Guitar Lessons by Jason White by Jason White

-Guitar LessonsBy Jason White

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Index • • • • • • • • • • • • • • • • • • • • •

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Syllabus………………………………………………………………………………………...1-3 Ten Commandments of Buying a Guitar……………………………………………….4 Ten Commandments of Buying an Amplifier…………………………………………5 Guitar Anatomy…………………………………………………………………………………6 Popular Guitars………………………………………………………………………………….7 Tuning Your Guitar…………………………………………………………………………….8 Guitar Fretboard………………………………………………………………………………..9 Developing Rhythmic Coordination……………………………………………….10-13 Warm-up Technique Exercise……………………………………………………………14 Guitar Pick Exercises………………………………………………………………………..15 Open Chords……………………………………………………………………………………16 Strumming Patterns…………………………………………………………………………17 Reading Rhythm………………………………………………………………………...18-19 Chord Exercises……………………………………………………………………………….20 Moving Around………………………………………………………………………………..21 Chord Pairs…………………………………………………………………………………22-23 o “Live For Today” (Grassroots)......……………………………………..…….24 Endings with Repeats……………………………………………………………………….25 o “Mull of Kintyre” (Paul McCartney)………………………….…………..26-27 Warm-up Technique #2…………………………………………………………………...28 o “Do Wah Diddy” (Ellie Greenwhich)………………………………………….29 DS al Coda)…………………………………………………………………………………….30 o “Take it Easy” (The Eagles) Understanding Chords………………………………………………………………………31 Building a Song Repertoire …………..………………………………………………….32 o “Louie Louie” (The Kingsmen)…………………………………………………33 o “If I Had a $1000000” (BNL)…………………………………………………..34 o “Leaving on a Jet Plane” (John Denver)…………………………………..35 o “Turn, Turn, Turn” (The Byrds)……………………………………………….36 o “My Friends Over You” (New Found Glory)……………………………….37 o “Don’t Look Back in Anger” (Oasis)………………………………………….38 o “Mr. Jones” (Counting Crows)………………………………………………….39 Your Tunes…………………………………………………………………………………40-41 Same, But Different ………………………………………………………………………..42 o “Run Around” (Blues Traveler) o “Meet Virginia” (Train) o “We Didn’t Start the Fire” (Billy Joel) Riff Songs ………………………………………………………………………………………43 o “No Woman No Cry” (Bob Marley)……………………………………………44 o “Twist and Shout” (The Beatles)………………………………………………45 o “Surfin’ USA” (The Beach Boys)………………………………………….46-47

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o “Redemption Song” (Bob Marley)…………………………………………….48 o “Down on the Corner” (CCR)……………………………………….….………49 o “Never There” (Cake)……………………………………………….…….………50 o Daytripper” (The Beatles)………………………………………………...…….51 Understanding Seventh Chords…………………………………………………………52 Seventh Chord Chart……………………………………………………………….……….53 32-Bar Song Form………………………………………………………………….……54-56 o “You Won’t See Me” (The Beatles)……………………………………..….57 o “Sunday Morning”(Maroon 5)/ “Advertising Man”(David Wilcox)..58 o “Yesterday” (The Beatles)…………………………………………….……….59 o “The Way You Look Tonight” (Jerome Kern)…………………….……..60 Root Strum Exercises……………………………………………………………………….61 Root Strum Variations………………………………………………………………….62-63 Root Strum Riffs ………..…………………………………………………………………..64 o “Wonderwall” (Oasis) o “Crash” (Dave Matthews Band) o “The Boxer” (Simon & Garfunkel) Chord Emellishments (Suspended/Slash Chords)……………………………65-66 o “Time of Your Life” (Green Day)………………………………………………67 o “Free Fallin’” (Tom Petty)……………………………………………………….68 o “Take My Picture” (Filter)………………………………………………………..69 o “Jumper” (Third-Eye Blind)……………………………………………………..70 o “Man on the Moon” (R.E.M.)……………………………………………………71 o “Must Get Out” (Maroon 5)……………………………………………………..72 o “Annies Song” (John Denver)………………………………………………….73 o “Piano Man” (Billy Joel)……………………………………………………..74-75 o “Tears in Heaven” (Eric Clapton)…………………………………………....76 Slash Chords with Root Strums…………………………………………………………77 o “View From Heaven” (Yellowcard)…………………………………………..78 Arpeggiated Chords…………………………………………………………………………79 o “Everybody Hurts” (R.E.M.)…………………………………………………….80 o “Sunday Bloody Sunday” (U2)………………………………………………… o “Every Breath You Take” (Sting)……………………………………………. o “In My Room” (The Beach Boys)……………………………………………..81 o “Stairway to Heaven” (Led Zeppelin)…………………………………..82-83 o “Nothing Else Matters” (Metallica)……………………………………….84-85 Pick Patterns……………………………………………………………………………………86 o “Let It Be” (The Beatles)…………………………………………………………87 o “Scarborough Fair” (Simon & Garfunkel)…………………………………..88 o “Edelweiss” (From The Sound of Music)……………………………………89 o “Imagine” (The Beatles)…………………………………………………………90 Hammer-Ons/Pull-Offs/Slides……………………………………………………….91-92 o “The Joker” (Steve Miller Band)……………………………………………….93 o Dave Matthews Riffs………………………………………………………………94

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o “Taylor” (Jack Johnson)………………………………………………………….95 Hammer-Ons with Chords……………………………….…………………………..96-97 Hammer-On Lick……………………………………………………………………………..98 o “Sweet Home Alabama” (Lynyrd Skynyrd)………………………………..99 Power Chords………………………………………………………………………………..100 Power Chord Examples…………………………………………………………………..101 Power Chord Progressions………………………………………………………………102 Power Chord Riffs………………………………………………………………………….103 o “Smells Like Teen Spirit” (Nirvana)……………………………………….. o “When I Come Around” (Green Day)…………………………………….. o “Sunshine of Your Love” (Cream)…………………………………………. o “Iron Man” (Black Sabbath)…………………………………………………. o “Brain Stew” (Green Day)……………………………………………………..104 o “Longview” (Green Day)……………………………………………………….. o “We Are the Champions” (Queen)………………………………………….. o “Crazy Train” (Black Sabbath)……………………………………………….105 Palm Muting…………….……………………………………………………………………106 o “Basketcase” (Green Day)…………………………………………………….107 o “Lithium”/”Lake of Fire” (Nirvana)………………………………………….108 o “Walk 1,000 Miles” (The Pretenders)………………………………………109 Barre Chords…………………………………………………………………………………110 Barre Chord Chart………………………………………………………………………….111 Barre Chord Exercises………………………………………………………………112-114 o “Hotel California” (The Eagles)………………………………………………115 o “Under The Bridge” (Red Hot Chili Peppers)……………………………116 o “Here, There, & Everywhere” (The Beatles)…………………………….117 o “Say it Ain’t So” (Weezer)……………………………………………….118-119 Ghost Notes…………………………………………………………………………………..120 o “Flake” (Jack Johnson)………………………………………………………….121 o “Favorite Mistake” (Sheryl Crow)…………………………….………122-123 o “Torn” Natalie Imbruglia……………………………………………………….124 Advanced Students………………………………………………………………….125-126 Your Tunes……………………………………………………………………………..127-131

How To Practice: I know you wish that you could be an amazing guitarist right now and that after two lessons you want to be able to rock up and down your guitar like the rock stars do, but unfortunately it is going to take some practice to get there. If you think of your favorite guitarist and see how good he is, just remember he once was starting out too. So this page is designed to help you have better practice habits with your guitar.

-Create a Good Practice Environment: This is important so you can always have your spot, “your zone,” where you can focus in and concentrate on your instrument. It can be in your bedroom, basement, living room, wherever. To create “your zone,” here are some things that I suggest you get. • Guitar Stand • Music Stand • CD Player • A Good Chair (without armrests) • Some sort of spot, shelf, box, etc. that you can store all your picks, music, guitar extras (capos, extra strings, strap, etc)

-Practice (at least) a Half-Hour a Day: This is very important! If you can practice at least a half hour a day you will notice remarkable progress in your ability to play. Practicing should never become a chore, or something you have to do. It should never be related to something like mowing the lawn or taking the garbage out. It should always be something you want to do, if not then you must change something (most of the time it’s the attitude). Try to practice without having someone tell you to practice, become a great guitarist on your own. I promise if you work hard to master ever item to practice each week you will become a great guitarist.

-Practice Smart: The definition of practice Smart is…Practice what you can’t play. Never practice the easy stuff first, always go strait to the hard stuff, and then work your way to the easy stuff.

-Practice Songs Like You Eat Steak: “What?” You say, “Like I eat steak?,” Think about how you eat steak. You cut it up and eat one piece at a time, and while your eating you find that some pieces are harder to chew than others. Well we should practice the same way. First play through the entire song or exercise, then you will know which spots you need to practice most. Practice just those sections over and over till you got it down. Just like you chew on that individual piece of steak until you swallow it. Once you swallow that section of the song you move on to the next one and so on. Then when you have gone over all the sections try playing the whole song or exercise again, and see how much it has improved. If it’s still not quite finished, you’ll know right where to start tomorrow.

-Try Setting a Schedule: If you are having a tough time finding time to practice, it is because you are not making time. That is the big thing, you do have time, you just have to make it. So try sitting down and write out a weekly schedule of things you do during the week. Maybe you’ll write down things first such as school, work, chores, guitar lessons, soccer practice, etc. all the things that you must attend. Then look at what times you could get a half hour of practice each day. Get a set time that your going to practice each day, and don’t let anything change that time. That time is set in stone, and no matter what, unless it is an emergency; don’t break that time for anything.

Guitar Lessons

BUY QUALITY A quality product will be both playable and reliable, so buy the best guitar that you can afford. Any compromise here is guaranteed to be a false economy-it is easy to find something that is cheap but that is ultimately hard to play.

CHECK FOR FINGERBOARD WARPING If the fingerboard is severely curved or warped, the intonation will be poor and the guitar will be difficult to play. To test the neck, hold the guitar as if you were aiming a rifle, and align your eye with the top surface of the neck. It should appear perfectly even. If the top of the fingerboard appears to be twisted, DON’T BUY IT-the intonation will be poor, and repair work is likely to be costly. If you align your eye with the side of the neck, you are likely to notice a very slight curvature halfway down the neck, around about the 7th to 9th frets. This is normal, and can be controlled using the truss rod.

CHECK INTONATION The note on the 12th fret should ALWAYS be exactly one octave higher than the open string. A more direct comparison can be made between the note and harmonic on the 12th fret. If the notes do not match, then the guitar will gradually go out of tune the further you play along the neck. Although this can easily be rectified, ask someone in the shop to do it for you-setting up should NOT be your first encounter with the guitar!

CHECK THE ACTION Look at the distance between the top of the 12th fret and the bottom of the string. This height is known as the “action.” A low action means that the strings are closer to the frets, so that your fingers don’t have to press hard to play a note. This is important for fast solo work. Also, play every note on the fingerboard to check that the frets are all the same height. If they are not, it will result in buzzing or rattling sounds when some notes are played.

CHECK THE MACHINE HEADS The machine heads are the mechanisms on the headstock at the top of the neck which control the tension of each string. If they turn too easily, the strings may slip, making the guitar difficult to keep in tune. This is not so important if you are buying an instrument fitted with a locking tremolo unit.

CHECK SUSTAIN The quality of sustain-the length of time a note rings naturally before it fades out-is governed by the design and construction of the instrument. Play every note on the fingerboard, to ensure that all notes sustain equally. Avoid acoustic instruments on which “dead” notes can be heard-this sometimes occurs as a result of a guitar’s natural frequencies.

CHECK THE PICKUPS Plug an electric guitar into an amplifier. Check the relative volume of each string. If there are significant variations, the height of the pickups need to be adjusted. If each pole of the pickup (the node beneath each string) has an individual height adjustment, then this can be done easily. If not, the whole pickup may need to be replaced.

CHECK FOR NOISE With the guitar still plugged in, stand it close to the amplifier and listen to the sound. It should be silent. Unpleasant, whistling feedback may indicate that the pickups are not well isolated-this may pose problems when playing at high volumes.

KNOW WHAT YOUíRE HEARING Make sure that the amplifier in the store is not enhancing the quality of the guitar. Ask for any effects to be switched off so that you hear only the amplified guitar.

10. ENJOY Every guitar has a sound and feel of its own. Just as two people are sometimes drawn together for seemingly intangible reasons, if you are lucky you will find a guitar that produces a similar kind of magnetism. It’s important that you feel happy with the instrument-this relationship will play a major part in your development as a guitarist.

Guitar Lessons

1. POWER Before you choose an amplifier, think ahead about what you may want to do with it ultimately, or how loud you want to be able to play. If you intend playing in a live venue, you are likely to need between 50 and 100 watts of power. Bear in mind, though, that a high output is not necessarily a sign of quality in an amplifier. 2. COMPATIBILITY WITH YOUR GUITAR Any amplifier will work with any guitar, in as far as it will amplify the signal, but it’s always a good idea to take in your own instrument when you test an amplifier. This is the only way you will really know if it’s the right piece of equipment for your sound. You will find that some combinations unquestionably work better than others. 3. KNOW WHAT YOU NEED Take care with amplifiers that offer a lot of additional effects. Make sure that you really need them. Like their guitar counterparts, some of the best and most popular amplifiers are very simple models designed in the 1950’s. It’s usually a good idea to start out with a pared-down system, and then build it up as new requirements emerge. 4. SIZE MATTERS Amplifiers can vary greatly, both in size and weight. If you are buying an amplifier “head” with a large independent speaker cabinet, make sure that you have sufficient room to store it in your home. Damp basements or garages are not ideal places to keep delicate electrical equipment. Similarly, lugging a “fourby-twelve” cabinet up and down eight flights of stairs is also guaranteed to dampen your enthusiasm. 5. WHERE HAS IT BEEN? If you are buying a secondhand amplifier, take care when you encounter models that seem to have taken a battering. This may indicate that the amplifier has been heavily used, is very widely traveled, or has been badly treated, all of which might affect its longevity. 6. SILENCE IS GOLDEN Listen out for excess buzzing or hiss, both before you plug the guitar in, or when you are not playing. This may mean that some of the circuitry is worn or damaged 7. SPEAKER CONDITION If at all possible, remove the grille that covers and protects the loudspeaker. Check the cone, and ensure that it is not torn or dented. Also chick the periphery of the cone-this is where natural wear occurs. All of these elements can adversely affect the sound. 8. ELECTRICS Test all of the switches, and the volume and tone controls. Make sure that they all do as they are supposed to, without making clicks or crackling noises. These things are generally fairly straightforward to repair, so if you’re being offered a real bargain, you should still consider it-a simple service by a qualified technician is not likely to break the bank. 9. STAMP YOUR FEET With the amplifier switched on, but not connected to a guitar, stamp your foot on the ground next to the model. If you hear any electrical noise as a result, there may be loose valves or other circuitry. This is likely to cause you problems eventually. 10. DONíT UNDERESTIMATE THE IMPORTANCE OF AMPLIFICATION Some guitarists are a little blasé about the subject of amplification. An amplifier not only boosts the guitar’s volume, it colors your sound, so don’t just take the first model that you see. Try out a variety of different types-the differences will quickly become apparent.

Guitar Lessons

Guitar Fretboard

Now get familiar with the guitar fretboard. Know the names of your strings (E-A-D-G-B-E) and start to be familiar with where the notes of the musical alphabet are located on the fretboard. (Keep in mind that all the "sharp" notes also have a "flat" name (enharmonic notes). For Example # b C is the same as D

Notice the notes shaded in grey are the open string notes of your guitar. Here is where they are located on the piano keyboard.

This is the musical alphabet. Your guitar is set up this same way moving up the fretboard in half steps. Know the order that these notes follow and notice that there is no "B sharp" or "C flat" and no "E sharp" or "F flat." So when counting up your fretboard you must leave those out.

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Whole Note 1

∑

Half Note

Whole Rest

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stem

Head

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Quarter Note

Half Rest

beam

Eight Note

Sixteenth Note

1 + 2 + 3 + 4 +

1 e + a 2 e + a 3 e + a 4 e + a

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Quarter Rest

Eight Rest

Guitar Lessons

Sixteenth Rest

Developing Rhythmic Coordination Three beats per measure. The Quarter note gets one beat.

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Two beats per measure. The quarter note gets one beat.

4/4 is the most popular time signature in music, and is therefore sometimes abbreviated "C," which stands for common time. When you see a common time signature, count the music exactly the same as 4/4 time. There are two basic parts to each beat: The downbeat: the name for the beginning of the beat The upbeat: the name for the exact middle of the beat. To count eighth notes, the first eighth note occurs on the downbeat, and the second occurs on the upbeat. We use the word "and" to represent the upbeat.

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downbeat

Clapping Rhythms

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upbeat

count: 1

Count the quarter-note beat out loud in the following examles while tapping the same beat with your foot. After this coordination feels comfortable, go over these exercises again, and clap the rhythms with your hands. Clapping provides awareness of the attack of the note.

œ 2

Œ 3

œ 3

œ 4

œ 1

œ 2

œ 3

Œ 4

œ 4

Guitar Lessons

Œ 2

œ 3

Œ 3

Œ 4

œ 4

Œ 1

œ 2

œ 3

œ 4

Œ 4

Singing Rhythms Sing these rhythms while tapping the quarter-note beat with your foot. This will help to develop your understanding for rhythym. Sing "dah" with every quarter note you see and sing "dut" for every eighth note.

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Clapping on the Backbeat

Sing the rhythms and clap on the backbeat. The backbeats are the weak beats on 2 and 4. This is developing rhythmic coordination, which will help you internalize the beat.

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dut dut dut dut dut dut dut dut

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Guitar Lessons

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Rhythm Studies

Practice the following rhythm studies to help further your understanding of note structure. Start at a slow speed about 60bpm (slow), then 60-90 (medium), and then 90-120 bpm (fast). Practice with a metronome, and try to keep your foot tapping to its click.

Exercise 1

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Exercise 2

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Exercise 3

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Exercise 4

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Eighth Note Studies

Exercise 1

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Exercise 2

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Exercise 3

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œ 2

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Exercise 4

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Exercise 5

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1 + 2 + 3 + 4 +

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1 + 2 + 3 + 4 +

‰ œ ‰ œ œ œ œ œ ‰ œ ‰ œ œ œ œ œ

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1 + 2 + 3 + 4 +

Guitar Lessons

œ 1

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Using a Metronome

A metronome is one of the most important tools for an aspiring musician. all exercises should be practiced with a metronome. Practice with each click representing one quarter note, then try subdividing the clicks to be eighth notes (where two note attacks per beat of the metronome). Then try applying sixteenth notes (four attacks), triplets (three attacks), etc. There many other techniques for practicing with a metronome.

Alternate Picking There are many different ways to pick a phrase. This book intoduces many different styles. In the beginning stages of alternate picking (up & down strokes) is the most effective method. The student should pay attention to making upstrokes sound the same as a downstroke (unless other instuctions are given to where the student should play otherwise).

Reading Tablature Reading tablature is a beggining way to read guitar music. Each line represents a string on your guitar. The bottom line is the thick "E" string and the top line is the skinny "E" string. The numbers on the lines tell you on which fret to put your fingers. Make sure you use one finger per fret and you keep your fingers curved and your playing with the tips of your fingers right behind the fret. E B G D A E

T A B0

Basic Exercise

The following exercise will help to coordinate the fretting and picking hands, as well as condition your fingers for upcoming styles and songs. Try to make each note connect with the next to produce a full sound.

Warm Up-Technique Exercise

E B G D A E

1 5

2 4

3 3

4 2

(cont. up the fretboard) 5

Guitar Lessons

Guitar Pick Exercises Exercise 1

4 4

Exercise 2

Exercise 3 0

Exercise 4 0

Exercise 5

Exercise 6

Guitar Lessons

Open Position Major & Minor Chords

The first 14 chords we will learn will be the Major and Minor chord types built from the seven natural root notes (A-B-C-D-E-F-G). These are termed "Natural" since their letter names are not used in comination with a sharp or a flat. The Letter is also called the root. The root gives the chord its name and also functions as the first not in the respective chord's scale. Memorize each chord with its correct name. Learn to interpret the diagram and utilize the fingerings given. Try other fingerings that seem reasonable and find your personal preference.

Major Chords

` 5`

5 5 3 2

x x`

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`` 5 55 2 3 1

1 3 2

```

5 5 5 2 1

` xx

555

3 2 1 1

1 2 3

2 3 4 1

Minor Chords

x x`

555

` ```

2 3 1

3 4 2 1

555

3 1 1 1

1 2

1st

2nd

6th 5th 4th 3rd 2nd 1st

Frets 1st 2nd 3rd 4th 5th

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555

3 1 1 1

2 3 1

5 5 55 3 4 2 1

x x`

555

X=Don't Play String O=Play Open String

1 3 2 =Fingers

Guitar Lessons

3rd 4th

Strings

Guitar Lessons

Reading Rhythm

4 Hash Marks & 4 ’ ’ ’ ’

Hash Marks are what a professional guitarist will usually see in the majority of reading situations. To play such notation, the guitarist is usually free to play any voicing of the chord asked for, and any rhythm that feels right within the overall groove. Example: The hash marks below tell you to play two measures of "G" and then two measures of "C". You are open to play any rhythm that fits with what the rest of what the band is playing, but it must fit the style.

G 4 &4 ’ ’ ’ ’

’ ’ ’ ’

’

Slash Symbols & 44 Û Û Û Û

’

This special rhythm guitar notation is more detailed than slash notation, yet it keeps the reader from being confused when to play pitches and when to strum chords. It is very similar to standard notation, but written with slash symbols instead of a round note.

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Whole Note

Û Û Û Û Û Û Û Û Û Û Û Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ

Half Notes

Quarter Notes

4 Final Bar Line & 4

Eighth Notes

4 & 4 Double Bar LIne

∑

One thin line and one thick line marks the end of a piece of music.

Sixteenth Notes

Two thin bar lines mark the end of a section of music.

Twinkle Twinkle Little Star

This is an example of using double bar line and final bar line. Notice where the double bar line is, that is where the song changes into the new section. You are not required to play this song, but you can if you'd like.

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Guitar Lessons

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Repeat Sign & ..

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Repeat Signs Repeat signs usually have right-facing sign and a left-facing sign. These tell you to repeat the music between to two signs before moving on to the next section of the chart.

Example: Below you would play two measures of Am7 then two measures of D7, then repeat. So your playing a total of eight measures. Am7 4 . &4 .’ ’ ’ ’ ’ ’ ’ ’

Single Measure Repeat &

‘

’ ’ ’ ’ ’ ’ ’ ’ .. D7

A Single-Measure Repeat Sign looks like a hash mark with a dot on each side.This repeat marking tells you to repeat the previous measure one time.

Example: Below it tells you to play one measure of A7 and then repeat that

measure one time, for a total of two measures of A7.

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’

Two-Measure Repeat Sign &

’

‘

2 «

A Two-Measure Repeat Sign looks like two hash marks with a dot on each side. This sign tells you to repeat the previous two measures one time.

Example: Below tells you to play two measures of A7 and then repeat both

measures once, for a total of four measures of A7. A7

&’ ’ ’ ’ ’ ’ ’ ’

2 «

Each staff below tells you to play four measures of A7, however each line is written different. A7

& 44 ’ ’ ’ ’ & 44 .. ’

’

& 44 ’ ’ ’ ’ A7

’ ’ ’ ’ ’

’

‘

’ ’ ’ ’ ’

Guitar Lessons

’

‘

’

‘

’

Chord Exercises

Go through each of these chords with the exercises below to help with the developing of rhythmic coordination using chords E C A Dm F Em G Am D

Check box when you have 5 5 5 completed all exercises with that chord--------> `

&c Û &Û

55 5

Û Û

| &c Û

&Û

```

Û Û J

Û Û Û Û J J

Û Û Û

555

` ```

Û Û |

Û Û Û Û Û

Û Û J

Û Û Û J

Û Û | |

Û Û Û Û Û Û Û J

Û Û Û Û |

Guitar Lessons

555

Û | J

Û Û

Û Û | Û Û Û

555

Û Û

555

Û Û Û Û Û

& c Û. &Û Û Û

Û |

&c Û Û Û Û Û &Û Û J

` 5` 55

Û Û Û

Û Û Û |. J

Û Û Û

Û Û Û Û Û Û Û Û Û Û Û J J Û

Û Û Û Û J

Û J

Moving Around

Now try switching chords at a slow tempo (60 bpm), then try speeding up. Be sure to move all your fingers at the same time, instead of one at a time. Switching one chord to another is how we build songs. x`

555

& 44 .. | 1

xx`

555

move

xx`

555

move

Û Û Û Û move

555

move

555

move

555

Û Û Û Û ..

move

555

`` 555

Û Û Û Œ

555

Û Û Û Û

xx`

`` 555

555

Û Û Û Œ

`` 555

555

& 44 .. Û Û Û Û

Û Û Û Œ

xx`

& 44 .. Û Û Û Œ

555

5``

move

555

& 44 .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. 1 + 2 + 3 + 4 +

1 + 2 + 3 + 4 +

move

1 + 2 + 3 + 4 +

move

Guitar Lessons

1 + 2 + 3 + 4 +

move

Chord Pairs

Practice playing the following chord pairs starting with the beginning strum patterns on the next page. Then try the intermediate strum patterns also found on the next page. Use a metronome and practice daily!

D 4 . &4 .Û

& 44 .. Û A

A 4 . &4 .Û

.. |

C 4 . &4 .Û

E 4 . &4 .Û

Û Û

.. |

.. | C

.. | E

Now try playing more complex chord shapes. After playing these two-chord progressions below try making up your own pairs with chords that aren't on this sheet. It will be vital to be familiar with with chords and their symbols.

& 44 .. Û

F 4 . &4 .Û

.. |

D 4 . &4 .Û

& 44 .. Û

F 4 . &4 .Û 22

Guitar Lessons

.. |

.. | C

Getting a Smooth Connection

Strum these strum patterns with the chords pairs on the previous page. Am C

` 5` 5 5

555

& 44

&Û Û Û Û Û Û Û Û 3 2

2 3 1

& 44 .. |

& 44 .. Û & 44 .. Û 1

Strumming Downbeat & Upbeat + 2 + 3 + 4 +

Beginning Strum Patterns |

+ 4 +

.. |

.. | 1

.. |

& 44 .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. | 1

4 & 4 .. Û

& 44 .. Û 1

& 44 .. Û . 1

& 44 .. Û 1

4 & 4 .. | 1

+ 2 + 3

Intermediate Strum Patterns

Û Û Û Û Û Û Û 2

Û Û J Û

Û.

Û Û Û Û J +

Û Û Û Û. J

Û Û Û Û J

Û Û Û Û | 3

Û Û Û Û Û Û .. | 2

Û Û J

Û.

Û Û Û .. | J

Û +

Guitar Lessons

Û Û Û .. | J +

Û Û Û Û .. | 3

Live For Today

ã120

Capo Guitar 4th Fret Intro

&c |

Verse

& .. |

&| &Û F

&Û

Û Û

Interlude Am

Û Û

Chorus Am

Grass Roots

∑

& .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. Û Û Û Û Û Û Û Û Û Û Û Û Am

Chorus

5x's

Rit.

&Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

&Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Am

& Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛÛÛ (Start to Fade) 24

Guitar Lessons

4 Endings with Repeats & 4 ’ 1.

’

.. ’

’

Often, a section needs to be repeated but will have different phrases at the end of each repitition. When this happens, multiple endings are used along with the repeat sign. In this case below we have a first and second ending. Play through the first time taking the first ending then the second time take the second ending.

A D G C A 4 . &4 .’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ m

&’ ’ ’ ’

’ ’ ’ ’

’ ’ ’ ’ .. |

Chart Reading Try this chart below notice the section letters throughout the chart, this is a very common way to distiguish the different sections of the song. Also notice the measure number at the beginning of each staff. This simplifies rehearsals and helps the musician to be at the right place at the right time in the music.

E D C 4 &4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ m

& ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Em

&’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ 14

&’ ’ ’ ’ 22

’ ’ ’ ’

’ ’ ’ ’ Guitar Lessons

| 25

Mull of Kintyre

# # # 3 AÛ & 4

Intro:

# # # . AÛ Û Û Û Û Û DÛ Û Û . &

Chorus I:

# # # . AÛ . &

Verse I:

# # # DÛ Û Û &

Û Û Û .. Û Û Û Û Û Û Û Û Û Û Û Û A

Û Û Û

Paul McCartney

Û Û Û .. Û Û Û

Û Û Û A

Û |.

# # # . AÛ Û Û Û Û Û DÛ Û Û Û Û Û . AÛ Û Û Û Û Û Û Û Û Û Û Û . . &

Chorus I:

# # # . DÛ Û Û . &

Chorus II:

Verse II:

# # # . DÛ . & &

###

Û Û Û

Û Û Û Û Û Û Û Û Û .. Û Û Û Û Û Û Û Û Û Û Û Û Û

Û Û Û

A Û Û Û .. Û Û Û

Û Û Û D

Û |.

# # # . DÛ Û Û Û Û Û GÛ Û Û Û Û Û . DÛ Û Û Û Û Û Û Û Û Û Û Û . . &

Chorus II:

# # # AÛ &

Bridge:

# # # . AÛ . &

Verse I:

Û Û

Guitar Lessons

Û Û

###

Û Û Û

Û Û Û A

E Û Û Û .. Û Û Û

# # # . AÛ Û Û Û Û Û DÛ Û Û Û Û Û . AÛ Û Û Û Û Û Û Û Û Û Û Û . . &

Chorus I:

# # # . DÛ Û Û Û Û Û GÛ Û Û Û Û Û . DÛ Û Û Û Û Û Û Û Û Û Û Û . . &

Chorus II:

# # # . DÛ . &

Ending:

Slowly Fade

Mull of Kintyre Lyrics Chorus: Mull Of Kintyre Oh Mist Rolling In From The Sea, My Desire Is Always To Be Here Oh Mull Of Kintyre

Chorus Mull Of Kintyre Oh Mist Rolling In From The Sea, My Desire Is Always To Be Here Oh Mull Of Kintyre

Verse 1: Far Have I Traveled And Much Have I Seen Dark Distant Mountains With Valleys Of Green. Past Painted Deserts The Sunset's On Fire As He Carries Me Home To The Mull Of Kintyre.

Verse 3: Smiles in the sunshine, And tears in the rain Still take me back to where my memories remain Flickering embers growing higher and higher As they carry me back to the Mull of Kintyre

Chorus Mull Of Kintyre Oh Mist Rolling In From The Sea, My Desire Is Always To Be Here Oh Mull Of Kintyre

Verse 2: Sweep Through the Heather Like Deer In The Glen Carry Me Back To The Days I Knew Then. Nights When We Sang Like A Heavenly Choir Of The Life And The Time Of The Mull Of Kintyre.

Chorus Mull Of Kintyre Oh Mist Rolling In From The Sea, My Desire Is Always To Be Here Oh Mull Of Kintyre Guitar Lessons

Warm Up-Technique Exercise 2

This technique exercise is just like our first warm-up exercise, but with a slight twist to it! You still play up the fingerboard, but now you alternate strings! It ends up looking like a zig-zag shape.

T A B

E A D G B E

(Cont. up the fretboard) 5

Guitar Lessons

Do Wah Diddy Diddy

ã 115

≥ ≥v v≥v ≥ ≥v≥ 4 . b & 4 .Û ÛÛÛÛÛÛ Û ÛÛ| G

≥ b & |

2 + 3

2 + (3) + 4 +

≥ Û

≥ |

walk-ing down the street, sing-in'

≥ b & |

≥ ≥ v v ≥ v ≥ ≥v≥ Û Û Û Û Û Û Û Û ÛÛ| D

wah

≥ |

did

Singin'

≥ Û

‰

down

didy

do.

She

looked

good,

fine

≥ Û

‰ ‰

(looked

fine)

she looked

good,

≥ Û

looked

fine,

and

v Û

did

did - dy

v Û

do;

≥ Û

diddy

≥ Û

‰

(looked

good)

She

looked

≥ v Û Û

≥ v ≥ Û Û |

down

≥ Û

There she was, just a

did - dy

≥ Û

Pop-pin her fingers and a- shuf-fa-lin' her feet,

&b Œ

≥ |

≥ v v ≥ v Û Û Û Û Û Û

≥ b & Û

Jeff Barry and Ellie Greenwich

≥ v ≥ v ≥ Û Û Û Û |~~~G~lissa .. ~~~n~d~o ~

nearly lost

mind.

Additional Lyrics Before I knew it, she was walking next to me, singin Do wah diddy diddy down diddy do; Took her hand just as natural as can be, Singing, Do wah diddy diddy down diddy do; She walked on (Walked on) To my door (My Door) She walked on to my door then we stayed a little more.

Guitar Lessons

D.S. Al Coda D.S. al Coda means to jump to the sign ( ˆ )and continue playing until you have reached the first coda sign ( ) , then you jump to the next (2nd) coda sign ( ) at the end of the chart and ı

continue playing until you reach the "fine" or final bar line. D.S. stands for Dal Segno. The Eagles "Take It Easy"

G D G C (add9) ≥ v ≥ ≥ v v 4 .. Û Û Û Û Û Û &4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. .. ’ ’ ’ ’ J J G

&’ ’ ’ ’ Û Û Û Û Em

ˆG

‘

’’’’

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û Û Û

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ C G Am C To Coda ı G G 2 &’ ’ ’ ’ ’ ’ ’ ’ « ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. Chorus

&’’’’ ’’’’ Û Û Û Û ’’’’ ’’’’ ’’’’ ’’’’ Û Û Û Û ’’’’ Em

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ıG &|

Coda

.. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ ’ ’ ’ ’ C

†D.õS. aõl Coda¢

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’’ ’ ’ ’ ’ | Rit.

Da Capo

Da Capo is an Italian term that means literally "the head." Sometimes, a song requires you to replay all or part of the chart again, beginning at the top. Sometimes the letters "D.C." will be accompanied by another road map indication, such as D.C. al fine or D.C. al Coda. Fine is also an Italian term that means "the end." Fine can be anywhere in a chart, but most often it is at the end designated by one thin line and one thick line, but watch for "fine" markings anywhere in the chart.

≥ v v ≥ v D 4 Û Û Û Û Û Û ’ ’ ’ ’ &4 J J G

&’ ’ ’ ’ Em

&’ ’ ’ ’ 30

’ ’ ’ ’

Em G

’ ’ ’ ’

Guitar Lessons

’ ’ ’ ’

’ ’ ’ ’ D

‘

’ ’ ’ ’

†D.õC. aõl Fine¢

Guitar Lessons

Building a Song Repertoire Now that we have begun to switch from chord to chord, it is time to start to build a good song repertoire. We will play some of the following tunes below which are some fun songs that will help you develop more practice switching chords. ________________________________________________

Popular Songs Using Open Chords: “Louie Louie” -The Kingsmen “If I Had a $1,000,000” -BNL “Leaving on a Jet Plane” -John Denver “Turn, Turn, Turn” -The Byrds “My Friends Over You” -New Found Glory “Don’t Look Back in Anger” -Oasis “Mr. Jones” -Counting Crows Pick Your Own _______________________

__________________________________________________ Be sure when you’re switching chords that you move all your fingers at the same time, play with the tips of the fingers and keep them curved.

Guitar Lessons

Louie Louie ã 105 ≥ =Downstroke v =Upstroke

The Kingsmen

55 5

```

b 2 .. ≥Û ≥Û ≥Û ‰ b & 4 J

Strum Pattern 1

55 5

b & b .. Û .

Û J

Lou - ie

```

’

Lou

```

&’ we

` 5`

gotta

’

` 5`

’

≥ ≥ ‰ Û Û ‰ .. J J

555

` 5`

Û.

’ ’

Yeah

’

yeah

` 5`

said

’

yeah

said

’

```

` 5`

Guitar Lessons

yea

’

yea - yeah

yeah

Say - ing

’

yeah

’

555

’

` 5`

’

555

` 5`

’

Û J

’

yeah

555

’

555

Û J

’

` 5` 55

Û.

Û J

55 5

```

’

Lou - ie

’

gotta - go.

55 5

& ’

Û.

’

` 5`

555

& 42 .. ’ &’

```

55 5

` 5`

≥ ≥ ≥ ≥ ≥ ‰ Û Û ‰ Û Û Û ‰ J J J

55 5

```

Strum Pattern 2

` 5`

yeah

’

yeah

55 5

.. |

If I Had $1000000

ã 155

BNL

Capo 2nd Fret

7x's 4 . Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. &4 . J J J J J J J J

Intro/Verse:

Pre-Chorus:

&Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û J J J J J J J J D

Chorus:

& .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. J J J J J J J J C

&| Verse 1 If I Had $1000000 (If I Had $1000000) I'd buy you a house (I would buy you a house) If I Had $1000000 (If I Had $1000000) I'd buy you furniture for your house (Maybe a nice chesterfield or an ottoman) If I Had $1000000 (If I Had $1000000) I'd buy you a K-Car (a nice Reliant automobile) If I Had $1000000 I'd buy your love.

Chorus 1 If I Had $1000000 I'd build a tree fort in our yard. If I Had $1000000 You could help, it wouldn't be that hard. If I Had $1000000 (Maybe we could put a little tiny fridge in there somewhere.)

G †D.õC. aõl Fine¢

Verse 2 If I Had $1000000 (If I Had $1000000) I'd buy you a fur coat (but not a real fur coat that's cruel) If I Had $1000000 (If I Had $1000000) I'd buy you an exotic pet (Like a llama or an emu) If I Had $1000000 (If I Had $1000000) I'd buy you John Merrick's remains (ooh all them crazy elephant bones) If I Had $1000000 I'd buy your love

Chorus 2 If I Had $1000000 We wouldn't have to walk to the store If I Had $1000000 We'd take a limousine 'cause it costs more If I Had $1000000 We wouldn't have to eat Kraft Dinner. But we would we'd just eat more.

Guitar Lessons

3x's

Last Time Only

Verse 3 If I Had $1000000 (If I Had $1000000) I'd buy you a green dress (but not a real green dress that's cruel) If I Had $1000000 (If I Had $1000000) I'd buy you some art (a Picasso or a Garfunkel) If I Had $1000000 (If I Had $1000000) I'd buy you a monkey (haven't you always wanted a monkey?) If I Had $1000000 I'd buy your love Chorus 3 If I Had $1000000, If I Had $1000000 If I Had $1000000, If I Had $1000000 If I Had $1000000 I'd be rich

Leaving On a Jet Plane

ã 115 # c j G & œ œ ’ ’ ’ ’ All my bags

#E & ’ ’ ’ ’ up

& ’

say

’

blow - in his horn,

tell

& ’

me that you'll

’

a Jet

read-y to

go,

But the

I'm

’

Plane,

stand - ing

’

dawn

’

is break

out - side your

here

’

door,

’ ’ ’ ’

I hate

’

’ ’ ’ ’

you

’ ’ ’ ’

in, it's ear - ly morn,

to wake

’ ’ ’ ’

the

tax - i's wait-in' he's

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’’ ’ ’ ’ ’ ’ ’ ’ ’

already - y

I'm

& ’ ’ ’ ’

I'm

’’’’ ’ ’ ’ ’

’

’ ’ ’ ’ ’ ’ ’ ’

good - bye.

’

are packed,

John Denver

lone-some

I could

’ ’ ’ ’ ’ ’ ’ ’

wait for

’

hold

me,

’

don't

’

know

me like you'll

’

when

I'll

die.

So kiss

me and smile for

’ ’ ’ ’ ’’’’ ’ ’ ’ ’

never

’

be back

go.

let me

’

a - gain

'Cause I'm

go.

’ ’ ’ ’

oh,

me,

’’’’

leav - in

’ ’ ’ ’

babe,

I hate

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1,2

I'm Leav - in'

oh, babe,

I hate to go.

a Jet Plane,

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’’ ’ ’ ’ ’ ’ ’ ’ ’ |

don't know when I'll beback again

Verse 2 There's so many times I've let you down So many times I've played around I tell you now, they don't mean a thing Every place I go, I'll think of you Every song I sing, I'll sing for you When I come back, I'll bring your wedding ring

Verse 3 Now the time has come to leave you One more time let me kiss you Close your eyes I'll be on my way Dream about the days to come When I won't have to leave alone About the times, I won't have to say

Guitar Lessons

Turn! Turn! Turn!

ã 115

## 4 & 4’ ’ ’

Chorus

To ev - 'ry

Turn)

And

# & # ’ ’ ’ 555

’

(Turn,

’ ’

’

for

555

’ ’ ’ ’ a time

555

’

555

’

There is

pur - pose

’

555

’ ’

die,

’ ’

a time

’ ’ ’ ’ time to

’

sea- son

der

(Turn,

555

Turn,

```

55 5

’

heav - en.

’ ’ ’

D `

555

’ ’ ’ ’

555

plant,

` ```

55 5

’

55 5

’

’ ’ ’ ’

```

555

’

```

555

The Byrds

a time

555

’ ’ ’ ’

reap,

```

555 55 5

A time

laugh,

a time

Verse 3 A time of love, a time of hate A time of war, a time of peace A time you may embrace, a time to refrain from embracing

555

weap.

Verse 4 A time to gain, a time to lose A time to rend, a time to sew A time for love, a time for hate A time for peace, I swear it's not too late *Words Adapted from the Bible, Book of Ecclesiastes Music by Pete Seeger

Guitar Lessons

’ ’ ’ ’ ’ ’ ’ ’ ’’’’ Û Œ Ó

Verse 2 A time to build up,a time to break down A time to dance, a time to mourn A time to cast away stones, a time to gather stones together

555

’

ev - 'ry

a time

Turn)

555

heal,

D `

555

Turn,

born

’ ’ ’ ’

time to be

kill,

thing

.. ’≥ ≥’ ’≥ ’≥

time

Verse

55 5

555

```

555

```

’ ’ ’ ’

My Friends Over You

ã 90

New Found Glory

≥v≥ v v≥ ≥v≥ v v≥ ≥v≥ v v≥ # 4 ≥v≥ v v≥ & # 4 Û Û Û ≈ Û Û Û ‰ Û Û Û ≈ Û Û Û ‰ Û Û Û ≈ Û Û Û ‰ Û Û Û ≈ Û Û Û. D

Intro

≥v≥ v v≥ ÛÛÛ ≈Û ÛÛ ‰

# # ≥Û Ûv ≥Û ≈ vÛ Ûv ≥Û ‰ ≥Û Ûv ≥Û ≈ Ûv Ûv ≥Û ‰ Û. Û. Û. Û. Û. Û. Û. Û. ≥Û Ûv ≥Û ≈ Ûv Ûv ≥Û ‰ ≥Û Ûv ≥Û ≈ Ûv Ûv ≥Û ‰ &

Verse

. . .. . . . . . . .. . . . . . . .. . . . . ## ≥ v ≥ v v ≥ ÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ Û ÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛ≈ ‰ Û Û ≈ Û Û ‰ Û Û Û & R D

B m7

> > > > > > > > > > > > ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

Chorus

> > > > > > > > > > > > ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û B m7

> > > > Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û 42 Û Û Û Û Û Û Û Û

4 & 4 ..

Bridge

4x's 0

2 3

0 0

.. |

†D.õC. aõl Fine¢

ÛÛÛÛÛÛÛÛ Û ÛÛ ‰ Ó

> > > > > > > > > > > > > > > > # & # .. ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛ ÛÛÛÛ ÛÛÛ ÛÛÛÛ ÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛ ÛÛÛÛ ÛÛÛ ÛÛÛÛ ÛÛ

Chorus

# # ÛÛÛ>ÛÛÛÛ>ÛÛÛ>ÛÛÛÛ>ÛÛ ÛÛÛ> ÛÛÛÛ> ÛÛÛ> ÛÛÛÛ> ÛÛ ÛÛÛ> ÛÛÛÛ> ÛÛÛ> ÛÛÛÛ> ÛÛ 2 Û Û >Û Û Û Û Û Û & 4 | B m7

B m7

≥v ≥ v v ≥ ≥ v≥ v v ≥ ≥ v ≥ v v ≥ ## 4 ≥ v ≥ v v ≥ Û Û ≈ Û Û ‰ Û Û ≈ Û Û ‰ Û ÛÛ ≈ Û Û Û ‰ Û Û Û ≈ Û Û Û. Û Û Û Û & 4

Outro

Guitar Lessons

.. | 37

Don't Look Back in Anger

ã 82 Intro:

` 5`

F 55

Noel Gallagher (Oasis)

& 44 Û Û Û Û Û Û Û Û ’

’

2 «

’

Verse/Chorus:

55 5

` 5`

```

` 555

`` 555

55 5

555

` 5`

```

` 555

```

55 5

& .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. Pre-Chorus/Solo: xx

555

55 5

` 5`

555

5 5xx4fr. 55

```

` 555

```

55 5

555

```

& .. Û Û Û Û Û Û Û Û ÛÛÛÛÛÛÛÛ.. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ÛÛ Û .ÛÛÛÛÛÛÛ Ending:

3x's

55 5

` 5`

```

& .. Û Û Û Û Û Û Û Û Û Û | C

55 5

` 5`

```

` 555

F 5

`` 555

F 5

555

&Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û | Form Intro Verse Pre-Chorus Chorus Verse Pre-Chorus Chorus Solo Chorus (3X's) Ending

Verse 1 Slip inside the eye of your mind Don't you know you might find A better place to play You said that you'd never been But all the things that you've seen Will slowly fade away

Pre-Chorus So I start a revolution from my bed Cause you said the brains I have went to my head Step outside the summertime's in bloom Stand up beside the fireplace Take that look from off your face

Chorus So Sally can wait, she knows its too late as we're walking on by Her soul slides away, but don't look back in

You ain't ever gonna burn my heart out

anger I heard you say Ending My soul slides away, but Don't look back in anger Don't look back in anger... I heard you say... At least not today

Verse 2 Take me to the place where you go Where nobody knows if it's night or day Please don't put your life in the hands Of a Rock n Roll band Who'll throw it all away

Guitar Lessons

555

` 5`

U |

Mr. Jones

ã 142 Intro/Verse:

F 5

555

Counting Crows

```

55 5

` 555

F 5

555

```

55 5

& 44 .. Û Û ‰ ÛÛ Û ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

Chorus:

` 5`

& .. ’ Bridge:

’

` 555

& .. |

F 5

Verse 1 Sha, la, la, la, la, la I was down at the New Amsterdam staring at this yellow-haired girl Mr. Jones strikes up a conversation with this black- haired flamenco dancer She dances while his father plays guitar She's suddenly beautiful We all want something beautiful Man, I wish I was beautiful Verse 2 So come dance this silence down through the morning Sha, la, la, la, la, la, yea Cut up, Maria! Show me some of them Spanish dances And, pass me a bottle, Mr. Jones Believe in me Help me believe in anything cause I want to be someone who believes, yeah

Chorus 1: Mr. Jones and me tell each other fairy tales and we Stare at them beautiful women "She's looking at you. Ah, no, no, she's looking at me." Smiling in the bright lights Coming through in stereo When everybody loves you, you can never be lonely

’

F 5

```

’

555

55 5

’

```

’

` 555

Verse 3 I will paint my picture Paint myself in blue and red and black and gray All of the beautiful colors are very, very meaningful Oh you know gray is my favorite color I felt so symbolic yesterday If I knew Picasso I would buy myself a gray guitar and play Chorus 2 Mr. Jones and me look into the future Stare at the beautiful women "She's looking at you. I don't think so. She's looking at me." Standing in the spotlight I bought myself a gray guitar When everybody loves me, I will never be lonely Bridge Never gonna be lonely, no I will never be lonely I wanna be a lion Everybody wants to pass as cats We all want to be big big stars, yea but we got different reasons for that Believe in me because I don't believe in anything and I want to be someone to believe, to believe, to believe yeah

Guitar Lessons

55 5

’

```

55 5

Chorus 3: Mr. Jones and me stumbling through the barrio Yeah we stare at the beautiful women "She's perfect for you, Man, there's got to be somebody for me." I want to be Bob Dylan Mr. Jones wishes he was someone just a little more funky When everybody loves you, son, that's just about as funky as you can be Mr. Jones and me staring at the video when I look at the television, I want to see me staring right back at me We all want to be big stars, but we don't know why and we don't know how But when everybody loves me, I'm going to be just about as happy as I can be Mr. Jones and me, we're gonna be big stars...

Form Verse 6x's Chorus 4x's Verse 2x's Chorus 4x's Bridge Chorus 9x's 39

Your Tunes:__________ By:___________

& & & & & & & & & 40

Guitar Lessons

Your Tunes:__________ By:___________

& & & & & & & & & Guitar Lessons

Same, but Different

Many songs use the same exact chord progression, but by the difference of style, tone, lyrics, rhythm etc. the songs can sound very different. See these examples below how they both use the exact same chords and chord progression, yet sound very different.

Run Around

ã 145

Intro/Verse/Chorus

# 4 ≥ & 4 .. Û

≥ Û

ã 93

# . ≥Û . G

Verse

≥ Û

v Û

≥ v ≥ Û Û Û C

≥ Û

v Û

Meet Virginia ≥ Û

≥ v ≥ Û Û Û

≥ Û

v Û

≥ v ≥ Û Û Û D

` ` `

55 5

# . ≥Û & .

Chorus

E m7

≥ Û

v Û

Blues Traveler

≥ Û

v Û

Train

≥ Û

≥ v Û Û ..

≥ Û

` `

≥ Û

D ad d 119

We Didn't Start the Fire

ã 140 Verse/Chorus

Billy Joel

> > > > > > > > . # . Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û . Û Û Û Û Û Û Û Û . & G

Guitar Lessons

Riff Songs What is a riff? A riff is a relatively simple, catchy repeated phrase; it may be played behind a soloist or as part of a head. It is often played in a bluesy style. Riffs are also a pre-packaged phrase used by an improviser when he can't think of anything else; especially one which is especially catchy. What is a Riff Song? A Riff Song is made up of riffs, either one riff that repeats frequently during the tune or different riffs making up a song. Try some of these riff below to get an idea and feel for riffs then try some of the songs using riffs on the following pages.

Popular Riffs: "Crazy Train" -Black Sabbath

3 3

5 5

"Smoke On The Water" -Deep Purple 0 0

3 3

5 5

0 0

3 3

6 6

5 5

0 0

3 3

0 0

"Wonderful Tonight" -Eric Clapton 10

10 full

10 10 8 full

10 full

15 17

"Satisfaction" -Rolling Stones

Guitar Lessons

No Woman No Cry

ã 76 C

Intro:

T A B3

G/B

.Û Û .

Û Û

.Û .

G/B

5 55

Verse I: Say, say, said I remember when we used to sit In a government yard in Trenchtown Obba, obba, serving the hypocrites As the would mingle with the good people we meet Good friends we have, oh, good friends we've lost Along the way In this great future, You can't forget your past So dry your tears, I say Chorus: No woman no cry, no woman no cry Oh, my little darlin'Don't shed no tears No woman no cry

` 555

` 5`

Û `

Û xx

F 5

5 55

Û ÛÛ Û

55 55

Guitar Lessons

0 2

. .

8x's

. .

` 5`

Û ÛÛ Û

Verse II: Say, say, said I remember when we use to sit In the government yard in Trenchtown And then Georgie would make the fire lights As it was, log would burnin' through the nights Then we would cook cornmeal porridge Of which I'll share with you My feet is my only carriage So I've got to push on thru Oh, while I'm gone Verse III: Everything 's gonna be alright. Everything 's gonna be alright Everything 's gonna be alright, Everything 's gonna be alright Everything 's gonna be alright, Everything 's gonna be alright Everything 's gonna be alright, Everything 's gonna be alright

` 5`

6x's

Û ÛÛ Û Û

` 5`

55 55

Û Û

` 555

Intro: No woman no cry, no woman no cry No woman no cry, no woman no cry

Û ÛÛ Û

5 55

x ``

` 5`

.Û .

G/B

Chorus:

x ``

5 55

` 5`

Verse:

x ``

` 5`

Bob Marley

Form Intro Verse I Chorus Verse II Verse III Chorus Solo (Chorus) Verse II Chorus Chorus

. .

Twist and Shout

ã 120

Intro/Verse:

2 4

.Û .

Û J

The Beatles

Û Û Û Û

0 2 2 2 0

Solo:

. .

9 10

7 9

6 7

5 7

9 10

. .

7 9

Build:

Û Û Û Û

∏ P

Ending:

Symbol PPP PP P mP mF F FF FFF

Term Pianississimo Pianissimo Piano Mezzo Piano Mezzo Forte Forte Fortissimo Fortississimo

Meaning Very Very Soft Very Soft Soft Medium Soft Medium Loud Loud Very Loud Very Very Loud

Û Û Û Û

π F 4

5 5 5 0

Well, shake it up, baby, now (shake it up, baby) Twist and shout (twist and shout) Come on, come on, come on, come on, baby, now (come on, baby) Come on and work it all out (work it all out) Well, you twist,you little girl (twist, little girl) You know, you twist so fine (twist so fine) Come on and twist a little closer, now (twist a little closer) And let me know that you're mine (let me know you're mine) BABY NOW!

Well, shake it up, baby, now (shake it up, baby) Twist and shout (twist and shout) Come on, come on, come on, come on, baby, now (come on, baby) Come on and work it all out (work it all out) Well, shake it up, baby, now (shake it up, baby) Well, you twist, you little girl (twist, little girl) Twist and shout (twist and shout) You know, you twist so fine (twist so fine) Come on, come on, come on, come on, baby, now (come on, baby) Come on and twist a little closer, now (twist a little closer) Come and work it all out (work it all out) And let me know that you're mine (let me know you're mine) Well, you work it all out, oh yeah (work it all out) You know, you look so good (look so good) well shake it shake it shake it baby now(shake it up baby) You know, you got me going, now (got me going) well shake it shake it shake it baby now(shake it up baby) Just like I knew you would (like I knew you would) well shake it shake it shake it baby now(shake it up baby)

Guitar Lessons

. .

Form Intro 2x's Verse 8x's Verse 8x's Solo 4x's Build Verse 11x's Build Ending

Surfin' USA

ã 158 b & b b 44

‰

∑

bœ œ œ œ œ œ œ If

T A B

11 12 13 12 13 13

& b

ev - ry - bod - y had an

. .

11 11 11 11 11 11 11 12 13 12 13 12 13 12 13 13 13 13 13 13 13

w 5 5 8 8 5 8

bag sum

œ bœ œ œ œ œ œ

A bush - y bush - y blond Tell the teach - er we're

œ.

hair - do, surf - in'

6 6

j œ ˙

œ.

o route

6 6

8 8 5 8

a - cross the U. - S. - A. We're gon - na take real soon

8 8 5 8

like Cal - i - for - ni - a. We can't wait for June.

6 6

huar - a - chi san - dals we're on sa - fa - ri,to

j œ w

too. stay.

Surf - in U. - S. - A. Surf - in U. - S. - A.

6 6

5 5 8 8 5 8

6 6

j j œ œœ œ œ w

Guitar Lessons

j b œ œ œ œ œ œj w œ E

j œ œ œ œ œ œ 8

j œ

bœ œ œ œ œ œ J

cean

8 8 5 8

gies, mer,

j œ ˙

5 5

j œ ˙

œ.

œ œ œ œ œ œ œ

j œ ˙

6 6

surf - in' surf - boards.

& b

œ.

Then ev - ry - bod - y'd be We're wax - in down our

You'd see them wear - in' their We'll all be gone for the

œ bœ œ œ œ œ œ

6 6

The Beach Boys

bœ

8 8

œ œ œ œ œ

You'll catch' em surf - in' at At Hag - gar - ty's and

5 8

Surfin' USA

b &b b

œ.

Del Swam

6 6

bbb

j b œ œ œ œ œ œ

j œ ˙

Mar i's

8 8

5 8

6 6

bbb

œ.

hat - tan Jol - la,

6 6

bbb

5 5

8 8 5 8

6 6

5 5 8 8 5 8

6 6

5 5 8 8 5 8

6 6

Surf - in U. - S. - A. Surf - in U. - S. - A.

6 6

bœ œ œ œ œ œ œ

5 5 8 8 5 8

We'llall be plan-nin' out a

Guitar Lessons

6 6

Ev - ry- bod - y's gone Ev - ry- bod - y's gone

5 5 8 8 5 8

. .

6 6

5 5 8 8 5 8

6 6

o - ver Man o - ver La

5 8

j œ. œ ˙

surf - in' surf - in'

œ œ œ

5 8

All All

œœ œ œ œ œ

way. Bay.

8 5 8

j œ œ œ œj w œ œ œ and down Do - he - ny at Wai - a - me - a

j œ w

j j œ œ œ œ œ w œ

San - ta Cruz and San O - no - fre

Aus - tra - lia's Nar - a - bine Re - don - do Beach, L. - A.

8 8 5 8

j œ ˙

œ bœ œ œ

Line sades

j b œ œ œ œ œ œ

Tress - els, and Sun- sut

j œ w

Ven - tu - ra Coun - ty Pa - cif - ic Pal - i -

j œ ˙

œ.

5 5

8858

Œ Ó

5 5 8 8 5 8

ã 112 Intro

T . A . B 3

Redemption Song

j 0

j j

0 2

x ``

Bob Marley

j 0

. .

5 55

1,2,3 4. %G G/B Em C D Am ≥ ≥ v v ≥ v ≥ ≥ v v ≥ v ≥ ≥ ≥ ≥ ≥ ≥ v v ≥ v D≥ ≥ v v ≥ v ≥ ≥ v v ≥ v . . ÿ .Û ÛÛ ÛÛÛ Û ÛÛ ÛÛÛ Û Û Û Û Û ÛÛ ÛÛÛ. Û ÛÛ ÛÛÛ Û ÛÛ ÛÛÛ J J J J J J J J J J 1

Chorus

3 4

≥ ≥v v≥v ≥ ≥ ≥ ≥ ≥ ≥v v≥v ≥ ≥ ≥ ≥ Û ÛÛ ÛÛÛ Û Û Û Û Û ÛÛ ÛÛÛ Û Û Û Û J J J J

≥ Û

≥ﬁ ≥ Û Û

≥ Û

≥ v Û Û J

v ≥ v ≥ Û Û Û Û J

≥ Û

≥ v Û Û J

v ≥ v ≥ Û Û Û Û J

≥ Û

.. ≥Û

≥ v Û Û J ≥ v Û Û J

≥ ≥v v≥v ≥ ≥ ≥ ≥ Û ÛÛ ÛÛÛ Û Û Û Û J J

v ≥ v ≥ Û Û Û Û J

≥ Û

v ≥ v ≥ Û Û Û Û J C

≥ Û

Back to Letter ÿ

Second time go on

≥ Û

G ≥ ≥ v ≥ v ≥ ≥ v v ≥ ≥ ≥ ≥ ≥ ≥ v v ≥ ≥ ≥ ≥ ﬁ .. Û Û Û Û Û Û Û Û Û Û .. .. Û Û Û Û Û Û Û Û Û Û .. | J J J J Coda Em

Verse 1: Old pirates, yes, they rob I; Sold I to the merchant ships, Minutes after they took I From the bottomless pit. But my hand was made strong By the 'and of the Almighty. We forward in this generation Triumphantly.

Chorus: Won't you help to sing These songs of freedom? 'Cause all I ever have: Redemption songs; Redemption songs.

(last time)....All I ever had: Redemption songs: These songs of freedom, Songs of freedom. Guitar Lessons

≥ Û

†D.õS. aõl Coda¢

¶Fine®

Verse 2 & 3: Emancipate yourselves from mental slavery; None but ourselves can free our minds. Have no fear for atomic energy, 'Cause none of them can stop the time. How long shall they kill our prophets, While we stand aside and look? Ooh! Some say it's just a part of it: We've got to fullfil the book.

Down on the Corner

ã 108

CCR

Intro Percussion T A B

Intro/Interlude

. .3

3 3

C 2

. . 3

F 3

5 3

3 3

C 2

5 5

5 3

3 3

Verse

≥ v ≥ v ≥ v ≥ v v v ≥ v ≥ v ≥ v ≥ v ≥ v ≥ v v v ≥ v ≥ v ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ C

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Chorus

’

Guitar Lessons

’

Never There

ã 124

Verse Riff:

. .

T A B

Chorus Riff:

. .

Œ.

Interlude Riff: (Trumpet)

Œ.

j 3

Em 3x's

. .

Œ.

. .

Am D

Guitar Lessons

3 3

1 1

7x's (First Time) 10x's (Second Time)

j 2

. .

Œ.

B7 5x's

. .

Cake

Œ Hey!

Daytripper

ã 138 Intro

Verse

T . A . B 0

4x's

3 4

2 0

0 2

Beatles

3 4

2 0

0 2

. . . .

ˆ 0

3 4

0 2 0

3 4

2 0

0 2 0

0 2

3 4

2 0

Chorus 0

0 2 0

3 4

2 0

0 2 2 2 2 2 2 2 2 2

0 2 2 2 2 2 2 2

2 2 2 2 2 2 2 2

To Coda ı

0 2 2 2 2 2 2 2

5 5 5 5 5 5 5 5

4 4 4 4 4 4 4 4

9 9 9 9 9 9 9 9

7 7 7 7 7 7 7 7

. .

Bridge

5 6

ı . .

4 7

4 5 6

7 7 7 7 7 7 7 7

Coda

7 7 7 7 7 7 7 7

4 7

4 5 6

7 7 7 7 7 7 7 7

4 7

7 7 7 7 7 7 7 7

†D.õS. aõl Coda¢

Vamp and Fade Out

Guitar Lessons

. .

Guitar Lessons

Seventh Chords Dominant Seventh Chords

` 5 555

x x`

3 24 1

555

` ` 5``

2 1 3

``` 5 x` ` ` xx 5

55 3 2

x ` 55 5 5 555

1 2 1 1

2 1 3

Minor Seventh Chords

C m7

5 5 53fr. xx` 5 5 5 5

1 3 1 2 1

G m7

E m7

D m7

` ` `

2 1 1

55 5

5 5 55

1 2

A m7

F m7

x` ` ` x x 5 5

2 3 4

x ` ` 3fr.

5 55 5 5 5

1 4 2 3

B m7

Major Seventh Chords

C Maj7

```

55 3 2

E Maj7

D Maj7

x x`

555 1 1 1

`` 55 5 3 1 2

A Maj7

G Maj7

x```

5 1

` 5 55 2 1 3

F Maj7

B Maj7

3 2 1

1 3 2 4

x ` x 5 55 55 55

*Keep in mind that these are not the only way to play these chords. Be creative and try finding other ways to play these chords. Just find the formula.

Guitar Lessons

32-Bar Song Form 32-bar song form is one of the most popular forms that songwriters use to compose music. As chart readers, we need a strong understanding of it. Typically, 32-bar song form can be broken down into four eight-bar phrases. The first eight bars are called the head of the tune and are marked as section A. That section is repeated in the next eight-bar phrase, often with a different ending. The third phrase is a contrasting section known as the bridge. The bridge is usually marked as section B. The final eight bar phrase is a restatement of the head or A section. Sometimes, this section is marked with the letter C.

ıA 7 & 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ D

E m7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ E m7

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

†D.õC. aõl Coda¢

Coda

&’ ’ ’ ’

’ ’ ’ ’

The 32-Bar song is a truly American form, which can be traced back to such turn-of-the-century composers as Cole Porter, George Gershwin, and Jerome Kern. Countless jazz standards and country tunes-even the most memorable hits of the beatles-were composed using this form. Musicians today don't ignore these roots; it remains a very common form.

Guitar Lessons

32-Bar Chart Below is a 32-bar chart with a four-bar intro. Notice that the thirty-two bars are divided into two sixteen-bar sections with repeats. Intro

G E 4 &4 ’ ’ ’ ’ m7

A m7

2 «

’ ’ ’ ’

& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ G

11.

A m7

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û | G

Û ’ ’ ’ ’ G

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ ’ ’ ’ ’ E m7

A m7

D7 D

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ | Guitar Lessons

32-Bar Chart

Notice this chart still has 32 bars, but again is layed out a little differently. This song will help further your practice with switching seventh chords.

& 44 ’

D Maj7

Intro ÿ

D Maj7

& .. ’ E m7

&’

Ÿ m7 A

&’

G m7

&’ ⁄

’ ’ ’ ’

D Maj7

&’

E m7

&’

’

’ ’

’

’ ’ ’ ’ ’ ’

’

‘

’ ’ ’ ’

’

‘ A7

’

’ ’

’

D Maj7

’

F Maj7

’

Guitar Lessons

’

‘

’

‘

’

‘

’

‘

’

‘

D Maj7

’

‘

’

G Maj7

’

’ ’

E m7

’

You Won't See Me

ã 120 ### 4 j œ . A .’ ’ ’ ’ & 4 œ œ When I call

###

you you

won't won't

’ ’

’

was so don't have

’

### ###

’ ’

’ ’ ’

### A 7 & ’ ’’’ &

###

’

’’ ’

you won't

You You

won't won't

’ ’

’ ’ ’’ ’

see me.

you won't

.. ’ ’ ’ ’ A

Ooo

’ ’ ’

been gone,

’

’ ’ ’ ’ ’ .. ’ ’ ’ A

’

You won't

’

Guitar Lessons

’ la

’ ’ ’ ’

would - n't mind,

if I

’ ’ ’

’

can't

’

’ ’

Ooo

’ Yes, it seems

’ ’ ’ ’

go on

’ ’’’’ ’’ ’ see me.

’ ’ ’ ’

knew

with with teats,

’ ’’’

And I just 2.

see me.

’

like years.

if and

.. ’ ’ ’ ’

they're filled

it feels

’ ’’’’ ’’ ’

don't know

’ ’ ’ ’

’

girl, since you've

’ ’ ’ ’ 2.

’ ’ ’ ’ ’ ’ ’

are few,

’

’ ’ ’ ’

the time to stay,

my mind a - way

’ ’ ’

I have had But I can't

’ ’ ’ ’

We have lost I won't want

’’

’

lose turn

’

’ ’ ’ ’

to e - ven lis - ten.

’

And I will But I can

see me. see me

lost you

’

Though the days

And since I

’ ’ ’ ’

’

’ ’ ’ ’

so long 1.

’ ’ ’

your age. are tied.

’ ’

- ing.

’

###

was miss

you re - fuse

’ ’

what I

to find, to say,

’ ’ ’ ’

af - ter time

E7 (sus)

hard much

’

’ ’ ’

en - gaged. to hide

’

Time

’ ’

’ ’ ’ ’

see me, see me

## D & # .. ’ ’ ’ ’

’ ’ ’

so act my hands

’

that I

’ ’ ’ ’

your line's should want

’ ’ ’ ’

en - ough get through,

’ ’ ’ ’

you up, why you

’ ’ ’ ’

The Beatles

You won't

’

’ see me.

’ .. la

Sunday Morning & 44 Ó

‰ . Û .. Û R

Û.

Û Û

v Û ..

Û.

Û |.

C maj7

D m7

Advertising Man

Intro: x

Û.

D m7

Maroon 5

55 5

&’

’

` `5 `

5 5

’

David Wilcox

’

F maj7

’

Verse:

’

bdim G/B

5 5` 5` x 5` ` 55

ˆC E7 F Fm C A7 D7 G A m7 . & . ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

Chorus:

G/B

x ``

5 55

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û | F

D 7/F

G A m7

†D.õS. aõl Fine¢

Outro:

&’ ’ ’ ’

’ ’ ’ ’

&’

’

Guitar Lessons

’ ’ ’ ’ ` 5x

’ ’ ’ ’

C sus4 x

Yesterday

ã 94 xx

(Ballad)

555

E m7

555

’ ’ ’ ’

b Maj7

55x 55

&b ’ ˆ

` ` `

55 5

Why

E m7

` ` `

’

it a

’

she

’

said

some

&b ’

` 5`

’

thing

E m7

’ ’ ’

55 5

’

&b ’

’

hide

a - way.

’

Dm `

555

&b ’

now

Ending

’

Oh,

’

ea - sy

’

555

game

for

’

yes -

ter

’

55 -

’

lieve x

’

555

’

555

’

yes

’

F 55

’ ’ ..

’

day.

’

C7 555 I

F 55

ter - day xx

’

say.

’

a - way to be.

’ ’ ’ ’

Now

555

yes - ter - day sud - den - ly

far used

b Maj7

’

to play.

Ritard... . . . . . . . .

Guitar Lessons

55 55

’ ’ x

``` 5

```

’

would - n't

B x

’ ’

55 5

’

long

love was such and

’

she

’

555

’

``` 5

I be - lieve in Yes - ter - day came

’

5` 555

D m7

555

` ` `

’

555

’ ’ ’’

trou - bles seemed so half the man I

know

` ` `

my not

’

’ ’ ’ ’ ’

Oh Oh

’

don't

’

wrong

’

5` 555

55x 55

all I'm

’

b Maj7

to stay. er me.

’

F 5

’

Yes - ter - day

’

555

’

here ov -

55 55

’

b Maj7

55 5

` 5`

had

’

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D m7

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looks as though there sha - dow hang - ing

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’

Now There's

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55 5

Yes - ter - day Su - den - ly

` ` `

4 & b 4 ’ ’ ’ ’ ’ ’ ’ ’ .. ’ 5

John Lennon/Paul McCartney

’

need

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place to

’

†D.õS. aõl Fine¢

’ 59

The Way You Look Tonight

Words by Dorothy Fields Music by Jerome Kern

Ballad

` 5`

D m7 G 7

` ` `

4 &4 Œ Û | E m7 55 5

when the world is and your cheek so

cold, soft;

D m7

555

You You

Look Look

maj7

With

To - night. To - night.

5 555

laugh

your

ten - der - nes grows,

Exxdim7

F m7

& ’’’’

’’’’

that

laugh

that

A m7

` 5`

’ ’ ’ ’

wrink - les your nose

D m7

` ` 5`

555

` 5`

ly,

’

love

’ A7

` 5` ` ` ` 55 55

nev - er, ne - ver

low, warm

’’’’ ’’’’ ’ ’ ’ ’

of love

you you,

and the and the

``` 555 5 5 5

` 5`

C m7

x x`

` ` `

555 55

5 55

’

you,

D m7 G 7 `

``` 555 55 5

’

` 5`

` ` `

Gx m7

555

5 555

tear - ing

my fear

Exxmaj7 5

Fx m7x

555 55

5 555

555

touch - es

55 5

keep that breath - less

charm,

fool - ish

``` 555 55 5

’

heart.

555

``` 5

D m7 `

555

Guitar Lessons

just

’’’’ ’ ’ ’ ’ 555

’

the

Way

``` 5

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You

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Look

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The

’ ’ ’ ’

won't you plese ar - range it. 'Cause I

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``` 5

D m7

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555

’’’’ ’’’’

D m7

D m7 G 7 `

D m7

’’’’

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part

5 55

` ` `

C m7

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555

x x`

’’’’ ’ ’ ’ ’

’ C

Exxmaj7

555 55

change,

’

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& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ night.

’’’’

’’’’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’’ ’’’’

& ’

5 555

` ` `

5` 555

` ` `

when I'm aw - f'ly with your smile so

D m7 G 7

E m7

``` 5

& ’’’’ ’’’’ ’ ’ ’ ’ Love

day ly

555 55

5x 555x

5555

555

’’’’ ’ ’ ’ ’

Exx maj7

and

555 55

Fx m7x

5555

each

Some love

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``` 5

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ ’ ’ ’ ’

Exxdim7

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.. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

glow just think - ing for me but to

D m7 G 7

` 5` ` ` `

& ’’’’ b

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A m7

` 5`

Œ Û |

’’’’ ’ ’ ’ ’

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Way Way

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D m7

& ’ ’ ’ ’ xx

Œ Û |

& ’ ’ ’ ’

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Œ Û |

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night.

Root Strum Exercises

Root Strum Technique is a big part of music. You simple play the root of each chord individually then strum the rest of the chord. In these exercises R=Root, D=Down (as in downstroke), and U=Up (as in upstroke). So When you see "R," that means to strum the root only (which is the lowest note in the chord). `

555

≥ 4 . &4 .Û R

≥ Û

555

`` 555

555

Û Û Û Û ..

Û D

`` 555

555

& 44 .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. R

` 5`

` ```

` 555

D U

& 44 .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. R D R D R D R D

R D R D R D R D

Last Dance

Try this song in the style of Tom Petty, that uses this technique during the intro and verses of one of his songs.

& 44 .. Û

Û R

Û. D

Û Œ J U

Û R

Û. D

Û Œ J U

Û R

Û. D

Û Œ J U

Û R

Û .. J

Û. D

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Em

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Guitar Lessons

Strumming Variations

In this section we will learn to embellish basic strums and chord voicings by adding on an alternating bass note. The pattern is as follows; Root-Strum-Alternate Root (usually the 5th)-Strum.

Exercise 1 C

≥

T . A . B 3

≥

0 1 0 2

≥

0 1 0 2

≥

0 1 0 2

1 1 2

G 0 1 0 2

0 1 0 2

Exercise 2

≥

. .3

≥

0 1 0 2

0 1 0 2 3

≥ 0 1 0 2

≥

3 0 0

≥

0 1 0 2

1 1 2

3 0 0 3

≥ ≥ ≥ 2

. .

1 1 2

3 0 0 3

0 0 2

0 0 0 2 0

0 0 0 2

0 1 2

0 0 0 2

0 0 0 2 0

0 0 0 2

. .

0 1 0 2 3

. .

C 0 1 0 2 3

0 1 2

0 1 2 0

B7 0 0 0 2

0 0 2

≥ ≥0 ≥ ≥0

1 1 2

Exercise 3

3 0 0

1 1 2

2 0 2 1

2 0 2 1 2

Guitar Lessons

2 0 2 1

2 0 2 1 2

. .

Em 0 0 0 2 2 0

0 1 2

Exercise 4

≥ ≥ ≥ 2

. .

≥ ≥0 ≥ ≥0

0 0 2

0 0 0 2

0 0 2

0 1 2

B7 0 0 0 2

0 0 0 2

2 0 2 1

2 0 2 1 2

. .

2 0 2 1

Em 0 0 0 2 2 0

Satisfaction Riff 2

Guitar Lessons

Root Strum Riffs OASIS "Wonderwall"

E m7

` `

55 55

root

x x`

55 55

& 44 .. Û Û Û . root

D sus4

Û Û Û Û. J

root

A 7sus4 x`

5 55

Û Û Û Û. J

root

DAVE MATTHEWS BAND "Crash"

C x

# m7

Ax sus2

` ``

E 5/B x

E/G x 5

Ax sus2 ` ``

5555

Û Û Û Û Û Û Û Û Û .. J U

D U D U D U D U

E 5/B

& 44 .. Û Û . Û Û Û Û Û Û Û Û Û .ÛÛÛ Û ÛÛÛ Û Û .ÛÛÛ Û ÛÛÛ Û Û . Û Û Û Û Û Û Û .. 55 3 1 4

5 5

root D U D U root D D U root D U D U root D D U root D U D U root D D U root D

U D U root D D U

SIMON & GARFUNKEL "The Boxer"

` 5`

C/G

` 5`

55 5

C/G ` 5`

` 5`

C/B

x x` `

5 5

55 55

& 44 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û G

root D U root D U

55 55

root D U root D U

` 5`

``` 5

C/G

root D U root D U

` 5`

55 5

` 5` 5 5

& Û ÛÛ Û ÛÛ Û ÛÛ Û ÛÛ Û ÛÛ Û ÛÛ Û ÛÛ Û ÛÛ Û Œ Ó root D U root D U

root D U root D U

Guitar Lessons

root D U root D U

Chord Embellishments

We have learned so far most of the most commonly used chords: Major, Minor, and 7th. We will now look into further chords, the suspended chords and slash chords.

Sus4 Chords

sus4 chords enhance major, minor and dominant seventh chords. The "sus" stands for suspended. The 4th interval from the root replaces the 3rd, giving us the formula 1-4-5. So since the third is replaced the sus chord is neither major nor minor. sus4 chords are sometimes refered to as just "sus" chords.

A sus4

D sus4

5 55

examples:

xx`

55 5

E sus4 `

555

Generally, the sus4 chord resolves to a major chord type of the same letter (such as Asus4 - A) However, in modern music that is not alway the case.

& 44 .. Û

D sus4

& 44 .. Û

D sus4

Sus2 Chords

Û Û

A sus4

Û Û

Û A

Û Û

sus2 chords similar to sus4 chords enhance major, minor and dominant seventh chords. The only difference is that you place the 2nd interval in the chord rather than the fourth, giving you the formula 1-2-5.

D sus2

A sus2

examples:

Add9 Chords

x x`

sus2 are not to be confused with add9 chords. Add9 chords simply add the ninth interval (which is the same pitch as the second) to the major triad. So the formula ends up being 1-3-5-9 and sus2 are 1-2-5. Sus2 chords have no 3rds and 9ths do.

D sus2

& 44 .. Û

D sus2

Û J

C add9

55 5

5 5 55

examples:

& 44 .. Û

A add9

Û. D

D sus4

C add9

Guitar Lessons

Û J

A sus2

Û.

.. 65

sus4/sus2/add9 Chord Progressions A 4 & 4 .. Û

sus4

& 44 .. Û Û Û Û Û Û Û Û D sus4

& 44 .. Û

D sus4

C add9

& 44 .. Û

A add9

A sus2

Û Û Û Û Û Û Û Û ..

D sus2

A sus4

.. ..

A add9

D sus4

Slash Chords A slash chord adds a different root than what was in the original triad. It is

written as the original chord than a slash mark with the new root on the right side (or sometimes on the bottom). A typical slash chord looks like this:

A/D

The "A" refers to the triad (chord name) and the "D" refers to the bass note. Here are a few slash chords that you will play on some exercises below.

G/D

G/B

x x` ` `

x ``

5 55 2

G/B

Û Û Û Û

& 44 Û Û Û ‰ Û Û Û ‰ D

& 44 Û

C add9

A/D

G/B

Û Guitar Lessons

A m/E

55 2 3

3 4

& 44 Û Û Û Û C

A/D

x x`

2 3 1

Û Û Û Û

555

G/D

Û Û Û Û ..

Û Û Û ‰ Û Û Û ‰ ..

G/D

A m/E

A/D

Time Of Your Life G

Cxa d d 9

55 55

5 5 55

Green Day

Cxa d d 9

555

55 55

5 5 55

555

≥ ≥v v≥v≥ ≥v v≥v ≥ ≥v v≥v≥ ≥v v≥v ≥ ≥v v≥v≥ ≥v v≥v ≥≥v v≥v≥≥v v≥v . c & . Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ

Intro

Ca d d 9 x

Verse 5 5 5 5

& ‰ Jœ œ œ œ œ

œ œ œ R

A - no ther tur - ning point a So take the pho - to - graphs, and

` ```

5 5 55

D `

fork stuck in the road still frames in your mind.

Chorus

55 55

but

55 55

5 5 55

55 55

hope

le - sson learn in time wo - rth all the while.

œ œ

you had

the

r œ #œ

555

time

It's

œ œ ..

3x's

Cxa d d 9

your life.-

55 55

555

55 55

in the end it's right

Cxa d d 9

` 5` 55

` ```

r œ Œ œr œ œ œ œ œ œ

some - thing un - pre - dict - a-ble,

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œ œ œ œ œ Œ ≈

555

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‰ Jœ œ œ œ . œ œ . œ œ œ œ œ œ ‰ œj

` ```

& œ œ œ œ œ. œ œ G

55 55

test and don't asks wh - y and dead skin on tri - al

` ```

œ œ œ œ œ œ ≈ œ œ œ œ œ œ. &‰ J J ` ```

5 5 55

Time grabs you by the wrist dir - ects you where to go Hang it on a shelf in good health and go - od time.

` 5`

So make the best of this Tat - oos of mem - or - ies

Cxa d d 9

œ œ œ œ Œ ≈ ‰ œ œ œ œ œ œ œ J R

555

55 55

555

5 5 55

555

≥ ≥v v≥v≥ ≥v v≥v ≥ ≥v v≥v≥ ≥v v≥v ≥ ≥v v≥v≥ ≥v v≥v ≥ ≥v v≥v≥ ≥v v≥v & Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ Û ÛÛ ÛÛÛÛ ÛÛ ÛÛÛ G

& œ

œ œ

` ```

55 55

œ.

œ œ

some - thing un - pre - dict

Cxa d d 9

55 55

` ```

a - ble,

5 5 55

55 55

r œ œ œ œ œ œ

but

D `

555

the end

it's right

G ``

55 55

` ```

555

r œ œ œ œ œ œ I

hope

Cxa d d 9 `

5 5 55

you had

the

D `

555

time

r œ #œ œ of

G ``

≥ ≥v v≥v≥≥v v≥v ≥≥vv≥v≥≥vv≥v ≥ ≥ v v ≥ v ≥ ≥ v v ≥ v ≥ ≥ v v ≥ v ≥ ≥ v v ≥ v & Û Û Û Û ÛÛ ÛÛ Û Û ÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û | life.

55 55

Rit.

Guitar Lessons

your -

Free Fallin'

Capo 1st Fret Guitar 1

`` 555

#### 4 . Û . & 4 . E

xxx

#### 4 . Û . & 4 .

555

Guitar 2

E sus4 `

E sus4

555

Û J

| E sus4 xxx

555

Û J

E sus4 xxx

5 55

Û J

5 55

Û J

`` 555

xxx

555

B sus4 5

xxx

Û J

Chorus: And I'm free, free fallin' Yeah I'm free, free fallin'

Verse 1: She's a good girl, loves her mama Loves Jesus and America too She's a good girl, crazy 'bout Elvis Loves horses and her boyfriend too

(backing vocals) Free fallin', now I'm a, free fallin', now I'm a Free fallin', now I'm a, free fallin', now I'm a

Verse 2: It's a long day living in Reseda There's a freeway runnin' through the yard And I'm a bad boy cos I don't even miss her I'm a bad boy for breakin her heart

Verse 4: I wanna glide down over Mulholland I wanna write her name in the sky Gonna free fall out into nothin' Gonna leave this world for a while

Chorus: And I'm free, free fallin' Yeah I'm free, free fallin' Verse 3: All the vampires walkin' through the valley Move west down Ventura Boulevard And all the bad boys are standing in the shadows And the good girls are home with broken hearts

Tom Petty

Guitar Lessons

Chorus And I'm free, free fallin' Yeah I'm free, free fallin' Chorus And I'm free, free fallin' Yeah I'm free, free fallin'

Take a Picture Drop D Tuning:

Richard Patrick (Filter)

(low to High) D-A-D-G-B-E

A sus2 x`

# # 4 . ≥Û . & 4 .

Verse:

5 55

## ≥ . & Û

v ≥ Û Û

A sus2 Chorus:

`` 7fr.

A sus2 x`

555

A sus4

v ≥ ≥ v ≥ ≥ ≥ v ≥ Û Û Û Û Û Û Û Û Û Û.

D sus4 `

D `

555

≥ Û

v ≥ Û Û

D sus4

v ≥ Û Û Û

D sus2 55

`` 12fr.

≥ Û

5 55

v ≥ Û Û

B sus2 55

55 5

≥ Û

A sus2

` x` ``

555

v ≥ Û Û Û

≥ Û

≥ v Û Û

≥ Û

≥ v . Û Û .

≥ v ≥ Û Û Û.

9fr.

555

≥ Û

v ≥ Û Û Û

D sus2 G sus2 55

`` 12fr.

`` 5fr.

# # . ≥Û . vÛ ≥Û ≥Û Û vÛ ≥Û ≥Û ≥Û vÛ ≥Û . vÛ ≥Û ≥Û Û vÛ ≥Û ≥Û ≥Û vÛ ≥Û . Ûv ≥Û ≥Û Û vÛ ≥Û ≥Û ≥Û vÛ ≥Û . vÛ ≥Û ≥Û Û vÛ ≥Û ≥Û ≥Û vÛ . . & . 1 1 3 4

Verse 1 Awake on my airplane Awake on my airplane My skin is bare My skin is theirs Awake on my airplane Awake on my airplane My skin is bare My skin is theirs I feel like a newborn And I feel like a newborn Awake on my airplane Awake on my airplane I feel so real

1 1 3 4

Chorus Could you wanna take my picture? Cuz I won't remember Could you wanna take my picture? Cuz I won't remember Could you wanna take my picture? Cuz I won't remember Could you wanna take my picture? Cuz I won't remember ..yeah

Guitar Lessons

1 1 3 4

Verse 2 I don't believe in I dont believe in In your sanctity You privacy I dont believe in I dont believe in In sanctity A hypocrisy Could everyone agree that No one should be left alone Could everyone agree that they should not be left alone, yeah And I feel like a newborn And I feel like a newborn Kicking and screaming

Jumper F Maj7/C x

C/G

` 55

555

C/G

` 555

Bridge:

C/G

5 55

3 4 2

. .

5 4 5 4 5 7 5 4

12x's

3 4

6 6

5 6 5

4 4 7 5

*Bass & Drums Only First 2 Times, Guitar Solo till Repeated 6 Times Then Strum.

Form: Chorus 5x's Verse Chorus 5x's Verse Chorus 5x's Bridge Chorus 12x's & Fade

Chorus 1 I wish you would step back from that ledge my friend, You could cut ties with all the lies, that you've been living in, And if you do not want to see me again, I would understand. I would understand.

` 5`

555

5 55 5

¨ ÛÛÛÛÛÛÛÛÛÛ Û Û Û Û Û J

3 4 2

5 55 5

3 4 2

C/G ` 5`

555

¨ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û . J . 3 4 2

Verse 1 The angry boy, a bit too insane, Icing over a secret pain. You know you don't belong. You're the first to fight, You're way too loud, You're The flash of light, on a burial shroud. I know something's wrong. Well everyone I know has got a reason, to say, put the past away.

C/G

` `

x` `

3 4 2 1

D add 191/A

` 5` 555

` 555

.. |

3 4

5 555

3 4

5 55

F Maj7/C

x` `

555 3 4 2

` 5`

.. |

5 55

.. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..

T A B

3 4 2

Verse:

x` `

` 5`

3 4 2 1

Chorus:

Third-Eye Blind

Guitar Lessons

3 4 2

Verse 2 And well he's on the table, and he's gone to code. And I do not think anyone knows, What they're doing here. And your friends have left you, You've been dismissed. I never thought it would come to this, and I, I want you to know, Everyone's got to face down the demons. Maybe today, We can put the past away,

Man on the Moon Intro/Verse

D add191/A

C/G

` `

` 5`

5 55 5

555

R.E.M

555

≥ ≥ v v ≥ v ≥ ≥ v v ≥ v ≥ ≥ v v ≥ v ≥ ≥ v v ≥ v . 4 . . &4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û . Pre-Chorus

D/F

555

≥ . & .Û

5 555

≥ Û

D/F

55 55

≥ v Û Û Û

≥ Û

Chorus

55 55

&’ G

’

55 55

&’

` 555

’

D/F

` 5`

’

555

C/G

’

555

’

G/B

’

5 55

Verse 1 Mott the Hoople and the Game of Life. Yeah, yeah, yeah, yeah Andy Kaufman in the wrestling match. Yeah, yeah, yeah, yeah Monopoly, twenty one, checkers, and chess. Yeah, yeah, yeah, yeah Mister Fred Blassie in a breakfast mess. Yeah, yeah, yeah, yeah Let's play Twister, let's play Risk. Yeah, yeah, yeah, yeah See you in heaven if you make the list. Yeah, yeah, yeah, yeah

’

3x's

.. Û

’

55 55

’

555

Û Am

x ``

` 5`

5 555

≥ Û

5 555

’

555

’

D/F

’

5 555 T

’

Pre-Chorus 1 Hey Andy, did you hear about this one? Tell me, are you locked in the punch? Hey Andy, are you goofing on Elvis? Hey baby, are we losing touch?

Verse 2 Moses went walking with the staff of wood. Yeah, yeah, yeah, yeah Newton got beaned by the apple good. Yeah, yeah, yeah, yeah Egypt was troubled by the horrible asp. Yeah, yeah, yeah, yeah Mister Charles Darwin had the gall to ask. Yeah, yeah, yeah, yeah

Chorus 1 If you believed they put a man on the moon, man on the moon If you believe there's nothing up my sleeve,

Verse 3 Here's a little agit for the never-believer. Yeah, yeah, yeah, yeah Here's a little ghost for the offering. Yeah, yeah, yeah, yeah Here's a truck stop instead of Saint Peter's. Yeah, yeah, yeah, yeah Mister Andy Kaufman's gone wrestling. Yeah, yeah, yeah, yeah

then nothing is cool

Guitar Lessons

Song Form Intro Verse 1 (6x's) Pre-Chorus Chorus Verse 2 (4x's) Pre-Chorus Chorus Verse 3 (4x's) Pre-Chorus Chorus (4x's)

Must Get Out Maroon 5

D sus4/F

55 55

Intro/Verse:

& 44 .. ’ ’ ’ ’ G

55 55

Chorus:

G/F

x` `

’ ’ ’ ’

E m7

D/F

5 555

` 5`

` `

55 55

```

E m7

` `

55 55

D/F

55 55

5 555

C add9 x

5 5 55

’ ’ ’ ’ ..

’ ’ ’ ’

C C Maj7 G

E m7

` `

55 55

A m7

C C Maj7 D/F

` ` 5`

` 5`

A m7

` ` 5`

C C Maj7 ` 5`

```

5 555

E m7

` `

55 55

&’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ Verse 1 I've been the needle and the thread Weaving figure eights and circles round your head I try to laugh but cry instead Patiently wait to hear the words you've never said

Verse 2 This is not goodbye she said It is just time for me to rest my head She does not walk she runs instead Down these jagged streets until she's fed

Fumbling through your dresser drawer forgot what I was looking for Try to guide me in the right direction Making use of all this time Keeping everything inside Close my eyes and listen to you crying

When I was Fumbling through your dresser drawer forgot what I was looking for Try to guide me in the right direction Making use of all this time Keeping everything inside Close my eyes and listen to you crying

Chorus I'm lifting you up I'm letting you down I'm dancing til dawn I'm fooling around I'm not giving up I'm making your love This city's made us crazy and we must get out

G/F

x` `

&’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’

Bridge:

5 5 55

Chorus Bridge There's only so much I can do for you After all of the things you put me through

Guitar Lessons

Chorus 3x's

Annie's Song # & # 43 œ

D sus4

’

You

’

fill

’

for - rest,

des

& &

’

come

fill

you, ses

ter, time,

’

love sen

’

gain.

F -

’

’ ’ ’

die in your walk in the

’

al ways sleep y

be blue

’ ’ ’

you, ses,

’

with o -

D/A

’

like the

sleep - y blue

’

D/B

You

’

’ ’ ’

’ D/C

’ ’ ’ ’ ’ ’ ’’’

arms. rain.

you. cean.

D/C

’

come come

’

’ ’ ’

love full

me me

’

Let me Like a

’

’ ’ ’

a - gain. a

Guitar Lessons

D sus4

’

Come

the

’ ’ ’

ses,

’

let

D/A

’ ’ ’

drown in your moun - tains in

’ ’ ’

’

Let me like the

’

storm

D sus4

’

time,

sen

’ ’ ’

laugh spring

’ ’ ’ ’ ’ ’ ’’’

lay down be - side storm in the des

’

fill up my

’ ’ ’ D/B

’ ’ ’ ’ ’ ’

D/B

to you. for - est,

’

’ ’ ’ ’ ’ ’ ’ ’ ’

give my life night in a

’

night

John Denver

’

D/A

’

spring

o - cean.

D sus4

’

moun - tains

D/C

’

gain.

’ ’ ’ ’

’

ses

D sus4

’

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

let me like a

’ ’ ’

’

rain.

’ ’ ’ ’ ’ ’

’ ’ ’ ’’’ ’

’

like a

’

the

ert,

’

love sen

’

D/B

’ ’ ’ ’ ’ ’ ’’’

# G & # .. ’ ’ ’ &

sen

’

walk

’

## E m & ’

’

D/C

’

## E m & ’ ’ ’ ##

’

you, ert,

D/A

’

Come fill

You

’ ’ ’

You

let me like a

’

let up

me my

’ ’ ’ ..

D sus4 fill

|. 73

Piano Man Fast Waltz

& 43 œ

E m/B

’ ’ ’

It's

nine

o - clock on

&’ ’ ’

’

E m/B

old man

C maj7

goes,

&’ ’ ’ ’ ’ ’ Da

sad and

da da

G/F

sweet

’’’ C/E

G 7/D

& ’

Sing and'you've

’

us got

’

a us

’ ’ ’

song

C/G

When

I wore

’ ’ ’

night

.. ’ ’ ’ C

Sing us all in

’

Guitar Lessons

’ ’ ’

song, you're mood for

Well, we're

C/E

not real - ly

sure

’’ ’

young - er man's

D 7/F

the a

feel - in'

how it

’’’

clothes."

’

da da

C/G

’ ’ ’’’

Pia - no Man mel - o - dy

.. ’ ’ ’ G7

’’’

’ ’ ’ ’ ’ ’

’

de de

E m/B

a the

’

gin.

’ ’ ’

A m/G

’’’

ton - ic and

’ ’ ’

’’’ ’ ’ ’

knew it com - plete

to his

I'm

da da

D7 -

love

’ ’ ’ C

’ ’ ’

’’ ’ ’ ’

’ ’ ’

’

C/G

’ ’ ’ ’ ’ ’ ’ ’ ’

C/E

crowd shuf - fles

mem - or - ry?

’ ’ ’

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

and i

D 7/F

de de

play me

’’’

it's

A m/G

’ ’

Mak - in'

E m/B

’ ’’

But it's

next to me

"Son, can you

& ’’’ ’ ’ ’

C/G

’ ’ ’ ’ ’ ’ ’

He say

reg - u - lar

’ ’ ’ ’ ’ ’

C/E

’ ’ ’

The

sit - ting

’ ’ ’ ’ ’

Sat - ur - day

&’ ’ ’ ’ ’ ’ ’ ’ ’ D7

C/G

’ ’ ’ ’ ’ ’

There's an

F/C

’ ’ ’

Billy Joel

al - right.

Guitar Lessons

## 4 & # 4’

Intro:

## & # .. ’ &

###

# m7

’

E/G

5 5 5

’

###

555

’

E/G

` 5`

### . .’ & Bridge: 5 5

’

5 55

’

5 5 55

’

D/F x`

555

’

# m7/E 555

’

5 555

’

D/F x`

’

5 555

’ ’ ’ ’

5 555

` 555

# m7

’

55 5

’

D/F x`

’

5 55 5 T

’

D/F x`

’

5 555

’

’ ’

5 55

E 7sus4 E 7

` ` 5``

` ` ``

’

D/F x`

’

5 55 5 T

(Interlude Verse Solo Section) Chorus 3 Beyond the door there's peace I'm sure And I know there'll be no more tears in heaven...

’

Eric Clapton `

555

’ ``

’

E 55

5``

’

555

’

555

’

` ` 5``

E 7sus4 ` ` ``

555

’

’ ’ ’ ’

’

A/E

555

’

` `

’

A/E

`` 555

’

` ` ``

’

555

’

# 7sus4 # 7 B m7 F xx xx

Chorus 2 I'll find my way through night and day 'Cause I know I just can't stay here in heaven...

Guitar Lessons

555

’ ’ ’ ’

’

55 5

’

Bridge Time can bring you down, Chorus 1 time can bend your knees I must be strong and carry on Time can break your heart, 'Cause I know I don't belong here in heaven... have you begging please...begging please Verse 2 Would you hold my hand if I saw you in heaven? Would you help me stand if I saw you in heaven?

A/E

```

’

` ` 5``

` ` ``

5 55

E 7sus4 E 7

’

`` ` `

# m7

’

555

D/F

A 7/E

’ ’ ’ ’ ’

’

555

# m7

’

3 1 2 1

G/B

Verse 1 Would you know my name if I saw you in heaven? Would it be the same if I saw you in heaven?

’

# m7

5 555

1 4

’

# m7

5 5 55

x ``

’

5 555

C /F

5 5 3

’

Chorus: 5 5 5 5

1 4

## & # ’ ’ ’ ’

# m7

’

1 4

x ``

555

5 5 5

’

E/G

5 5

’

555

Verse: 555 `

E/G

Tears in Heaven

’

555

’

Verse 3 Would you know my name if I saw you in heaven? Would it be the same if I saw you in heaven? Chorus 4 I must be strong and carry on 'Cause I know I don't belong here in heaven...

Slash Chords with Root Strums Exercise 1: This is a very simple way of how slash chords are used with root strum patterns. Try this exercise below as your 3rd and 4th fingers stay on the "1st" and "2nd" strings as you move the root with your index (1) or middle (2) fingers.

G/C

G/A

G/B

x ``

5 55

& 44 .. Û

5 55

x` ` `

55 55

Exercise 2: This is a common chord variation where you'll want to keep your "D" chord shape throughout the exercise and just move your new root with either your pinky or index.

D/C

xx`

x x

555

& 44 .. Û

Û.

x ``

555

Û Û J

D/A

D add4/B

Û.

5 55

Û Û J

x` `

Û.

Û R

555

Û Û J

Û .. J

Û.

Û R

Exercise 3: This one is also a common chord pattern where you'll see in many different songs. You'll use a

different technique where you will bring your thumb up from behind to push down your low "E" string to make it an "F#." But don't make it a habit to keep your thumb up around the neck.

D/F

55 55

5 555

D/F

5 555

` ```

G/B

x ``

` 5`

5 55

555

& 44 .. Û Û Û . Û Û Û Û . Û Û Û Û . Û Û Û Û . Û Û Û Û . Û Û Û Û . Û Û Û Û . Û J J J J J J J T

1 3 2

G/B

55 55

5 55

x ``

` 5`

1 3 2

# D/F D

R R D

` 555

55 55

5 555

& Û Û Û . Û Û Û Û . Û Û Û Û . Û Û Û Û . Û Û Û Û . Û .. | J J J J J T

Guitar Lessons

1 3 2

View From Heaven Yellow Card

# 4 & 4 .. Û #

Û.

Û Û Û Û J U

Û Û Û Û J

G/B

C add9

G/A

Û Û Û

Û.

G/B

C add9

Û.

& Û R

G/A

Û Û Û

Û.

G/B

C add9

Û Û Û Û J U

Û Û Û

C add9

Û Û Û | J U

G/A

Û R

3x's

# & .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G

ˆ G # & .. Û R

G/B

C add9

Û.

Û Û Û Û J

G/A

Û Û Û

Û.

C add9

G/B

Û Û Û Û J U

Û Û Û

G/A

Û R

# & .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G

C add9

& | #

C add9

.. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

C add9

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. .. Û . Û Û Û Œ Û . Û Û Û Œ Û . Û Û Û Œ Û . Û Û Û Œ .. Û . Û Û Û Œ J J J J J †D.õS. aõl Fine¢ # & Û. Û Û Û Û | J D

C add9

.. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

| Em

C add9

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. .. Û . Û Û Û Œ Û . Û Û Û Œ Û . Û Û Û Œ Û . Û Û Û Œ .. J J J J # & Û. Em

Û Û Û Œ J

4x's

Û.

C add9

Û Û Û Û J

Guitar Lessons

Arpeggiated Chord Patterns

To arpeggiate a chord, play its notes one at a time rather than strumming the chord in one continuous stroke. This technique can add variety to your playing because there are many different ways you can arpeggiate a chord. Play these patterns with a flatpick for the moment; we will explore fingerstyle in the future. Make sure to let the notes of each pattern ring out as you play them.

Pattern 1: is based on a "D" chord shape. Notice how your right hand moves from the bottom note of the chord to the top note.

# 4 & # 4 œ

T A B

≥ œ

≥

v œ

≥ œ

≥

. .

v œ

This pattern can be applied to any chord shape by following this principle.

≥

D sus4

≥ œ

v ≥ œ œ

≥

≥ œ 3

v œ

D sus2

≥ œ

≥ œ 3

A/D

v ≥ œ œ

≥ œ

≥ œ 2

v œ 0

. .

ww≥ ww

2 3 2 0

Pattern 2: Is also based on a D chord, but notice how the order and pick pattern has changed.

v œ

≥

# & # œ

≥ œ

v œ

≥

≥ œ

. .

This pattern can also be applied to any chord shape.

≥

D sus4

# & # œ 0

v œ 3

≥ œ 3

œ 2

≥

v œ 2

≥ œ 3

v œ

D sus2 simile...

œ 0

A/D

œ 3

œ 2

Guitar Lessons

œ 0

œ 2

. .

ww ww

2 3 2 0

Arpeggiated Chord Songs

Now lets practice arpeggiating chords, below are some songs from different artist that use arpeggiated chords. R.E.M "Everybody Hurts"

T . A .0 B

. .

1. Repeat 5x's

G 3

.4 .

0 0

D sus2 2

Guitar Lessons

â&#x2030;Ľ

. .

0 2 2 2 0

. .

2 0

0 2

0 0

D/F

. .

Sting "Every Breath You Take"

U2 "Sunday Bloody Sunday" Bm

1. Repeat 2x's

. .

0 0

0 3

0 0

. .

In My Room Capo 2nd Fret

A/F

T A B0

Guitar

ˆA . .0

Bm 2

A/F 2

2 0

D maj7/F 2

0 3

2 2 2 4

0 0 1 2

#m E 2 2 2 4

0 3

Guitar Lessons

. .

E 3

0 0 1 2

D 3

To Coda ı A

#m E

D 1

E 2

F 2

. .

0 0 1 2 2 0

Coda ı

A 0

E 1

A 0

Beach Boys

2 0

†D.õS. aõl Coda¢ 2

Fade Out 81

. .

Stairway To Heaven (Led Zeppelin)

4 4

E5+/G# 5

1 2

FM7 0

Am 0

1 2

0 2

Am7 3 1 0 2

Em/D D 3 1 0 2

3 1 0 2

0 1 0 2

7 8 9 0

x x x

3 5 5

G/B 2

2 3 2 0

2 3 2

3 1 0 2 0

3 1 0 2

2 0

3 1 0 2

Am7

0 0 0 0 2

3 1 0 2 0

x x x x

3 3 3 1 1 1 0 0 0 2 2

x x x x

0 1 0 2

x x x x

3 1 0 2

0 1 2 3 3 1

0 1 2 2 0

x x

x x x x

2 3 2 0

x x x x

2 3 2 0

0 2

5 7 7

3 5 5

0 0 0 0 0 0

G/B 2

D x x x

1 2

2 3 2 0

3 1 0 2 0

5 7 7 0

3 1 0 2 0

3 1 0 2

0 1 0 2

0 1

Em/D 3 1 0 2

3 1 0 2

x x x x

0 1 0 2

x x x x

7 8 9 0

G/B 2

x x x

0 1 0 2

Guitar Lessons

3 3 3 1 1 1 0 0 0 2 2

3 1 0 2

Em/A

7 8 9 0

5 7 7

0 1 0 2

x x 5 x x 7 x x 7

C/D x x 3 x x 5 x x 5

3 3 0 2 0

3 5 5

1 2

2 3 2 0 0

0 0

FM7

0 1 2 3 3 1

0 0 0 0

G/B

2 2 2 3 3 3 2 2 2

G/B 0

2 3 2

Q 221 0

Am7 5 5 7 7 7 7

3 1 0 2

A7sus4 3 1 0 2

3 1 0 2

3 0 2

x x x x

0 1 0 2

x x x x

x 3 x 3 x x 5

G/B

1 0

C 2

0 0

5 7 7

x x 5 x x 7 x x 7 0

H.O.

0 1

C/D D x x x

1 0

A7sus4 D/A

Am 0

3 1 0 2

D/F# 8

3 0 0 2

H.O.

3 1 0 2

G/B Am

3 1 0 2 0

C/G

FM7 2

3 2 2 3 2 0 0

Am 0

P.O.

D/F#

E5+/G#

FM7

C/G

2 2 2 3H.O. 3 3 3 0 2 2 2 2

0 0 0 0

C x x x

1 1 2 2

Am7

FM7 2

Am7

2 3 2 0

x x x

G/B Am G/B Am7

7 8 9 0

0 0

E5+/G#

3 3 0

2 2 2 2 2 3 3 3 3 3 2 2 2 2 2

D/F# 8

G/B Am 0

0 1 0 2

FM7

3 3

0 1 0 2

A7sus4 D

x x

0 1 0 2

P.O.

3 2 2 3 2 0 0

FM7

Em/D 3 1 0 2

A7sus4 D 3 1 0 2

FM7

C/G 7

0 1 2 3

3 3 3 1 1 1 0 0 0 2 2

G/B

0 1 2 3

3 1 0 2 0

Am7

2 2 2 3 3 3 2 2 2

Am7 5 7 7

D x x

C/D

5 7 7

D/F#

0 1

D/F#

FM7 3

1 2

FM7

2 0

0 1 2 3

1 2

Am H.O.

0 0

C/G 7

C/G

7 6

E+5/G#

3 1 0 2 0

C 2

E5+/G# 5

0 0

0 0 0 1 1 1 2 2 2 3 3 3

G/B Am 0

FM7

G/B Am

FM7

FM7 0

D 2

D/F#

0 0

C 0

G/B Am 0 0

C/G

1 2

FM7 0

0 1 2 3 3 1

0 1 2 2 0

G/B 1

2 3 2

0 0

3 1 0 2 0

0 0

Am7 3 1 0 2 0

3 3 3 1 1 1 0 0 0 2 2

3 1 0 2

x x x x

0 1 0 2

x x x x

7 8 9 0

x x x

H.O.

0 1

5 x 7 x 7 x

3 5 5

3 1 0 2

x x x x

0 1 0 2

x x x x

7 8 9 0

G/B 2

3 1 0 2

x x x x

D x x x

x x x x x x

FM7

0 1 2 3 3 1

0 1 2 2 0

2 3 2 0

7 8

x x x x x x

0 1

3 1 0 2

3 3 2 0

Cadd9 2 3 2 0

3 2 0 3

4 4

3 1 0 2

x x x x

0 2

Cadd9 2 3 0

2 2 3 3 0 0

3 3

0 1 0 2

2 3 2 0

x x x x

D 0

0 3 2 0

2 3 2 0

G/B GM7/B 0

5 7 7

3 1 0 2

3 0 0 2

2 3 0 0 2

0 2

x x x x

2 3 0 0 2

x 3 x 3 x x 5

x x

2 3 2 0

FM7

0 1 2 3 3 1

0 1 2 2 0

3 1 0 2 0

2 3 2

3 1 0 2

0 3 2 0

Am 0 1 2 2 0

2 3 2 0

3 4

3 3 2 0

3 3 0 0 2 3

3 3 2 0

G 0 1 2 2 0

0 1 2 2 0

3 3 0 0 2 3

x x x x

3 3

x x

0 1 2 3 3 1

0 1 2 2 0

x x x x

Am7

0 0 0 0 2

3 1 0 2 0

x x x x

0 1 0 2

3 1 0 2

x x x x

3 3

x x

2 3 2

1 1 2 3 3 1

2 3 2

x x

3 3

0 0 2

0 0

2 3 2 0

1 1 2 3 3 1

2 2 2 2 2 3 3 3 3 3 2 2 2 2 2

3 1 0 2

x x x x

0 1 0 2

x x x x

0 0 0 0

7 8 9 0

x x x

5 7 7

x x x

3 5 5

x x x

H.O.

0 1

Cadd9

4 4

3 0 2 3

1 1 2 3 3 1

3 0 2 3

1 1 2 3 3 1

5 7 7 0

1 2

2 3 2 0

3 0 2 3

5 4

3 0 2 3

1 1 2 3 3 1

3 0 2 3

16x

3 0 2 3

3 0 2

3 0 2 3

Am 0 1 2 2 0

3 0 2 3

0 3 2 0

2 3 2 0

G 0 1 2 2 0

0 1 2 2 0

3 3 0 0 2 3

1 1 2 3 3 1

Guitar Lessons

0 1 0 2

G/B

3 3 3 1 1 1 0 0 0 2 2

F 3 3 0 0 2 3

2 3 2

F 1 1 2 3 3 1

x x x x

2 3 2 0

x x

G/B 2

3 1 0 2

Em 2 2 2 3 3 3 2 2 2

Dsus4D

3 3 2 0

3 1 0 2

A7sus4

3 1 0 2

A7sus4 D

3 3 2 0

2 3 2 0

x x x x

FM7 0

Dsus4 D Dsus4 D 0 3 2 0

x 0 x 1 x 0 x 2

x x x x

Am7

3 1 0 2 0

G/B

Am7

A7sus4 D

3 1 0 2

G/B

G/B 1

A7sus4 D

3 1 0 2

5 7 7

0 1 2 2 0

G/B

Am7

5 7 7 0

Am7 5 5 7 7 7 7

x x x x x x

FM7 0 1 2 3 3 1

0 1 2 2 0

3 5 5

H.O.

3 3 2 0

0 3 2 0

5 7 7

0 1 2 3 3 1

FM7

7 8 9 0

x x 5 x x 7 x x 7 0

Dsus4

3 3 2 0

2 3 2 0

x x x x

x x 3 x x 5 x x 5

Dsus4 D Dsus4 D 0 3 2 0

x x x x

G/B

0 1

G/B

x x 5 x x 7 x x 7

0 1 0 2

5 7 7 0

H.O.

G/B 2

4 4

3 1 0 2

Am7

3 1 0 2

3 1 0 2 0

G/B

3 1 0 2

Am7

2 3 2 0

0 1 0

D x x

H.O.

3 3 0 0 2 3

3 3

Nothing Else Matters (Metallica)

Intro:

6 8

Am 0

0 5 5

0 5 5 5 5

0 7 7

0 0

7 0

8 0

H.O.

8 5

3 8

P.O.

7 0

5 3 2

P.O.

6 8

5 0

P.O.

= = 12 = 12

H.O.

2 0

EmN.H. N.H. N.H.

H.O.P.O.

7 0 0 0

D P.O.

3 0

P.O.

G/B C 0

7 8

Verse:

C 7

7 7

5 5

0 3 2

3 3

0 3 2

3 2

D 0

0 0

2 0 2

3 2

B7 3 3

P.O.

2 0

D 3

D 0

3 2

4 2

3 4

5 5

P.O.

2 0

7 7

2 0 2

B7 0

7 8

D 0

3 2

D 3

Em 0

5 5

7 7

7 8

P.O.

2 0

3 2

Chorus:

D 0

2 0

G 3

B7 3 3

2 0 2

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

2 3 2 0

3 3 2 0

2 3 2 0

0 3 2 0

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

C A 2 3 2 0

2 3 2 0

3 3 2 0

2 3 2 0

0 3 2 0

2 3 2 0

0 1 0 2 3

3 8

2 2 2 0

2 3 2 0

Verse:

6 8

Em 0

D 0

3 2

2 0

3 2

2 0

P.O.

2 0

0 3 2

2 0

3 3

2 0 2

Em 0

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

2 3 2 0

0 0

12 0

2 3 2 0

3 3 2 0

2 3 2 0

0 3 2 0

2 3 2 0

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

C 5

8 5

5 0

Interlude:

Am 0

0 0

Chorus:

0 5 3

C A 2 3 2 0

2 3 2 0

3 3 2 0

2 3 2 0

D 1

0 0

Guitar Lessons

0 0

0 3 2 0

2 3 2 0

0 1 0 2 3

2 2 2 0

3 8

2 3 2 0

Em 2 3 2 0

2 3 2 0

6 8

Em 3

0 2

0 7

7 0 0

0 0

Verse:

Am 15

D 0

3 2

P.O.

2 0

0 3 2

P.O.

2 0

D 0

3 2

2 0 2

0 0

B7 3 3

0 3 2

7 0

0 7

D 3

Em 0

0 3 2

C 3

2 0

Chorus:

B7 3 3

2 0 2

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

2 3 2 0

3 3 2 0

2 3 2 0

0 3 2 0

2 3 2 0

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

2 3 2 0

3 3 2 0

2 3 2 0

0 3 2 0

2 3 2 0

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

2 3 2 0

3 3 2 0

2 3 2 0

0 3 2 0

2 3 2 0

C A

0 1 0 2 3

2 3 2 0

2 2 2 0

2 3 2 0

3 3 2 0

2 3 2 0

0 3 2 0

2 3 2 0

Solo

C A

0 1 0 2 3

2 3 2 0

3 8

2 2 2 0

Em 2 3 2 0

2 3 2 0

6 8

E5 0

D5 9 9 2 7 7

2 2 0

9 9 7

7 7 5

C5 7 7 5

5 5 3

9 9 2 7 7

2 2 0

3 2

D5 9 9 7

7 7 5

5 5 3

9 9 2 7 7

2 2 0

3 2

D5 9 9 7

7 7 5

C5 7 7 5

G5 B5

5 5 3

4 4 2

5 5 3

Verse:

D 0

2 2 0

0 0

2 0

3 2

0 0

P.O.

2 0

Em 3

D 0

0 3 2

0 0

Outro

B7 3 3

0 3

2 0 2

P.O.

7 0

8 0

H.O. P.O.

8 7 5

3 8

7 0

3 0

6 8

0 0

Em P.O.

7 0

6 8

7 0

8 0

0 0 0

H.O. P.O.

8 7 5

3 8

7 0

5 3 0

6 8

0 0 0

P.O.

7 0 0

0 0

7 0

8 0

H.O. P.O.

8 7 5

3 8

Guitar Lessons

7 0

5 3 0

Guitar Pick Patterns Pick patterns are a way to make any song arpeggiated. You simply learn the pattern and apply it to the song. Practice these patterns below and memorize the pattern that they use, then apply it to the songs on the upcoming pages. You can also try to use these patterns on some past songs or a song of your own. Try coming up with your own patterns and apply it to a song. Pick Pattern #1

. .

3 0

0 1

3 0

C 0

3 0

0 1

0 0

0 1

D 0

1 2

Guitar Lessons

2 3

2 2

. . . . . .

2 3

0 1

D 0

Pick Pattern #5

. .

Pick Pattern #4

. .

Pick Pattern #3

. .

Pick Pattern #2

. .

. . . .

G 3 0 0 0 2 3

Let It Be

Pick Pattern #1

& &

# #

```

55 5

œ œ œ ˙ to me.

D `

œ œ œ œ my hour of

D `

Find

œ œ œ œ

When I

` 5`

Speak - ing

dark - nes she

` 5`

dom

Let it

be.

# w be,

whisp - er

words

times

œ œ œ

Œ œ œ œ œ

trou - ble

Moth - er Ma - ry

` 5`

```

55 5

555

œ œ œ œ œ œ œ œ œœ ˙

of wis

dom,

œ œ œ œ

stand - ing right in

```

` ```

55 5

œ œ

Let it

```

55 5

555

` ```

555

` ```

words

# œ œ œ œ œ œ œ œœ ˙ &

my - self

œ œ œ œ

555

55 5

œ œ

come

```

# & c Œ Ó

Lennon & McCartney

be,

let it

be.

` 5`

55 5

front of me,

Speak - ing

œ œ œ ˙ D `

555

œ œœ C

be,

` 5`

555

2. And when the broken hearted people living in the world agree, There will be an answer, let it be For though they may be parted, there is still a chance that they will see There will be an answer, let it be.

dom,

let it

And

```

let it

œ œ œ œ œ œ

be.

words of wis -

` 5`

œ œ œœœ œ œœ

let

œ œ œ œ œ œ œ œ œ œ œ ˙

of wis

˙.

let it

```

55 5

3. And when the night is cloudy There is still a light that shines on me Shine on 'till tomorrow, let it be I wake up to the sound of music Mother Mary comes to me Speaking words of wisdom, let it be.

Guitar Lessons

Scarborough Fair

Pick Pattern #2

& 43

555

Are

D `

```

you

going

j œ. œ œ

Scar - bor - ough

and

˙.

Thyme.

˙.

She

` 5`

˙.

Fair?

once

was

œ œ

Par - sley

true

love

3. Tell her to find me an acre of land Parsley, sage, rosemary, and thyme. Between the salt water and the sea strand Then she'll be a true love of mine. 4. Tell her to reap it with a sickle of leather Parsley, sage, rosemary, and thyme And gather it up in a bunch of heather Then she'll be a true love of mine. Guitar Lessons

˙.

one who lives

there.

555

˙.

mine.

sage,

55 5

œ œ œ `

```

555

2. Tell her to make me a cambric shirt Parsley, sage, rosemary, and thyme. Without no seams or needle work Then she'll be a true love of mine.

` 5`

```

55 5

` 555

555

Re - mem - ber

55 5

555

ma - ry

& œ #œ œ

Simon & Garfunkel

Rose -

Edelweiss From The Sound of Music

Pick Pattern #3

# 3 & 4

```

55 5

555

del - weiss,

Small

and

555

55 5

white,

clean

and

555

55 5

œ œ œ

˙.

555

for - ev

bless

```

55 5

555

and

˙.

bloom

55 5

del - weiss,

ha - ppy

grow,

œ œ œ ` 5` 5 5

```

555

del

` 5` 5 5

˙.

weiss,

```

home - land

for

55 5

Guitar Lessons

˙. e

˙.

```

55 5

555

look

```

bloom

555

you

snow may you

bright,

Blos - som of

```

˙.

me.

greet

ev - ery

meet `

mor - ning you

˙.

œ œ œ

œ . œj œ

˙.

` 5`

˙.

weiss

```

55 5

del

```

˙.

55 5

˙.

` ```

55 5

˙.

```

555

` 5`

55 5

grow

```

˙.

me.

˙.

ver.

and

Imagine

Pick Pattern 4

# & c ‰œ œ œ œ œ 55 5

# & Œ

55 5

hea - ven,

hell

‰

œ œ ˙.

low

us,

A m7

D `

# ‰ & œ œ œ œ œ œ œ œ œœ ˙ #

` 5`

the peo

D `

555

` 5`

You may say

D `

I'm

# ‰ & œ œ œ œ œ œ 55

ple,

```

& œ œ œ œ œ œ

55 5

I hope some - day

you'll

It's easy if

you

try

```

55 5

` 5`

œ œ œ œ œ

a - bove us on - ly

sky

D7 `

555

Liv - ing

555

œ œ œ œœ

555 5

` 5`

555 5 `

œ œ œ ˙

` 5`

join us.

for - to - day `

555 5

55 5

but I'm not the on - ly

one.

œ œ œ œ œ œ D `

```

55 5

555

œ œ œ œœœ œ œ œ œ ˙

And the world

wil

a-a

```

555

3. Imagine no possessions, I wonder if you can. No need for greed or hunger, a brotherhood of man. Imagine all the people, sharing all the world, you-oo Guitar Lessons

A - ha

2. Imagine there's no countries, It isn't hard to do Nothing to kill or die for, and no religion too. Imagine all the people, living life in peace, Ah-a-a-a.

œ œ œ œ œ œ ˙

œ œ œ ˙

dream- er,

555

œ œ œœ œ

55 5

Im - a - gine all

```

` ` 5`

` ```

‰

` 5`

55 5

œ œ œ ˙

```

Im - a - gine there's no

` 5`

```

John Lennon

be as one.

Hammer-On/Pull-Off/Slide Exercises Hammer-On's: A hammer-on is produced by first playing the grace note and then striking the string hard enough with your fretting hand finger to produce a sound at the fret desired. It takes some practice, but the results are well worth the effort.

T A B

0 0

0 0 0 0

0 3 2 0

1 2

5 0

0 10 12

2 2 2

0 0 0

0 10 12

0 12

Pull-Off's: Pull-Off's do just the opposite of Hammer-on's, as you take off a finger (pull off) from the desired fret. You get this sound by actually plucking the string with your fretting hand as you pull off the string. 2

2 0

12 0 10 0

9 0

1 2

2 3 2 0

0 0

2 4

16 12 5 5

14 12

16 12 12 12

Hammer On's and Pull Off's:

Now try putting the two together to add a more stylistic sound. 0

7 2

9 7

9 7 10 12 10

10 12 10

Slides:

Slides are a sound that you get when playing one note then sliding with your finger up the fret board to the next desired note. The difficult part about this is stopping exactly at the fret that you desire. Try the exercises below. 2

7 5

Guitar Lessons

2 5

7 5

8 10

Hammer-On/Pull-Off/Slide Exercises

H.O./P.O./Slides:

Now try putting all the styles together with a few popular songs that use all these techniques.

"Iron Man" -Black Sabbath

4 . 4 .

. .

"Christmas Song" -Dave Matthews

. .

7 5

7 4

7 5

7 4

5 2

. .

5 2

"Back In Black" -AC/DC

4 . 4 .

2 2 0

2 2 2 0

3 3 2 2 0 0

3 2 0

2 2 2 0

3 0

2 2 2 0

3 0

. .

2 0

"Celtic Song" -Jake White

3 . 4 .

0 0

Guitar Lessons

0 0

. .

0 0 1 0

~~~

The Joker (In the Key of "E") Intro/Verse

T . A . B 0

Steve Miller Band

Chorus

. .

.. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û E

Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..

Û Û Û Û Û Û Û Û

Û Û Û Û Û Û Û Û †D.õC. aõl Fine¢

Verse 1 Some people call me the space cowboy, yeah Some call me the gangster of love Some people call me Maurice Cause I speak of the pompitous of love People talk about me, baby Say I'm doin' you wrong, doin' you wrong Well, don't you worry baby Don't worry Cause I'm right here, right here, right here, right here at home

Chorus Cause I'm a picker I'm a grinner I'm a lover And I'm a sinner I play my music in the sun I'm a joker I'm a smoker I'm a midnight toker (1st Gettin my lovin on the run) (2nd Sure don't want to hurt no one)

Guitar Lessons

Verse 2 You're the cutest thing That I ever did see I really love your peaches Want to shake your tree Lovey-dovey, lovey-dovey, lovey-dovey all the time Ooo-eee baby, I'll sure show you a good time Verse 3 People keep talking about me baby They say I'm doin' you wrong Well don't you worry, don't worry, no don't worry mama Cause I'm right here at home (Repeat Verse 2)

Dave Matthews Band

Dave Matthews is known for his great guitar riffs, in those riffs he uses many techniques and styles which include hammer-ons, pull-offs, and slides. Below are four songs that use this type of style. Try playing these riffs while watching the rhythms carefully, playing Dave Matthews is not a task easily accomplished, so stick with it. Sometimes you need to listen to the riffs to feel the rhythm.

"What Would You Say"

T4 . A4 . B 3

3 2

5 4

2 2 2

¿¿ 0 0

2 2 2

≈

2 2 2

~~~

. .

"Ants Marching"

.. . .. .

¿¿ ¿¿

2 3 2 0

¿¿ ¿¿

.. .. ..

¿¿ ¿¿

3 0 0 0 2 3

¿¿ ¿¿

"Jimi Thing"

‰

7 9

. . 9 11 0.

9 11

¿¿ ¿

9 11 0

¿¿ ¿

2 2 0

‰

6 7 7

≈

¿¿

. .

"So Much to Say"

¿¿ . ¿¿ ¿¿ 555 . 5

7 0 7

¿¿

¿¿ ¿¿ ¿¿

5 5 5

7 0 7

¿¿

¿¿ ¿¿ 5 ¿ ¿ 55

Guitar Lessons

7 1

5 10

¿¿ ¿¿ ¿¿ ¿¿ 10 7

¿¿ ¿¿ ¿¿ ¿¿

√ . 7 .

Harm.

Taylor

ã76

T4 A 4 1 3. B

Intro:

¿¿ ¿ ¿ ¿ ¿¿

0 3 0

0 1 0

1 1 3 3 Tri-pl-et

0 3 0

Tri-pl - et

¿¿ ¿ ¿

1 0 2 3

Jack Johnson

2 0 0 Tri-pl-et

1 1 1 3 3 1 3 3 Tri-pl-et Tri-pl-et

0 5

0 3 0

0 5

0 1 0

1 1

¿¿ ¿ ¿ ¿ ¿¿ 1 2 3 1 0 2

> r> ¿¿

. ¿¿ ¿ ¿ ¿

2 3

3 3 5 5 3 0 2 0 0 0

3 1

1 3 1

1 0

Tri-pl-et

¿¿

4 4 4 2 2 2

3 0 0 0

¿¿2 0

0 0 0

U 0 1 2 3 3

1 0 0

Tri-ple- et

Verse:

C 5/B

.Û Û Û Û ¿ ¿ ¿ ¿ Û Û Û Û ¿ ¿ ¿ ¿ Û Û Û Û ¿ ¿ ¿ ¿ Û Û Û Û ¿ ¿ ¿ ¿ . . . Chorus:

. .’

’

F maj 7

’

3x's

’

. . ’

Guitar Lessons

’

# 4 & 4 T A B

œœ œ

j œ

0 1 2

œœ œ

3 3 0

# A œœ œ œj œ œœœ & œ

œœ œ 3 3 0

3 3 0

Hammer-Ons with Chords œ

3 3 0

œœ œ

0 1 02

0 1 2 0

Guitar Lessons

j œ

3 3 0

0 1 2

œœ œœœ j œ œ jœ œ 02

œœ œ

0 1 02

œœ œ

3 3 0

œœœ œœœ jœ œ œ

0 1 2

3 3 0

œœ œœœ j œ œ jœ œ

j œ

œœ œ

3 3 0

œœ œ œ œj œ œœ œ

0 1 0

0 1 2 3

0 1 0

j œ

œœ

0 1

œœ

œœ œœ & œj œ œ œ œ 02

# .Em & . œ

. .

œœ œ

j œ

# œœœ j œœœ œ œ œ 0

0 2 2

œœ œœ œ œ

j œ

œœ œœ œ œ

œœ œœ œ œ œ

œœ œ

j œ

œœ œœ œ œ

œ œ

2 0 2

œœ œ

œœ œœ œ œ

ww www

. .

2 3 2

0 0 0

œœ œ

j œ

œœ

2 3

œœ œ

œœ

0 0 0

Variation-Double Strumming

0 2 2

j œ

3 3 0

2 0 2

2 3 2

œœ œ

2 0 2

œœ œ

3 3 0

œœ œœ œ j œ #œ

j œ

. .

0 0 0

# œœœ j œœœ œ œ œ

0 2 2

2 3 2

œœ œ

œ œ

2 3 2

j œ

0 2 2

œœ œ

0 0 0

œœ œ œ

œœ œ

2 3 2

œœ œ

0 1 0

œœ œ

2 3

œœ œ œ œj œ œœ œ 0 1 0

œœ

3 3 0

j œ

2 3 2

3 3 0

œœ œ

0 1

Hammer-Ons with Chords

3 3 0 0 2 3

œœ œœ œ œ

œœ œœ œ œ œ

In this section you will do the same as before, but you will now strum twice (down-up) after hitting each root.

œ 3

3 3 0

j œ

3 3 0

3 3 0 02

3 3 0

j œ

3 3 0

œ 3

Guitar Lessons

3 3 0

j œ

3 3 0

3 3 0 02

3 3 0

j œ

3 3 0

etc.

3 3 0

Hammer-On Lick Rythym Guitar

& 44 |

‰ Û

0 0 1 2 2 0

T A B

Û | J

0 0 1 2 2 0

0 2 2 2 0

0 0 1 2 2 0

œ #œ w # œ # œ œ & .. # œ œ # œ

Lead Guitar

. .

‰ Û.

Û.

0 0 1 2 2 0

2 4 4 4 2

0 2 2 2 0

Û | J

. .

0 2 2 2 0

œ #œ #œ œ œ œ œ œ # œ œ œ œ # œ œ # œ œ .. 12 0

Guitar Lessons

. .

Sweet Home Alabama

ã 98 Intro:

T4 A4 B

Lynyrd Skynyrd

3 0

. .7

j 9

3 0

3 0 2

.. .

3 0 0

. .

j 0

7 7

. .

0 0

j 7 7

*Alternate endings

3 0

*Alternate Riff Ending 2

Interlude:

j 0

3 0

3 0 0

j 0

Cadd9

¿¿ ¿

*Alternate Riff Ending 1

3 2

Cadd9

Verse/Chorus:

. .0

3 0

Cadd9

j 9

5 5

Guitar Lessons

. 3 ~~~

. .

Power Chords The power chord is one of the most common guitar sounds found in today's rock music. Power chords are used extensively in heavy metal, alternative rock and other rock styles. They are two- or three-note movable forms and are movable because they have no open strings and the fingered notes can move as a unit up or down the fingerboard. Since there is no 3rd, they are neither major nor minor and can be used in either situation. The root of a power chord is always played by the 1st finger on either the 6th string (Root 6) or 5 string (Root 5).

Root 6

xxx x

1 3 4

Root 5

1 3 4

A power chord takes its name from the root note being played by the first finger. For instance, if the 1st finger is on the note C, the Power Chord is called "C5." They are sometimes called 5th Chords or no 3rd Chords (C no 3rd).

100

6-String Root Chords

5-String Root Chords

F5 F#5/Gb5 G5 G#5/Ab5 A5 A#5/Bb5 B5 C5 C#5/Db5 D5 D#5/Eb5 E5

A#5/Bb5 B5 C5 C#5/Db5 D5 D#5/Eb5 E5 F5 F#5/Gb5 G5 G#5/Ab5 A5

| | | | | | | | | | | |

1ST 2ND 3RD 4TH 5TH 6TH 7TH 8TH 9TH 10TH 11TH 12TH

| | | | | | | | | | | |

Guitar Lessons

1ST 2ND 3RD 4TH 5TH 6TH 7TH 8TH 9TH 10TH 11TH 12TH

Here are how power chords are spelled out: 1 - 5 or 1 - 5 - 8 (1)

Example:

Power Chord Examples

Practice strumming these exercises below. Pay attention to which root and fret you are to play them on, it is listed below each chord.

B 4 . &4 . Û Û Œ 5

Root>6 Fret>7

Û Û Œ

4 & 4 .. Û Û Û Û Û Û Û Û Root>6 Fret>8

Root>5 Fret>10

F5 Root>5 Fret>8

C5 Root>5 Fret>3

A5 Root>6 Fret>5

D5 Root>5 Fret>5

B5 Root>6 Fret>7

Û Û Û Û Û Û Û Û ..

Root>6 Fret>5

& 44 .. Û

G 4 . &4 . Û

Root>6 Fret>3

Root>5 Fret>7

Root>6 Fret>5

Root>6 Fret>3

Û Û Œ

G 4 . &4 . Û

Û Û Œ

Root>5 Fret>6

Guitar Lessons

Root>5 Fret>8

C5 Root>6 Fret>8

101

Power Chord Progressions

Here are some more progressions to practice power chords. These exercises are focused more on paying attention to rhythms while switching power chords, watch and count carefully.

xxx

& 44 .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ .. | 55

1 3 4

A5 55

xxx

5fr.

1 3 4

G5 5fr.

xxx

A5 55

xxx

5fr.

& 44 .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ .. | 1 3 4

A5 55

1 3 4

xxx

5fr.

xxx

& 44 .. Û Û ‰ Û Û Û ‰ Û Û Û ‰ | 1 3 4

1 3 4

G5 7fr.

xxx

A5 55

xxx

1 3 4

5fr.

Û ÛÛ‰ÛÛÛ‰Û Û Û ‰ | J 1 3 4

1 3 4

A5 55

xxx

5fr.

1 3 4

7fr.

A5 55

xxx

Û .. | J 1 3 4

5fr.

& 44 .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. | 1 3 4

102

1 3 4

Guitar Lessons

1 3 4

5fr.

Power Chord Riffs Nirvana "Smells Like Teen Spirit"

T4 . A4 . B

3 3 1

¿¿ ¿¿

3 3 1

Green Day "When I Come Around"

. . 44 2

4 4 2

3 3 1

¿¿ ¿¿

3 3 1

6 6 4

¿¿ ¿¿

6 6 4

. ¿¿ ¿¿ .

6 6 4

8 8 6

4 4 2

12 12

4 4 2

6 6 4

. .

Cream "Sunshine of Your Love"

. . 12 10 >

12 10

‰

10 8

12 10

‰

~~~

12 10

. .

Black Sabbath "Iron Man"

. .

2 0

5 3

7 5

C5 B5 C5 B5 C5

7 5

10 8

9 7

10 8

Guitar Lessons

9 7

10 8

5 3

7 5

. .

7 5

103

Green Day "Brain Stew"

≥ ≥ 4 . &4 .Û Û Œ A5

≥ ≥ Û Û Œ

"Longview"

.. 6

Ó B

8 6 5

6 5

8 6

4 8 6

8 6 5 6

≥ ≥ Û Û Œ

Ó b5

.. .. ’ ’ ’ ’ ’ ’ ’ ’ .. .. Û Œ Ó Chorus:

Verse:

≥ ≥ Û Û Œ

Û Œ Ó

Bridge:

Queen "We Are the Champions"

& 46 .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ | . C5

& |.

4x's

Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

& Û Û Û Û Û Û Û Û Û Û Û Û |. B

A5 G5 F

G5 A5

Û Û Û Û Û Û Û Û Û Û Û Û

&Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û B

8 8 6

&Û

104

8 8 6

. Û

Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

Guitar Lessons

4 & b 4 .. Û Û Œ

Intro:

T A B Riff:

. . 44

. .

Û Û Œ

Û Û Œ 2

. .0

2 2 2 0

D/A >

5 4 6 0

3 2 4 0

2 2 2 0

. .

Chorus: # F 5

& b .. Û Û Û Û Û Û Û Û A5

. .

7 7 5

2 2 0

4 4 4 4 2 0 2

Solo:

2 4

2 2 4 2 0

2 2 0

&b ÛÛÛŒ ÛÛÛ ÛÛÛÛ ÛÛ J J J J F

2 2 0

7 7 5

4 4 2

2 4

7 7 5

. 11 . 119

11 11 11 11 11 9 9 11 11 11 11 11 9 9 9 9 9 9 9 7 7

7 7 5

7 7 7 7 5 5

7 7 5

7 7 6 6 7 7 6 6 5 5 4 4

9 9 7

7 7 5

. .

Û Û Û Û Û Û Û Û ..

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2

7 7 5

A5 A

4 4 4 4 4 4 4 4 7 7 6 6 2 2 2 2 7 7 6 6 5 5 4 4

Guitar Lessons

9 9 7

Û ‰ Û Û Û Û Û Û Û .. J

7 7 5

9 9 7

2nd Time to Intro then Solo->

9 9 7

. .

1st Time Back to Verse->

& b .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. F

. .

ÛÛÛÛÛÛÛÛ

4 4 2

2 2 0

ÛÛÛ‰ Œ Û‰ Û Û Û Û Û Û Û Û J

Ozzy

Û Û Û Û Û Û Û Û

4 4 2

0 1.

Û Û Û Û Û Û Û

7 7 5

. . . . 44

Û Û Œ

10x's > . Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. .. Û Û Û ‰ Œ b . & J

Verse:

E/A >

Û Û Œ 7 7 5

.. Û Û Œ

3x's

4 4 2

Û Û Œ

2 2 0

Û Û Œ

7 7 5

Û Û Œ

4 4 2

& b .. Û Û Œ F

Crazy Train

4x's

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2

. .

Back to Riff/Verse/ Chorus & End with Intro (fine)->

105

Palm Muting Palm muting is a special technique to mute the strings half way to still hear the tone of the designated note being played. You do this by resting the side of your palm on the strings with your strumming hand toward the bridge of the guitar while strumming. You get a half-muted sound. Very popular in 80's rock. Try these exercises below: Em

. .

4567-

. . . .

P.M.

C 0

106

2 0

0 3

P.M.

7 7 5

‹‹ ‹

7 7 5

‹‹ ‹

7 7 5

P.M. 0 5

0 5

0 4

0 5

0 2

0 0

0 5

0 4

0 5

0 0

P.M.

. .5

G 2 3

D/F 2 3

P.M.

‹‹ ‹‹ ‹‹ ‹‹

0 2

Em 0 2

‹‹ ‹‹ ‹‹ ‹‹ Guitar Lessons

2 2 0

C 2 2 0

‹‹ ‹‹ ‹‹ ‹‹

0 2 3

. .

. . . . . .

. .

‹‹ ‹

9 9 7

‹‹ ‹

P.M. A5

P.M.

. 05 .

. .

P.M.

. . . .

. ‹‹ ‹‹ ‹‹ ‹‹ .

Basketcase b5

Green Day

> > > > > > > > > > > > > > 4 . Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ Û Û Û Û Û Û Û Û Û Û . &4 E

P.M.

> > > > > > > > > > > > > > > & Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. A

> > > > > Û Û Û Û Û Û Û Û Û Û ÛÛÛ | Û Û Û & A

> > > > > ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ

& .. Û . Û Û . Û Û . Û Û . Û .. Û . Û Û . Û Û . Û Û . ‰ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û J J J J J J J B

†D.õC. aõl Fine¢

& ÛÛÛÛÛÛÛÛ Û Œ Ó b5

C G > > > > > > .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û >Û Û Û >Û Û Û Û >Û Û E

> > > > > > > > > > > > > > > & Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û A

> > > > > > > > > > & Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û | E

3x's > > > > > > > > > & Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..

> > > > > Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û | Û Û Û Û & E

Guitar Lessons

107

Nirvana "Lithium" Intro/Verse

T . A . B 0

P.M.

Chorus

6 6

¿¿

7 7 5

5 5 3

7 7 5

5 5 3

7 7 5

4 4 2

4 4 7 4 4 7 2 2 5

7 7 5

. .

.. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. E5

Intro/Chorus

Û Û Û Û Û Û J J

5 5` 4fr. 55

’

108

A dd9

’

5 5`` 5fr. 55

’

Û Û Û Û J E5

5 5` 4fr. 55

’

A xx

’

"Lake of Fire"

Û Û Û Û Û Û J J

C x

’

.. Û Û J F

Verse

C x

5 5 55

’

Û Û Û Û Û Û J J

C x

4fr.

Û Û J

5 5` 4fr. 55

’

Guitar Lessons

’

Û Û Û ÛÛ J B5

5 x B ``

’

Û Û Û Û Û Û .. J J E5

A dd9

5 5`` 5fr. 55

’

C x

’

5 5` 4fr. 55

’

Walk 1,000 Miles #### 4 E & 4 ’ ’ ’ ’ ’’’’ ’ ’ ’ ’ ’ ’ ’ ’

Intro:

Verse/Chorus 2:

A B E #### . E . ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. &

Chorus 1:

A B #### . E . & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

Alternate Verse:

####

’’’’ ’’’’ ’’’’ ’’’ ’ #

#### F m & |

42 |

44 E’ ’ ’ ’ ’ ’ ’ ’

Verse 1: When I wake up well I know I'm gonna be I'm gonna be the man who wakes up next to you When I go out yeah I know I'm gonna be I'm gonna be the man who goes along with you If I get drunk well I know I'm gonna be I'm gonna be the man who gets drunk next to you And if I haver yeah I know I'm gonna be I'm gonna be the man who's havering to you

The Pretenders

Verse 2: When I'm working yes I know I'm gonna be I'm gonna be the man who's working hard for you And when the money comes in for the work I'll do I'll pass almost every penny on to you When I come home oh I know I'm gonna be I'm gonna be the man who comes back home to you And if I grow old well I know I'm gonna be I'm gonna be the man who's growing old with you Chorus 1 Chorus 2: da da da (da da da) da da da (da da da) da da da dum da da dum da da dum da da da da da (da da da) da da da (da da da) da da da dum da da dum da da dum da da Verse 3: When I'm lonely well I know I'm gonna be I'm gonna be the man who's lonely without you And when I'm dreaming well I know I'm gonna dream I'm gonna dream about the time when I'm with you When I go out well I know I'm gonna be I'm gonna be the man who goes along with you Alternate Verse: And when I come home yes I know I'm gonna be I'm gonna be the man who comes back home to you I'm gonna be the man who's coming home with you Chorus 1 Chorus 2

Chorus 1: But I would wa lk 500 miles And I would walk 500 more Just to be the man who walked a 1000 miles To fall down at your door

Chorus 2 Chorus 1

Guitar Lessons

109

Barre Chords Barre Chords or moveable chords allow you to transfer a common shape up and down the fretboard. The location of the shape's root note on the fretboard determines the chord's letter name. First try barring your finger across all six strings like the picture below.

555555 1 1 1 1 1 1

Barre Chords take an open chord shape and shifts all notes up the fretboard by barring the open strings with our first finger. As you can see below, the "E Major" chord, which is an open chord, is shifted up one fret making the new chord "F Major" and F# and so on as you move up the fretboard.

555

5 555 55

2 3 1

1 3 4 2 1 1

5 5 55 55

1 3 4 2 1 1

The "Open A" chord also makes a barre chord by shifting all notes, like the last example, up the fretboard. See how the "A" becomes an "A#" and "B."

A x`

555 1 2 3

110

A x

5 5 555 1 3 3 3 1

Guitar Lessons

B x

5 5 555 1 3 3 3 1

Barre Chords

Here are the most popular moveable chord shapes. Memorize these shapes for 6-string and 5-string roots. Be able to know where to place the shape on the fretboard when a chord is called for. Remember these are movealbe chords so you can move the shape anywhere on the fretboard.

Major

Minor

Dominant 7th

Minor 7

Major 7th

1 3 4 2 1 1

1 3 4 1 1 1

1 3 1 2 1 1

1 3 1 1 1 1

1 3 3 3 1

1 3 4 2 1

1 3 1 4 1

1 3 1 2 1

1 3 2 4 1

F m7

F Maj7

x x 5 555 5 5 5 5 55 5 5 555 5 5555 5 5 Root 6 Chords: 5 5 55 55 x Root 5 Chords:

Example:

3 4 2

5 5 x5 55 x 5 5 5 x5 555 x5 5 5 555 5 5 55 55 5 F7

A Barre Chord, like a power chord, takes its name from the root which is the lowest note being played by the first finger. For instance, if the lowest note is the note G, the Barre Chord is called "G Major" when doing the "major" chord shape. 6-String Root Chords F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E

| | | | | | | | | | | |

1ST 2ND 3RD 4TH 5TH 6TH 7TH 8TH 9TH 10TH 11TH 12TH Guitar Lessons

5-String Root Chords A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A

| | | | | | | | | | | |

1ST 2ND 3RD 4TH 5TH 6TH 7TH 8TH 9TH 10TH 11TH 12TH 111

Barre Chords: Two-Chord Progressions

Practice making the connection between two barre chord shapes in the progressions below. Practice strumming with quarter notes (4 strums per measure), then move to eighth notes (8 strums per measure), then follow the strum pattern below the measure with slash symbols.

& 44 4 4 & 44 44

5 5 5 53fr. 55

.. ’ ’ ’ v v ≥ .. Û Û Û. J

’ ≥Û Ûv .

4 &4 44

.. ’ ’ ’ ’ vÛ ≥Û vÛ ≥Û .. ≥Û vÛ J J 5 5 5 55fr. 55

.. ’ ’ ’ ’ vÛ ≥Û Ûv ≥Û .. ≥Û vÛ J J D

4 &4 44

5 55fr. 555

.. ’ ’ ’ ’ v v v ≥ ≥ ≥ .. Û Û Û Û Û Û J J D

‹

4 &4 44

5 55fr. 555

.. ’ ’ ’ ’ vÛ ≥Û Ûv ≥Û .. ≥Û vÛ J J A7

›

ﬁ

112

4 &4 4 4 4 &4 4 4

5 5 5 555fr. 5

.. ’ .. ≥Û

5 5 5 53fr. 55

’ ≥Û

’ ’ vÛ ≥Û vÛ J J

.. ’ ’ ’ vÛ ≥Û .. ≥Û vÛ J J

’ ’ ’ v ≥Û vÛ | J

’

5 5 5 53fr. 55

⁄

5 55 55

’ ≥Û

’ ’ ’ ’ ≥Û vÛ vÛ ≥Û vÛ ≥Û J J #m

5 555 55

’ ’ ’ vÛ . ≥Û vÛ J

’ ≥Û

5 55 55

’ ’ ’ vÛ . ≥Û vÛ J

’ ≥Û

5 5 5 53fr. 55

.. | .. |≥ A

5 5 5 55fr. 55

.. | .. |≥

’ ≥Û

.. | .. |≥

Guitar Lessons

Shuffle

5 5 5 555fr. 5

’ ’ ’ ’ vÛ vÛ ≥Û ≥Û vÛ J J

5 5 53fr. 55

Swung

5 55fr. 555

.. | .. |≥

’ ≥Û

Rock

5 55fr. 555

’ ’ ≥Û vÛ . J

’ Û

Rock

5 5 55fr. 55

Rock

5 5 5 53fr. 55

.. | ‰ .. |≥ G

5 53fr. 555

5 5 5 53fr. 55

Fast Blues

5 5 5 53fr. 55

Slow Blues

Four-Measure Progression

Now try some longer progressions using barre chords. Follow the information below the staff telling which string the root is on. Relax and concentrate on accuracy. Practice with a metronome.

≥ v v≥ ≥ 4 . . &4 Û Û ÛÛ Û J J 6>string

‹

5>string

≥ v v≥ ≥ Û Û ÛÛ Û J J

5>string

6>string

≥ v v≥ ≥ . ≥ Û Û ÛÛ Û . | J J

6>string

≥ ≥ ≥ v ≥ v ≥ ≥ ≥ v ≥ ≥ ≥v ≥ v ≥ ≥ ≥ v ≥ ≥ ≥ v ≥ v ≥≥≥v ≥ ≥ ≥v ≥v≥ ≥ ≥v. 4 . & 4 . Û Û ÛÛ Û Û Û Û Û Û Û Û ÛÛÛÛ Û Û ÛÛ Û Û ÛÛÛ ÛÛÛÛÛ Û Û ÛÛÛÛÛ ÛÛÛ. | J J J J ≥ 4 . & 4 . Û.

v Û.

≥ Û

≥ v Û. Û.

≥ Û

5>string

≥ v Û. Û.

≥ Û

≥ v ≥ ≥ Û . Û . Û .. |

5>string

6>string

5>string

6>string

5>string

≥ ≥ ≥ ≥ ≥ ≥ ≥≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ . ≥ 4 . . & 4 Û Û Û Û Û Û ÛÛ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û . | B7

6>string

≥v v v≥ ÛÛ Û ÛÛ J J

5>string

6>string

5>string

6>string

≥ v v v≥ 4 . . &4 Û Û Û ÛÛ J J Gm

›

≥ v v ÛÛ Û | J J

6>string

⁄

≥v≥v v≥ ≥ v ≥v v≥ 4 . &4 . ÛÛÛ Û ÛÛ Û Û Û Û ÛÛ J J J J 6>string

5>string

≥ v v v≥ Û Û Û ÛÛ J J

≥v v v≥ ≥ Û Û Û Û Û .. | J J

≥ ≥ v ≥ v v≥ ≥ v ≥ v v ≥ Û Û Û Û Û Û Û Û Û Û Û Û .. | J J J J

5>string

Guitar Lessons

5 or 6>string

6>string

113

Moveable Chord Exercise

Use the following guidlines to practice the sample song below and check the box when you have completed the exercise Play using only moveable chords with 6-string roots. Play using only moveable chords with 5-string roots. Combine both string choices to economize your hand motion.

& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ A

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ |

Writing Your Own Progression

Now try to compose your own progression. Simply make up any combination of chords and play. Just listen and if it sounds good to you, then write it down. As you learn more songs and understand more theory, you can put more thought into what you want to do, but for now anything goes.

& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ |

114

Guitar Lessons

Intro/Verse/Solo Bm

Hotel California

# F

The Eagles

A E G D E 4 &4 ’ ’ ’ ’ ’’’’ ’’’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Chorus

.. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ G

Verse 1 On a dark desert highway, cool wind in my hair Warm smell of colitas, rising up through the air Up ahead in the distance, I saw a shimmering light My head grew heavy and my sight grew dim I had to stop for the night There she stood in the doorway; I heard the mission bell And I was thinking to myself, 'This could be Heaven or this could be Hell' Then she lit up a candle and she showed me the way There were voices down the corridor, I thought I heard them say...

.. ’ ’ ’ ’ ’ ’ ’ ’ Em

'Please bring me my wine' He said,'We haven't had that spirit here since nineteen sixty nine' And still those voices are calling from far away, Wake you up in the middle of the night Just to hear them say... Chorus 2 Welcome to the Hotel California Such a lovely place Such a lovely face They livin' it up at the Hotel California What a nice surprise, bring your alibis

Chorus Welcome to the Hotel California Such a lovely place Such a lovely face Plenty of room at the Hotel California Any time of year, you can find it here Verse 2 Her mind is Tiffany-twisted, she got the Mercedes Benz She got a lot of pretty, pretty boys, that she calls friends How they dance in the courtyard, sweet summer sweat. Some dance to remember, some dance to forget So I called up the Captain,

Guitar Lessons

Verse 3 Mirrors on the ceiling, The pink champagne on ice And she said 'We are all just prisoners here, of our own device' And in the master's chambers, They gathered for the feast They stab it with their steely knives, But they just can't kill the beast Last thing I remember, I was Running for the door I had to find the passage back To the place I was before 'Relax,'said the night man, We are programmed to receive. You can checkout any time you like, but you can never leave!

115

Under the Bridge Red Hot Chili Peppers

Intro:

T1 A B3

2 0

3 2

1 2

. 2

1 2 0

3 0

2 3

0 3

2 0

3 2

Û J

1 2

Verse:

.. Û . D

2 3

1 3 1

0 3

2 4 4 3 5 5

Û.

. 2

3 0

2 3

Û.

1 3 1

0 3

Û.

0 2 4 4 3 5 5

Û.

Û J

1 2

116

.. Û . | Em

Û Û. | J A

3 0

Guitar Lessons

Û .. Û . | J D

1 2

2 5

Û .. J

Chorus:

Dm a j7

2 0

1 2 0

#m G

Û Û. Û Û. J F

Here, There and Everywhere # & 44 ’ G

A m7

# m7

& ’

her hand.

A m7

# m7

’

# & .. ’

’

ev - ry - where,

& ’

# F m7

# & ’ ’

’

nev-er dies,

’

No - bod - y

’

speak

’ -

’

ing,

’ ’

and

’

# F m7

’

’ I

’

’’

and hop

’ ’

’ -

ev - ry - where,

know

’ I

that love

’

and

’

know - ing

watch-ing her eyes

ing

’

I'm

’ ’

’

thing

’

A m7

’ ’ ’ ’ 1st Ending

there.

A m7

Here,

There

’

’ ’ ’ ’

’ ’ ’ Bm And

’

’ ’

’

want her

’

to need her

’

be - liev

A m7

’

’ -

’

ing that love

D 7sus4

.. ’ ’ ’ 2nd Ending

I want her

ery - where.

wave

it can be

to love her

’

# m7

’

each one

with

’ ’ ’ ’

there

’

But

’

A m7

nev - ver care.

’

A m7

’

there.

’

life

us think - ing how good

A m7

ways

’ ’ ’ ’

’

need

Guitar Lessons

’

’ ’ ’ ’

here.

’

chang - ing

he's

A7 al

’

does - n't

she's be - side me

’

she

’

that there's some

both of

’

A m7

’ ’ ’ ’ ’

’

through her hair,

but

love

A m7

de - ny

’

’ ’ ’ ’

’

need

the year,

’

can

’

’’ ’

’ ’ ’

there

# m7

’

A m7

ev - ry - where

’

life

’

day

run - ning my hands

Some - one

eah

’

mak - ing

’ ’ ’ ’ ’

better

’

There,

’

lead

Here,

’

’ ’ ’ ’

The Beatles

’

I will be

117

Say It Ain't So Intro:

C G b 4 & b b 4 Û Û Û Û. J

Guitar 1

Guitar 2

b & b b 44

b b ÛCÛ b &

Û Û. J

∑

b &b b ‰ Û ‰ Û ‰ Û ‰ Û Cm

Û Û Û. J

∑

Weezer

Û Û. J E E

Û J

∑

Û Û. J

‰ Û ‰ Û ‰ Û ‰ Û Cm

Û | J E

∑

‰ Û ‰ Û ‰ Û ‰ Û A

Û | J E

‰ Û ‰ | J

Û J Û J

Verse: G1

b & b b .. . œ

j .. j ˙ œ ˙ œ œ. b b Cm G A E b . & b b . ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ..

Interlude: Always 2 times Cm G G1

b & b b .. Û Û

Û Û. J

Û Û. J E

Û Û. J G

b & b b .. ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û ‰ Û

118

Guitar Lessons

Û | J E

‰ Û ‰ | J A

Û .. J Û .. J

Say It Ain't So

Chorus 1: Always 4 Times

b & b b .. Û Û Œ Cm

Û Û Œ

#5 #5

b & b b .. Û Û ‰ Û Û Û ‰ Û Û Û ‰ Û Û Û ‰ Û .. B

Outro:

& b Û Û Û Û. J Cm

b &b b | E

b & b b .. Û Û ‰ Û Û Û ‰ Û Û Û ‰ Û Û Û ‰ Û .. B

b & b b .. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. G

Bridge: Always 4 Times

Form -Intro -Verse (3x's) -Interlude -Verse (3x's) -Chorus 1 -Interlude -Verse (4x's) -Chorus 1 -Bridge -Chorus 2 -Chorus 1 -Outro

b .CÛ Û Û GÛ Û Û Û Û AÛ Û Û EÛ Û Û Û Û . b . & b . Cm

(hold last time)

Û Û ‰ Û.

Chorus 2: Alway 4 Times

Û Û Û. J

Guitar Lessons

Û Û| J

Û J

119

Ghost Notes Ghost notes are a percussive sound you get when you mute your strings while still strumming. You simply cover all the strings with your fretting hand while continuing to strum with your strumming hand. This adds a percussion to your music, which makes the song more exiting and makes the listener feel the rhythm better.

Single Notes:

ÿ .

1 1

¿ ¿ ¿ ¿ 2

¿ ¿ ¿ ¿

. .

Power Chords:

. .3 1

¿¿ ¿¿ ¿¿ ¿¿ 2

Open Chords:

⁄

5 3

¿¿ ¿¿ ¿¿ ¿¿

7 5

¿¿ ¿¿ ¿¿ ¿¿

5 3

. ¿¿ ¿¿ ¿¿ ¿¿ .

.. Û Û ¿ Û Û ¿ ¿ Û Û ¿ Û Û ¿ ¿ Û Û ¿ Û Û ¿ ¿ Û Û ¿ Û Û ¿ ¿ .. J J J J J J J J D

Barre Chords:

.. Û Û ¿ ¿ ¿ ¿ Û Û ¿ ¿ ¿ ¿ Û Û ¿ ¿ ¿ ¿ Û Û ¿ ¿ ¿ ¿ .. Am

Barre Chords:

‹ 120

.. Û Û ¿ Û Û ¿ Û Û Û ¿ Û Û Û J J Am

Guitar Lessons

Û Û ¿ Û Û ¿ Û Û Û ¿ Û Û Û .. J J

Flake Intro/Verse

Jack Johnson

2x's Intro 3x's Verse

& b 44 .. Û . Û ¿ ¿ ¿ Û Û Û ¿ ¿ ¿ ¿ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’ Dm

1e+a 2 e+ a3 e+a 4e + a

Chorus

& b .. ’ ’ ’ ’ B

&b ’ ’ ’ ’

’ ’ ’ ’

Verse 1: I know she said it's alright But you can make it up next time I know she knows it's not right There ain't no use in lying Maybe she thinks I know something Maybe maybe she thinks its fine Maybe she knows something I don't I'm so, I'm so tired, I'm so tired of trying

’ ’ ’ ’

’ ’ ’ ’ ..

Verse 2: I know she loves the sunrise No longer sees it with her sleeping eyes And I know that when she said she's gonna try Well it might not work because of other ties and I know she usually has some other ties And I wouldn't want to break 'em, nah, I wouldn't want to break 'em Maybe she'll help me to untie this but Until then well, I'm gonna have to lie to you.

Chorus: It seems to me that maybe It pretty much always means no So don't tell me you might just let it go And often times we're lazy It seems to stand in my way Cause no one no not no one Likes to be let down It seems to me that maybe It pretty much always means no So don't tell me you might just let it go Guitar Lessons

121

Favorite Mistake ã 100

Sheryl Crow

B m7 Intro:

T A B

¿¿ ¿¿ ¿¿

7 7 7 7 9 7

7 7

¿¿ ¿¿ ¿¿

. .

7 7 7 7 9 7

Verse:

ˆ . .

5 5 6 7

0 2 3

¿¿ ¿¿ ¿¿ 122

0 2 3

¿¿ ¿¿ ¿¿

7 7 7 7 9 7

C ad d 9 3

2 2 0

7 7 7 7 9

7 7

0 3

¿¿ ¿¿ ¿¿

7 7 7

2 0

7 7

¿¿ ¿¿ ¿¿

0 0 2 3

7 7 7 7 9 7

Guitar Lessons

¿¿ ¿¿ ¿¿

3x's

. .

7 7 7 7 9

7 7

¿¿ ¿¿ ¿¿

7 7 7 7 9

0 2 3

C ad d 9

¿¿ ¿¿ ¿¿

7 7 7

¿¿ ¿¿ ¿¿

0 2 3

7 7 7 7 9 7

. .

2 2 0

9 7

E m7 3

7 7 7 7

7 7 7 7 9

7 7 7 7 9 7

7 7 7 7

7 7 7 7 9 7

¿¿ ¿¿ ¿¿

5 5 6 7

D su s 2 3

2 2 0

¿¿ ¿¿ ¿¿

7 7 7 7 9 7

C ad d 9

E m7 3

7 7

¿¿ ¿¿ ¿¿

7 7 7 7 9

B m7

3 3 4 5

7 7 7 7 9 7

5 5 6 7

B m7

E m7 3

7 7 7 7

3 3 4 5

D su s 2

7 7

¿¿ ¿¿ ¿¿

8 8 9 10

Chorus: D su s 2

7 7 7 7 9

¿¿ ¿¿ ¿¿

7 7 7 7 9

G 8 8 9 10

B m7

7 7 7 7 9 7

7 7 7 7

2 0

7 7

¿¿ ¿¿ ¿¿

B m7 5 5 6 7

2 0

¿¿ ¿¿ ¿¿

7 7 7 7 9

0 2 3

7 7 7 7 9

¿¿ ¿¿ ¿¿

7 7 7

ı 1

7 7

†D.õS. aõl Coda¢

Coda

0 0 2 3

0 2 3

Chorus:

0 2 3

B m7

D su s 2

0 2 3

2 2 0

0 3

2 3

0 2 3

0 0 2 3

0 2 3

2 2 0

2 3

0 2 3

Guitar Lessons

0 2 3

B m7 1

0 0 2 3

C ad d 9

E m7

G 1

Û Û Û Û

2 0

C ad d 9 3

E m7 3

2 2 0

D su s 2 3

C ad d 9 3

2 0

E m7 3

.2 .0

Bridge: B m7

D su s 2

0 0 2 3

Favorite Mistake

3x's 1

123

. .

Torn F

5 5 555fr. 55

5 555 55

Natalie Imbruglia

5 5 5 556fr. 5

≥v≥v≥v≥v v v≥ v≥v 4 . b & 4 . Û Û Û Û Û ¿ ¿ Û Û Û Û ¿ ¿ ¿ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..

Verse:

Pre-Chorus: Dm x

5 5 55fr. 55

&b ’

’

& b .. ’

’

D m7 (open) Bridge:

x x`

’

C (open)

5 55

Chorus: 5 5 5

5 53fr. 555

’

5 55

bsus2

’

D m7 (open)

x x`

’

5 5 555fr. 55

5 55

’

5 55 55

5 53fr. 555

’

bsus2 5 55 55

’

5 555 55

555

3x's

` 5`

&b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ F

Outro:

5 555 55

& b .. ’

Form Verse 1 Verse 2 Pre-Chorus 1 Chorus Verse 3 Pre-Chorus 2 Chorus Bridge Pre-Chorus 1 Chorus Chorus Outro

D m7

` 5`

’

Verse 1 I thought I saw a man brought to life He was warm He came around like he was dignified He showed me what it was to cry

Verse 2 Well you couldn't be that man I adored You don't seem to know Seem to care what your heart is for But I don't know him anymore Verse 3 So I guess the fortune teller's right Should have seen just what was there And not some holy light

555

’

bsus2 5 55 55

’

Pre-Chorus 1 There's nothing where he used to lie The conversation has run dry That's what's going on Nothing's fine I'm torn

’

Pre-Chorus 2 And now I don't care I had no luck I don't miss it all that much There's just so many things

Chorus I'm all out of faith This is how I feel I'm cold and I am shamed Lying naked on the floor Illusion never changed, Into something real I'm wide awake And I can see The perfect sky is torn You're a little late

That I can touch I'm torn

I'm already torn

Which crawled beneath my veins

124

Guitar Lessons

Advanced Students This book covers material from beginning to intermediate students. From here students will be labeled as advanced students. Below are some of the styles and techniques that we will cover in the order of your choice. Chord Theory-This section we will learn 6th chords and learned to use chords above the octave (9th, 11th, & 13th chords). With this section we will learn the style of Blues, Latin, and Jazz. We will also be using some rock tunes to see how these more advanced chords are used in rock. Augmented and Diminished Chords-We will learn these chords shapes by examining how songs use these types of chords. Reading Music-In this section we will begin to learn our notes to read music. This is very important for those who want to go on with guitar as a career, but you don’t have to want a career in guitar to learn notes. Fingerstyle-In this section we will learn to play the guitar with only our fingers. This is an advanced style and technique that gives the guitar a very different flavor. This includes Thumbsnares, doublestops, and more. Solo Guitar-This section will focus much on learning how to do improve soloing. It involves much learning of scales and understanding your fretboard so that you can know where to go and when. We will learn and examine many great solo’s to help you learn to do your own solos. This will include learning more extensively hammer-on/pull-offs/slides/bending, etc. Sweep Picking-This is a technique that is done with the pick to be able to pick at lightning quick speeds. Song Writing-This section gets deep into how to become a great songwriter. We will be discussing about the theory behind songwriting and how to make progressions work, as well as write a catchy melody. We also practice learning to sing with your guitar, and how to control your voice to get the best sound. Ear Development-This section will help you get your ear to the caliber that you need to be a great musician. It will also develop your ear to play exactly what you hear. Open Tunings-Here we will learn how to change the tuning of our strings to develop different sounds and chords. Harmonics and Tapping-This style gets into more advanced techniques used by many great guitarists. We will learn Natural Harmonics and Artificial Harmonics and tapping the guitar to produce very different percussive sounds.

Guitar Lessons

125

Styles- This section will focus on many different styles one at a time. The styles are the following o Alternative o Blues o Classical o Country o Folk o Funk o Jazz o Metal o Rock o …Etc. Guitar Maintanace-This section will cover how to re-string, set-up, and maintain your guitar in good working order. Scales-This section focuses on learning all the different types of scales to help further your understanding for soloing, songwriting, and more. Preparing for the stage & Perfomance-Here we will help you develop how to get your music out to the public. It will focus on how to get gigs, how to set up a portfolio, how to get the best sound on stage, etc. Preparing for the studio-This section will talk about how to get your music recorded. Either by a professional studio, or by yourself in your home. Transposing-Here we will talk about how to write your music for another instrument or to another key. In this section we will also talk about how to write music for the rest of your band or for a future band to play. Buying Equipment-This will help you learn to buy the right gear for you and the style of music you are looking to play. Progressing on Your Own-Here we will talk about how you can keep learning after learning all these techniques. You can always learn more, so never think you know it all. They say that the guitar is the easiest to learn, but the hardest to master. So keep looking for new ways to play your guitar and seek out new styles to inspire you. Ask for more sections....

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Guitar Lessons

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