7

C7

C7

Combining Other Chords

Ex. 4

Ex. 5

Am

Am

Am

13

Am

Am

23

REVIEW II

Congradulations! Now that you reached this point

in the book, lets see how you did.
1. You know almost all the important chords in first position.
2. You can play music in six different keys.
3. You should have a fine collection of songs to play.
4. Try to memorize those songs you like best.
5

24

Remember, its easy to play guitar, but hard to play

guitar well.

BAR CHORDS
These chords can be used in place of first postion
chords for that heavy sound. Try practicing them at
the 5th fret first, then slide them up and down the
neck to different postions on the guitar. Remember
to keep you first finger straight as this will give
you the best sound. Also, learn the names of each
chord up and down the neck.

25

The Set 1 Bar Chords

Major
1

Minor
1

Seventh
1

2
3

Thats right! Your first finger must lay across

all six strings at the same time. Learn all these
chords up the neck of the guitar.

FRETS

26

FRETS

FRETS

Fm

F7

Gb

Gbm

Gb7

Gm

G7

Ab

Abm

Ab7

Am

A7

Bb

Bbm

Bb7

Bm

B7

Cm

C7

Db

Dbm

Db7

10

10

Dm

10

D7

11

Eb

11

Ebm

11

Eb7

12

12

Em

12

E7

The Bar Chord Study

1
The E-BarSet
Chord
Study

Ex. 1

Ex. 2
5

E E

Ex. 3
13

17

21

25

Ex. 4

29

33

37

C7

D7

C7

C7

C7

C7

G7

G7

D7

27

The Set II Bar Chords

Major
X

Minor
1

Seventh
1

FRETS

28

FRETS

FRETS

Bb

Bbm

Bb7

Bm

B7

Cm

C7

Db

Dbm

Db7

Dm

D7

Eb

Ebm

Eb7

Em

E7

Fm

F7

Gb

Gbm

Gb7

10

10

Gm

10

G7

11

Ab

11

Abm

11

Ab7

12

12

Am

12

A7

The Bar Chord Study

Set 2

Ex. 1

G

13

A7

Ex. 2

17

B7

D7

E7

E D

D7

Ex. 3

21

Ex. 4
25

G m

29

Notes on the Guitar Fretboard

E
Frets

4
5

2
3

B
A

9
10

B
G

11
12

30

Chord Reference
More chords frequently found in songs

Cma7
X

Fma7
0

Dm7

1
2

Cm

Eb

Am7
0

Em7

2
3

Suspension Chords

A suspension means adding a particular note to the chord

which is not part of the regular chord.

Csus

Esus

Asus

Dsus
0

1
1

2
3

2
4

14

2
3

31

32

NOTE READING

Note and Time Values

Whole Notes

A whole note = 4 beats or counts

Play note and then count: 1-2-3-4

Half Notes

A half note = 2 beats or counts

Quarter Notes

A quarter note = 1 beat or count

13

Dotted half notes

A dotted half-note = 3 beats or counts

17

Eigth Notes

An eigth note = 1/2-beat or count

Two eigth notes = 1 beat or counts

21

33

Notes
OnOn
The
First
String
Notes
The
First
String
0 E

1 F
3 G

Ex. 1

16

34

10 Ex. 2

13

E - Open

F - Use 1st finger

G - Use 3rd finger

E, F, & G - Notes Combined

CountingTime
Counting

4 = 4 beats in a measure
4

10

13

16

19

22

25

Measure 1

Measure 2

28

31

34

Measure 3

3 = three beats in a measure

4

35

Notes On
On The
String
Notes
TheSecond
Second
String
B 0
C 1
D 3

Ex. 1

C - Use 1st finger

D - Use 3rd finger

10 Ex. 2

13

16

19

22

25

36

B - Open

B, C, & D - Notes

9 G7

13 C

21 C

38 G7

G7

G7

A Tisket A Tasket

G7

G7

G7

E. Rod

G7

G7

G7

G7

G7

Mary Had A Little Lamb

G7

34 C

G7

25

30 G7

G7

17

G7

G7

G7

5 C

Lake Tahoe

37

Notes On The Third String

Notes
On The Third String
G 0
A 2

Ex. 1

19

38

16 Ex. 3

10 Ex. 2

13

G - Open

G- and A- Notes Combined

Old Mac Donald

5 C

13

26 C

30 G

38 C

34

G7

D7

D7

B7

D7

B7

D7

D7

D7

The Three String Waltz

G7

G7

Oh! Susanna

17

22 G

E. Rod

39

Notes
OnThe
TheFourth
Fourth String
Notes
On
String
D 0
E 2
F 3

D - Open

Ex. 1

10

16

40

E - Use 2nd finger

F - Use 3rd finger

D, E, & F - Notes Combined

Ex. 2

13

19

Little Brown Jug

G7

rest = 1 count or beat

5 C

9 C

13 C

17

G7

G7

21 C

33

37

G7

G7

G7

London Bridges

25

29

E. Rod

41

Notes On The Fifth String

Notes
On The Fifth String
A 0
B 2
C 3

A - Open

Ex. 1

C - Use 3rd finger

A, B, & C - Notes Combined

10 Ex. 2

13

16

19

42

B - Use 2nd finger

New World Theme

5 C

13 F

17 C

21 C

34 F

38 C

46 F

G7

G7

G7

G7

G7

J. Bhrams

G7

Shasta Rock
C

G7

G7

Em

Dm

G7

Em

G7

Lullaby

G7

Em

Em

30 G7

42 C

25

43

Notes On The Sixth String

Notes On The Sixth String

E 0
F 1
G 3

E - Open

Ex. 1

19

44

13

F - Use 2nd finger

16

G - Use 3rd finger

E, F, & G - Notes Combined

10 Ex. 2

Lets Rock

E. Rod

Lets Roll

17



13

21

33

37

Lets Rock & Roll

25

29

E. Rod

E. Rod

45

Edward Rodriguez taught a generation of guitar players in the Bay Area

from the mid-sixties until 1999. After returning from four-years of military
service overseas, Mr. Rodriguez embarked on a career in music. He spent
two years at the College of San Mateo, then two more years at Hayward
state, where upon he received his Bachelor of Arts in Music in 1963.
About then, guitar instruction was a very hot field with the booming folk
music movement. Mr. Rodriguez interests soon led him to San Franciscos
Haight-Asbury scene, where he witnessed the local rock renaissance and
began playing and teaching professionally. Rodas his students liked to
call himbegan teaching folk, rock, jazz and classical guitar styles out of
Wolmers music store in Burlingame. He was a popular instructor, right up
until suffering a debilitating stroke in 1999. Rod is now retired, living quietly
in Modesto, devoting himself to classical guitar and an occasional round of
golf.
Mr. Rodriguez was a great believer in having his students perform in public.
As result, many of these students saw local success in coffee houses, dance
halls, school auditoriums and fairs. Among the acts that Rod coached,
included folk-singer, Steven Rosenthal and the rock band, Juveniles.
Rod also inspired a new generation of guitar instructors, including the
collaborator of this manual, Antony Nispel.
Mr. Rodriguez has always been concerned with the importance of music
and the process of creativity in peoples lives. In addition, he has an
unusual capacity to understand the essence of what is musically vital and
communicate this to his students. This bookhis only written work on the
guitaris a testament to this minimalist excellence.
Antony Nispel