J3 - Attachment - GuitarMeth_2 ( 4 Pages).pdf

HIL LEONARD

The Am Chord Sinner Man

Dotted Ouarter Notes The Om Chord Syncopation

Joshua Fought the Battle of Jericho Rock-a-My-Soul Jamaica Farewell

The A Chord The Key of D

Oh, Mary Don't You Weep ................... •. 9 De Colores. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 O

Endings Angels We Have Heard on High Catchy Riff

Second Position Marianne Blues/Rock Riff

The High A Note The Wabash Cannonball

The E Chord La bamba

The Key of A Joy to the Wo~d

Power Chords T ablabJre

Steady Groove The Shuffle

Power Chord Shuffle Midnight Special

The Blues Blues in A C.C. Rider Shuffle Riff

The Key of Am Wayfaring Stranger Hava Nagila

Fingerstyle Guitar ............................. 2 4 Swing Low, Sweet Chariot Scarborough Fair The Water Is Wide

ISBN 978-0-634-04553-0

~ HAL•LEONARD~

In Europe, contact:

BY WILL SCHMID AND GREG KOCH

The F Chord

Picking 'chords House of the Rising Sun

Carter Style Solos Row, Row, Row Your Boat Man of Constant Sorrow Wildwood Flower

Bass Runs Goin' Down the Road

The 87 Chord We Three Kings

The Key of E By the Waters of Babylon Battle Hymn of the Republic

Triplets ......... ~ Jesu, Joy of Man's Desiring Deep Blues Lost in the Shuffle

The Pentatonic Scale Rock Lick Country /Rock Lick Hard Rock Lick Bluegrass Lick Country Lick Blues Lick Rock 'n' Roll Lick Blues/Rock Lick

Pentatonic Lead Guitar Improvising

Open Jam Movable Power Chords

Pop Riff Early Rock Riff Hard Rock Riff Pop/Rock Riff Rockabilly Riff Classic Rock Riff Heavy Rock Riff

Palm Muting Muted Groove Accented Rhythm Grand Finale

CopyrightC 1977, 1980, 2002 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

For all works contained herein:

Unauthorized copying, arranging, adapting, recording, internet posting, public performance, or other distribution of the music in this publication Is an Infringement of copyright.

lnfringers are liable under the law.

Visit Hal Leonard Online at www.halleonard.com

In Australia, contact: Wortd headquarters, contact:

Hal Leonard 7777 West Bluemound Road Milwaukee, WI 53213

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Email: infoOhalleonard.com Bury St Edmunds, Suffolk, IP33 3YB Email: lnfo@halleonardeurope.com

Cheltenham, Victoria, 3192 Australia Email: info O halleonard.com.au

5 .~

,J THE Am- CHORD

Am X 0 _g

Practice changing chords in the following examples. Play slowly and steadily so there is no hesitation between chords.

j

Am G Am G

'i

7 r 7 r 7 .z I 7 r z r 7 r 7 r 7 I 7 r r 7 r 7 r 7 I 7 r r 7 r 7 r / II

Am Em Am Em 5 r,Vr,Vr,V cont. strum pattern tf , , , , I 7 7 7 7 I 7 7 7 7 I 7 7 7 7 II 2 f 'ff[F rrrr rrrr rrrz

C Am C G r, V r, r, V cont. strum pattern tf I 7 7 7 7 I 7 7 7 7 I 7 7 7 7 II 3 tf, 6 f , rrrr rrrr rrrz , f

SINNER MAN Tradltional

4P

Am G

EJt -J .....-----1 r--...--..r r----; ----r r~1 r J) J I r C C! r r I Am

Em

(! J ICEErF r IF Am l 8 r r I O =II

DOTTED QUARTER NOTES

You've already learned that a dot after a note Increases the value by one half.

J + • = J.

2 beats 1beat 3 beats

A dot after a quarter note also increases its value by one half.

J + • = J.

1beat 112 beat 1½ beats

Practice the riffs below, which use dotted quarter notes.

G C

' n V n V n V ;DE31 J. .bDE311 i g_ J> g J J J I g_ J> g J JJ I J.

1 (2) + 3 + 4 +

" r, V r,Vr,V r, r, r, V r, V r,Vr,V r, r, r, V

C v~ ri~ ri

Jd fil; •'• ••I J_

V r, r, JJ J I J. Jd fi I J. JJ J II

Am D Am D Am D Am D

'n Vn n VnVnV n Vn n VnVnV i ,. D f I ,. D ,, ,, I ,. D f I ,. D ,, ,, II F F PPPPF F rrrr

;,·-w 1,-'➔C"'lnit· ' i!iac,}; :,-... , ,,.,, ;r :t • •A·J;,a; ,n a"« :W'r1flS't"-e:,cne:w"

SECON□ POSITION

I A D ·G B E

B EA ct D

C#F# B

F#-1 -i G-2 , D G

-3 A-4 E A

Throughout Book 1 and until now in Book 2 you ~ave played In first POllti with the first finger in the first fret, the second fmger In the second fret. ~n· so on. The name of your finger position is determined by where you ~J your first finger. • :\l

If the first finger is p!ace_d at the ~econd fret as indicated by ~he diagram at~ left, you will be playing in what 1s called second position. Fingers 2 3 a d play in frets 3, 4, and 5 as indicated. ' ' n 4

Notice that open notes can also be played in an alternate position on the fret.

board.

The principal advantage of playing in the second position lies in the ea • which certain passages can be fingered. se With

Practice the song below in second position using both the open-string notes and their alternate fingerings on the fretboard.

MARIANNE en.

~ I D • ~ 32 # i3 J. 1J2

A7 p l,j ,J:tt_[o All day,- all night,- Mar - ri - anne, ____ _

,~# J. JU J I;. ~)

D down by - the sea - side - sift - ing sand. ____ _

IJ p ;J - ........ ~

'I A7

• # J PJ J I J. J!J J I J fi~J, ~ ~ E - ven lit - tie child - ren _ love Mar - ri - anne, ----

',~# J. @) J I J. JU

D down by - the sea - side_ sift . ing _.., sand. ........_...., u U J tJ I I

After playing the melody to "Marianne," try playing some of the syncopated strums you've already learned. You can also go back to pages 10 and 11 and play those melodies in second position.

i-,"":'_.~W:j,~;z;,."'T:'":-'"'~~~•·--r~._,:-~.-,.1.s-,"1,:r:-;r.<-r..,f'-:r.:-r.--.~.:---1•~

Some songs are played in more than one position. The following piece shifts between first position and second position.

BLUES/ROCK RIFF

33 ~ 4 I - I J i I I FJ J J i I I I J J I I FJ J J i I u-

THE HIGH A NOTE

Play the new note, A, with your fourth finger in second position.

E

~A, THE WABASH r.ANNONBALL Hila Sana

D 07 G

34 f 1# 1 J J r c Ir r r I r r c r I o 1 Lis - ten to the jin - gle, the rum - ble and the roar.

A7 D f :# J J r c I r r r c I r r r r I J Rid - ing through the wood - lands to the hills and by the shore.

$!# J J r_ r c I r r might - y rush of the en - gine, A7

,_~# J J r c I r r 1;s

Rid - ing through the jun - gle

D7 G rr1rrcr10 hear the lone-some ho - bo squall.

D

UI r j f r I O on the Wa - bash Can - non - ball.

Hear the

I 13 I

, >CG2--"!)Fr:'i"1dn •• T,..__,.tlzV:tt ·,•-:37i3ie::Mii¼3r7¥r7it""Fffi e··~rM •-~r1Nttr:snr,ne,ewe

FINGERSTVLE GUil AR Fingerstyle, also known as fingerpicking, is a very popular style of guitar accompaniment which uses arpeggios (broken chords~ instead of strummed chords. The distinctive sound of fingerpicking comes from the thumb and fingers plucking only one stnng each in succession.

The right-hand finger and thumb letters used in this book are based on the internationally accepted system of Spanish words and letters:

p i m a pulgar indice medio anular

Follow these steps to learn how to fingerpick:

thumb index finger middle finger ring finger

• The thumb (p} plucks strings 4, 5, and 6 depending upon which string is the bass or root of the chord. This motion is a downward stroke. Use the left side of the thumb and thumbnail.

• The other fingers (i, m, a} pluck the string in an upward stroke with the fleshy tip of the finger and fingernail.

• The index finger (i} always plucks string 3.

• The middle finger (m} always plucks string 2.

• The ring finger (a} always plucks string 1.

The thumb and each finger must pluck only one string per stroke and not brush over several strings. (This would be a strum.} Let the strings ring throughout the duration of the chord.

RIGHT-HAND POSITION

Use a high wrist; arch your palm as if you were holding a ping pong ball. Keep the thumb outside and away from the fingers, and let the fingers do tt,e work rather than lifting your whole hand. Study the photo at the right.

Practice the fingerpicking patterns below. Work toward an even sound on each string plucked.

D _ A7

- I I ,..J ~ I J ,........-I I I ~ I I

/I - •- .... - .... - ,. - - I ■

I! - - • ■ • ,. - • ■ •

_II ,_ - - . -. ,. . . -

c'V .. - - -v - - :. :. -

R.H. p i m a p i m a p i m a p I m a p I

: : - - -- . - . - - --24 m a p i m a

'~;~~½[~~1-iku[0!~l:~~~~1Rr~~~

.l

Mel.

Ace t f

~~-~W;il,3~~ - ' ·"

SWING LOW, SWEET CHARIOT Alricll·Aln■ s.ii1ui D j \ ~

I ., .. , . G A7 D A7

-..,v t.J c,, ... ·-~· ., Swing low, sweet char - i-ot,- com-in' for to car-ry me home.

- - - - - -- -- . - . .. . . - .. -- .. - - .. - . .. - .. - . - . . - -- .. - - - . . .. V . .. .. .. - - -- .. - .. -p I map I ma

G A7 D A7 D

Swing-low, sweet char - I - ot, - com-in' for to car - ry me home.

D G A7 D A7 looked o - ver Jor - dan, and what did I see,- com - in' for to car - ry me home? A

I\ ... I D G A7 D A7 D _ ..

-- n - -• - - .

t) 13 I ..... --. -.'~· .. .. • .. - -■ ..

" band of an -gels com - in' af • ter me,- com-in' for to car· ry me home.

- - - - - - -- .. - .. - .. - • . - .. - . - .. - - V . .. - .. - .. - .. - . .. .. - --.:; .. - . .. -v - .. - - -u .. .. V p I m a p I m a p I ma p

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