J4 -Attachment - GuitarMeth_3 (3 Pages).pdf

·HAL LEONARD

The Major Scale The First Noel Riff in D

Sixteenth Notes Arkansas Traveler Exotic Rock Freedom Rock Eine kleine Nachtmusik

Dotted Eighth Notes Tramp, Tramp, Tramp

The Chromatic Scale The Entertainer In the Hall of the Mountain King Estudio St Louis Blues

Barre Chords Classic Rock Swingin • Alternative Rock Slow Rock Minor Groove Jazzy Bossa Nova . . . . . . . . . . . . . . . . . ........•.• 1 9 Hard Rock Barre Exam . . . . . . . . . . . . . . . . . . . . ........• 1 9

Travis Picking .......................•.••••• 20 Sometimes I Feel Like a Motherless Child .•...•• 21 Freight Train ......................•..••• 22

Drop D Tuning .........................•.••• 23 Pop/Rock ........................•..••• 23 Grunge ..........................•••••• 23 Folk/Rock ......................•...•••• 23

Movable Scales . . . . . . . . . . . . . . . . . . . . . . . . • • • • .2 4 Miss McLeod's Reel ..................••••• 25 God Rest Ye Merry Gentlemen ...........••••• 26

Fifth Position . . . . . . . . . . . . . . . . . . . . . . . • . . . •••• 28 Deep River ......................•....•• 28 Bouree ...............................• 28 Heavy Rock Jazzin • the Blues

The Key of F ........................•.....• 30 Sloop John 8

BY WILL SCHMID AND GREG KOCH

Compound lime .......................•••••• 31

I Saw Three Ships . . . . . . . . . . . . . . . . . . . . • . . .31 Slow Blues .......................•....• 31

Articulation ........................•...•••• 32 The Slide ...........................••••••• 32

Bouncy Blues .........................•• 32 Power Chord Slides ....................••• 32

The Hammer-On ....................•..•••••• 33 Folk Pattern .......................•.••• 33 Rock 'n' Hammer ................•..•••••• 33 Acoustic Rock .....................•••••• 33 Boogie Blues ....................•.•••••• 33

The Pull-Off ......................•...••••• 34 Power Pull . . . . . . . . . . . . . . . . . . . . . . . • • . • • .34 Blues Waltz .......................••••• 34 Bluegrass Run . . . . . . . . . . . . . . . . . . • . . . • • • •• 34

The String Bend ........................•.••• 35 Rock Lick .............................• 35 Swampy Blues ......................••.• 35 Double-Stop Bend . . . . . . . . . . . . . . . . .....••• 35

Jam Session Pop/Rock Ballad Funk Smooth Jazz Latin Rock Country Jazz Waltz Reggae Hard Rock Blues Jazz Rock

Grand Finale Reference Section

Circle of Fifths Three-Note Chord Forms Miscellaneous Chords Chord Construction Gear Definitions for Special Guitar Notation

ISBN 978-0-7935-1156-3

P'I HAL•LEONARD"

~CORPORATION

7777 W. aLUIIM0UND RD. P.O. ■0X 13a18 MILWAUKIIII, WI 113213

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

For all works contained herein:

Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright.

lnfringers are liable under the law.

Visit Hal Leonard Online at www.halleonard.com

• $1:-Z kte-C, ~~._s._~ #'t: h ;;-,:,..,,c,.,__ ' - •• ,.. "c;•::s;• «N~-..o.~~

THE MAJOR SCALE

A scale is a series of notes arranged in a specific order. Perhaps the most common scale is the major scale. It is used as the basis for countless melodies, riffs, solos, and chord progressions.

Scales are constructed using a combination of whole steps and half steps. (Remember: on the guitar, a half step is the distance of one fret; a whole step is two frets.) All major scales are built from the following step pattern.

WHOLE - WHOLE - HALF - WHOLE - WHOLE - WHOLE - HALF

This series of whole and half steps gives the major scale its characteristic sound.

C MAJOR SCALE

To build a C major scale, start with the note C and follow the step pattern from above.

,1 whole whole half whole whole whole half

! L7,>A ~ ~~ ~~i1

II

C D E F G A B C 1 2 3 4 5 6 7 8 (1)

The first (and eighth) degree of a major scale is called the keynote or tonic. This is the "home" tone on which most melodies end.

Practice the C major scale ascending and descending in first position.

Try this: start on second string, first fret C and play a major scale up the second string using the pattern of whole and half steps.

Chords and chord progressions are also derived from scales. A piece of music based on the C major scale is in the key of C major. For every key, there are seven corresponding chords-one built on each note of the major scale.

C Om Em F G Am Bdlm u II u II u u II i-ii iii IV V vi ViiO

Note: Triads (three-note chords) use every other note of a scale (1-3-5, 2--4-6, etc.). Roman numerals are used to label a choro's location within a key.

By taking a closer look at each of the seven chords, notice that major triads are built on the first, fourth, and fifth notes of the scale; minor triads are built on the second, third, and sixth notes of the scale; and a diminished triad is built on the seventh note of the scale. The seven chords are common to the key of C because all seven contain only the notes of the C major scale (no sharps or flats). It is important to memorize this sequence of chord types, as it applies to all major scales.

The following examples are in the key of C. Practice playing the chords; then try improvising using the C major scale. When beginning to improvise, play the scale ascending and descending and notice how the notes work over the chords. Then, mix up the notes. It helps to emphasize the chord tones.

ft ft

C

7 7 7 71 rrrr

C

7 7 7 71 rrr, C

I I I 71 rrr>

F

7 7 7 71 rrrr

Am

7 7 7 71 rrr, C G playB times C

7 7 7 71 rrrr 7 7 7 7 •11 e rrrr•

Om G play 8 times C

7 7 7 7 I 7 7 7 7 ·I I 0 rrrr rrrr-L L L L I L L

Om Em Om playB times C

7 7 7 71 rrrr -7 7 7 71 rrrr , 7 7 '·II e rrrr-

See the Reference Section at the end of this book for more information on chord construction.

II

I

II

Play the next piece twice and gradually speed up.

IN THE HALL OF THE MOUNTAIN KING

E Caug E

Am B B~ Am

ESTUDIO

let ring throughout

' - -1 J I -1 I I

U 5 ~ I --' I I .....I I __J • - I I - - -u - u - - I - - I - ;; . -- - - - ., ., V V . u - V - - - V u -

E. Grieg

C

Caug E I

C Am I

.J I - :it -u . V .

V - . -u

Shuffle C

24,iC[EJ r I hate to see-

Feel - in' to - mor - row

ST. LOUIS BLUES

F7 ~ I,,£ □ ; ~F the eve - nin' sun like- I feel

C r11r go down.

to - day.--

F7 C

*·., c: r ;-rar r r r ~r c 1 1 r Hate to see----- the eve - nin' sun go down. -- Feel to - mor - row-- like_ I feel to - day. __ _

G7 F7 C l1.G7

,. C f r~-JdJ br r r Cttr - I d

'Cause my ba - by he done left this town.- I'll pack my trunk make my get - a - way ___

Cm -- _fm G7 r· r I r r r -r ~ br PTF - I- ,r Pl l.tllalldy

C7

11 2- G7

=I I - !t F F F 11 St.Lou-is p r~F~I 'll=D worn-an with her dia - mond rings-- pulls that man 'round the man I pow-der and for store - bought hair-- love

Ii.Cm l 12·cm D7 G7 ,~r r ur ~ r pl r -18 by her a - pron strings.--would not gone no where.--

-- E Ir· 1r.JII 'Twantfor

Got the

CG C CG C CG C CG C C6 C C6 C7

'CJ r c ; 1 r 1r.J r r r r , r -- -- l 1tfl St. Lou - is Blues just as blue as - 1- can be-- That-

F F6 F F6 F F6 F F6 C C6 C C6 C CG C C6

*) tr r ctr1 •r tr r 'r E r ij -- --man got a heart like a rock cast- in the- sea--- or-

G6 G G6 F F6 F F6 C C6 C C6 C C7

~ [ [ r4lf [;-e:f f;tn ~ ~ -- I else he- would - n't have gone- so- far - from- me. _______ _

{"type":"Book","isBackSide":false,"languages":["en-us"],"usedOnDeviceOCR":false}

{"type":"Form","isBackSide":false,"languages":["en-us"],"usedOnDeviceOCR":false}

{"type":"Book","isBackSide":false,"languages":["en-us"],"usedOnDeviceOCR":false}