| Introduction |
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1 | (1) |
| About This Book |
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1 | (1) |
| Foolish Assumptions |
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2 | (1) |
| Icons Used in This Book |
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3 | (1) |
| Beyond the Book |
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4 | (1) |
| Where to Go from Here |
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4 | (1) |
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5 | (70) |
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Chapter 1 Guitar Anatomy And Tuning |
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7 | (14) |
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The Parts and Workings of a Guitar |
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8 | (3) |
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11 | (2) |
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Strings doing their thing |
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11 | (1) |
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Using left and right hands together |
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12 | (1) |
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Notes on the neck: Half steps and frets |
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12 | (1) |
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Comparing how acoustics and electrics generate sound |
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13 | (1) |
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13 | (2) |
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Tuning Your Guitar to Itself |
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15 | (2) |
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Tuning Your Guitar to an External Source |
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17 | (4) |
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17 | (1) |
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Putting that pitch pipe to work |
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18 | (1) |
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Getting a taste of the tuning fork |
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19 | (1) |
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Employing the electronic tuner |
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19 | (1) |
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20 | (1) |
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Chapter 2 Getting Ready To Play |
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21 | (12) |
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21 | (7) |
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Sitting down and playing a spell |
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22 | (1) |
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Standing up and delivering |
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23 | (1) |
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Fretting with your left hand |
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23 | (3) |
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Picking with your right hand |
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26 | (2) |
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Getting Your Head Around Guitar Notation |
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28 | (3) |
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Understanding chord diagrams |
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29 | (1) |
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30 | (1) |
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31 | (1) |
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Discovering How to Play a Chord |
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31 | (2) |
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Chapter 3 Buying And Stringing A Guitar |
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33 | (28) |
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First Things First: Developing a Purchasing Plan |
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34 | (1) |
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Noting Some Considerations for Your First Guitar |
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35 | (2) |
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Sifting through Models to Match Your Style |
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37 | (1) |
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38 | (6) |
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Construction and body type |
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40 | (1) |
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Woods, hardware, and other goodies |
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41 | (2) |
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43 | (1) |
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Appointments (cosmetic extras) |
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44 | (1) |
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Before You Buy: Walking through the Buying Process |
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44 | (3) |
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Online or bricks-and-mortar? |
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45 | (1) |
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45 | (1) |
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Negotiating with the salesperson |
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45 | (1) |
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46 | (1) |
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47 | (2) |
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Surveying string-changing strategies |
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48 | (1) |
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48 | (1) |
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Stringing an Acoustic Guitar |
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49 | (4) |
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Changing strings step by step |
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49 | (3) |
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52 | (1) |
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Stringing a Nylon-String Guitar |
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53 | (3) |
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Changing strings step by step |
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53 | (3) |
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56 | (1) |
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Stringing an Electric Guitar |
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56 | (5) |
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Changing strings step by step |
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56 | (2) |
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58 | (1) |
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Setting up a floating bridge |
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58 | (3) |
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Chapter 4 Deciphering Music Notation And Tablature |
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61 | (14) |
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Knowing the Ropes of Standard Music Notation |
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62 | (7) |
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The composer's canvas: The staff, clef, measures, and bar lines |
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62 | (1) |
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Pitch: The highs and lows of music |
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63 | (2) |
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Duration: How long to hold a note, what determines rhythm, and so on |
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65 | (3) |
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Expression, articulation, and other symbols |
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68 | (1) |
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Relating the Notes on the Staff to the Fretboard |
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69 | (2) |
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Relishing the Usefulness of Guitar-Specific Notation |
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71 | (4) |
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Fingering indications for the right and left hands |
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71 | (2) |
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73 | (1) |
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Taking on tablature, a nice complement to standard notation |
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73 | (2) |
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BOOK 2 SOUNDS AND TECHNIQUES |
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75 | (86) |
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Chapter 1 Basic Major And Minor Chords |
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77 | (18) |
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78 | (3) |
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Fingering A-family chords |
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78 | (2) |
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Strumming A-family chords |
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80 | (1) |
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81 | (3) |
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Fingering D-family chords |
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82 | (1) |
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Strumming D-family chords |
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83 | (1) |
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84 | (1) |
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Fingering G-family chords |
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84 | (1) |
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Strumming G-family chords |
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84 | (1) |
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85 | (2) |
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Fingering C-family chords |
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85 | (1) |
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Strumming C-family chords |
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86 | (1) |
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Songs with Basic Major and Minor Chords |
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87 | (7) |
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Fun with the "Oldies" Progression |
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94 | (1) |
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Chapter 2 Adding Spice: Basic 7Th Chords |
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95 | (14) |
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96 | (3) |
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96 | (1) |
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E7 (the two-finger version) and A7 |
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97 | (1) |
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E7 (the four-finger version) and B7 |
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98 | (1) |
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Minor 7th Chords --- Dm7, Em7, and Am7 |
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99 | (1) |
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Major 7th Chords --- Cmaj7, Fmaj7, Amaj7, and Dmaj7 |
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100 | (1) |
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Playing Songs with 7th Chords |
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101 | (8) |
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Chapter 3 Power Chords And Barre Chords |
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109 | (14) |
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Reviewing Open-position Chords |
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110 | (1) |
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Putting Power Chords into Play |
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111 | (3) |
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112 | (1) |
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Pulling the power together |
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113 | (1) |
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114 | (9) |
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Getting a grip on barre chords |
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115 | (1) |
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Playing E-based barre chords |
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115 | (1) |
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Moving the E-form barre chord around the neck |
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116 | (1) |
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Other E forms: Minor, dominant 7, minor 7, and 7sus |
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117 | (2) |
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Playing A-based barre chords |
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119 | (1) |
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Moving the A-form barre chord |
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120 | (1) |
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A forms: Minor, dominant 7, minor 7, 7sus, and major 7 |
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121 | (2) |
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Chapter 4 Right-Hand Rhythm Guitar Techniques |
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123 | (22) |
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124 | (7) |
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124 | (1) |
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125 | (1) |
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Combining downstrokes and upstrokes |
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126 | (5) |
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Mixing Single Notes and Strums |
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131 | (2) |
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131 | (1) |
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131 | (1) |
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132 | (1) |
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Disrupting Your Sound: Syncopated Strumming |
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133 | (2) |
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Syncopated notation: Dots and ties |
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133 | (1) |
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Playing syncopated figures |
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134 | (1) |
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Giving Your Left Hand a Break |
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135 | (2) |
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136 | (1) |
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136 | (1) |
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Suppressing the Right Hand |
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137 | (1) |
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137 | (1) |
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Left-hand Movement within a Right-hand Strum |
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138 | (1) |
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Giving Your Fingers Some Style |
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139 | (1) |
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Getting Into Rhythm Styles |
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140 | (5) |
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141 | (1) |
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142 | (1) |
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142 | (1) |
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143 | (1) |
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143 | (1) |
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143 | (2) |
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Chapter 5 Playing Melodies In Position And In Double-Stops |
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145 | (16) |
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Playing Scales and Exercises in Position |
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146 | (5) |
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Playing in position versus open strings |
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146 | (1) |
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Playing exercises in position |
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147 | (2) |
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149 | (1) |
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Creating your own exercises to build strength and dexterity |
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150 | (1) |
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Practicing Songs in Position |
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151 | (3) |
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154 | (2) |
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155 | (1) |
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Trying exercises in double-stops |
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155 | (1) |
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Playing Songs in Double-Stops |
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156 | (5) |
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BOOK 3 GETTING TO KNOW GUITAR THEORY |
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161 | (122) |
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Chapter 1 Navigating The Fretboard And Building Triads |
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163 | (24) |
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Tracing Back to Strings 6 and 5 |
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164 | (7) |
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Moving whole steps and half steps |
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168 | (1) |
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168 | (1) |
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168 | (3) |
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Tracking Notes and Playing Octaves |
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171 | (3) |
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Shaping octaves with your 1st finger on strings 6 and 5 |
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171 | (1) |
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Octaves starting on strings 4 and 3 |
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172 | (1) |
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Octaves that are three strings apart |
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173 | (1) |
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Repeating octaves beyond the 12th fret |
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173 | (1) |
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Measuring the Space between Pitches with Intervals |
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174 | (6) |
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Playing intervals 1 through 7 |
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175 | (3) |
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Filling in the gaps with flats and sharps |
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178 | (2) |
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Harmonizing the Major Scale to Build Triads and Chords |
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180 | (4) |
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Major triad: Building from the 1st scale degree of the major scale |
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181 | (1) |
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Minor triad: Building from the 2nd scale degree of the major scale |
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182 | (2) |
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The Seven Triads of the Major Scale |
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184 | (1) |
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Playing the Chord Sequence of the Major Scale |
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185 | (2) |
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Chapter 2 Getting To Know The Caged System |
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187 | (22) |
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Chord Inversions and Chord Voicings |
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188 | (1) |
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189 | (6) |
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The C form as a moveable barre chord |
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189 | (1) |
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Playing a C form arpeggio pattern |
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190 | (3) |
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Playing C form chord voicings |
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193 | (2) |
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195 | (3) |
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198 | (2) |
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200 | (2) |
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202 | (2) |
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Playing Minor CAGED Forms |
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204 | (5) |
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204 | (1) |
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205 | (1) |
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206 | (1) |
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206 | (1) |
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207 | (2) |
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Chapter 3 Playing Snazzier Chords With Chord Tones And Extensions |
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209 | (18) |
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About Chord Tones and Extensions |
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210 | (2) |
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Adding 7ths to the Major Scale Chords |
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212 | (7) |
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Playing major and minor 7th chords |
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214 | (3) |
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Playing dominant 7th chords |
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217 | (2) |
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Playing minor 7th flat 5 chords |
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219 | (1) |
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Working with 2nds and 9ths |
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219 | (4) |
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219 | (1) |
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220 | (1) |
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Minor chords with 2nds and 9ths |
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220 | (2) |
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222 | (1) |
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Working with 4ths and 11ths |
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223 | (2) |
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223 | (1) |
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224 | (1) |
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Playing 6th Chords and Blues Shuffles |
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225 | (2) |
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Chapter 4 Playing Chord Progressions By Numbers |
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227 | (12) |
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Drawing Chord Progressions from the Major Scale |
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228 | (1) |
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Using Roman Numerals to Represent Chords |
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229 | (1) |
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Visualizing Numbers on the Fretboard |
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229 | (1) |
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230 | (2) |
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Playing Common Chord Progressions |
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232 | (2) |
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Playing I-IV-V chord progressions |
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232 | (1) |
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Playing major chord progressions |
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233 | (1) |
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Adding minor chords ii, iii, and vi |
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233 | (1) |
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Playing minor chord progressions |
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234 | (1) |
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Starting Numbers on the 5th String |
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234 | (4) |
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Playing Chord Progressions with Open Chords |
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238 | (1) |
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Chapter 5 Identifying Tonics, Keys, And Modes |
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239 | (32) |
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Understanding the Relationship between Major and Minor Scales |
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240 | (1) |
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Numbering the Relative Minor |
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241 | (6) |
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Accounting for any interval changes |
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242 | (1) |
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Looking at a few minor key song examples |
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243 | (4) |
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Identifying the Modes of the Major Scale |
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247 | (17) |
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247 | (1) |
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248 | (5) |
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253 | (3) |
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256 | (4) |
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260 | (4) |
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264 | (1) |
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264 | (1) |
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Key Signatures and Common Discrepancies |
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264 | (3) |
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Looking past the key signature to figure out a song's mode |
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264 | (2) |
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Considering some common discrepancies in music notation |
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266 | (1) |
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Comparing Scale Formulas and Structures |
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267 | (4) |
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Chapter 6 Dominant Function And Voice Leading |
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271 | (12) |
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Chord Function and the Dominant Chord |
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271 | (4) |
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Leading with the leading tone |
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273 | (1) |
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Tension rises with a tritone |
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273 | (1) |
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Playing songs with dominant function |
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274 | (1) |
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275 | (5) |
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Drawing attention to some common secondary dominants |
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276 | (1) |
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Thinking of secondary dominants as mini key changes |
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277 | (3) |
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Songs that use secondary dominants |
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280 | (1) |
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280 | (3) |
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283 | (94) |
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Chapter 1 I Know, It's Only Rock Guitar, But I Like It |
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285 | (16) |
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Differentiating Between Rock and Acoustic Guitar It Ain't Just Volume |
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286 | (5) |
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287 | (1) |
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287 | (1) |
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288 | (1) |
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289 | (1) |
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290 | (1) |
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Knowing the Essentials: The Power Trio |
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291 | (7) |
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291 | (4) |
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295 | (2) |
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297 | (1) |
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Accessorizing Your Guitar |
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298 | (3) |
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299 | (1) |
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299 | (1) |
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300 | (1) |
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300 | (1) |
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301 | (22) |
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301 | (4) |
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303 | (1) |
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303 | (2) |
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305 | (6) |
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305 | (3) |
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Alternate picking in downstrokes and upstrokes |
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308 | (1) |
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308 | (2) |
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310 | (1) |
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Combining steps and skips |
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311 | (1) |
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Starting at the Bottom: Low-Note Melodies |
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311 | (1) |
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Going to the Top: High-Note Melodies |
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312 | (1) |
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312 | (3) |
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313 | (1) |
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Moveable, or closed, position |
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313 | (2) |
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Jamming on Lower Register Riffs |
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315 | (1) |
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Making It Easy: The Pentatonic Scale |
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315 | (2) |
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Playing the Pentatonic Scale: Three Ways to Solo |
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317 | (3) |
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Pentatonics over a major key |
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318 | (1) |
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Pentatonics over a minor key |
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318 | (1) |
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Pentatonics over a blues progression |
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319 | (1) |
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320 | (3) |
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Chapter 3 Groovin' On Riffs |
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323 | (10) |
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Getting Your Groove On: Basic Riffs |
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324 | (5) |
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Half-note and whole-note riffs |
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324 | (1) |
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Eighth-note and quarter-note riffs |
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324 | (3) |
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327 | (1) |
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328 | (1) |
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Playing Two Notes Can be Better than One: Double-Stops |
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329 | (2) |
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Combining Single-Note Riffs and Chords |
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331 | (2) |
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Chapter 4 Going Up The Neck And Playing The Fancy Stuff |
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333 | (22) |
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334 | (3) |
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335 | (1) |
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Playing double-stops on the move |
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336 | (1) |
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337 | (2) |
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338 | (1) |
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338 | (1) |
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Using the Moveable Pentatonic Scale |
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339 | (3) |
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339 | (1) |
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Going above home position |
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340 | (1) |
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Dropping below home position |
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340 | (2) |
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342 | (2) |
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342 | (1) |
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From the depths to the heights |
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343 | (1) |
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344 | (4) |
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Associating keys with positions |
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344 | (1) |
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345 | (1) |
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Putting the five positions into play |
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346 | (2) |
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Bringing Down the Hammer-ons |
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348 | (1) |
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Having Pull with Pull-offs |
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349 | (1) |
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350 | (1) |
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351 | (3) |
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352 | (1) |
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352 | (2) |
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Sounding a Vibrato That Makes You Quiver |
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354 | (1) |
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Chapter 5 The Care And Feeding Of Your Electric Guitar |
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355 | (22) |
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Using the Tools of the Trade |
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356 | (2) |
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356 | (1) |
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357 | (1) |
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358 | (8) |
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Choosing the right strings |
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359 | (1) |
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360 | (3) |
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Putting on the new strings |
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363 | (3) |
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Cleaning the Parts of Your Guitar |
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366 | (2) |
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367 | (1) |
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The body, fingerboard, and hardware |
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367 | (1) |
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367 | (1) |
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368 | (1) |
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Setting Up Your Guitar to Optimize Performance |
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368 | (5) |
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369 | (2) |
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371 | (2) |
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Fixing minor wiring problems |
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373 | (1) |
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373 | (1) |
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374 | (3) |
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377 | (66) |
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Chapter 1 Introducing The Blues And Playing Blues Rhythm |
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379 | (26) |
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Beyond the Delta: Defining the Blues Guitar Sound |
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380 | (4) |
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The method to the music: Chord progressions |
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381 | (1) |
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The guitarist's language of melody |
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381 | (1) |
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Playing blues expressively |
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382 | (1) |
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The groove that sets the pace |
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383 | (1) |
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384 | (2) |
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384 | (1) |
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384 | (1) |
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385 | (1) |
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385 | (1) |
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Mixing Single Notes and Strumming |
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386 | (3) |
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Separating bass and treble: The pick-strum |
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387 | (1) |
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Playing common pick-strum patterns |
|
|
387 | (2) |
|
Shuffling the Beats with Syncopated Strumming |
|
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389 | (2) |
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A bit of notation: Dots that extend and ties that bind |
|
|
390 | (1) |
|
Syncopation: Playing with dots and ties |
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390 | (1) |
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Muting: Stopping the String from Ringing |
|
|
391 | (3) |
|
Muting the sound between two chords (left hand) |
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391 | (1) |
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Simulating syncopation with left-hand muting |
|
|
392 | (1) |
|
Muting the sound of a note (right hand) |
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392 | (2) |
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Copying the Classics: Plucking Fingerstyle Blues |
|
|
394 | (1) |
|
The Right Hand's Bliss: Different Rhythm Styles to Play |
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394 | (11) |
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|
|
395 | (2) |
|
The driving straight-four |
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397 | (2) |
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The slow 12/8, with groups of three |
|
|
399 | (3) |
|
|
|
402 | (1) |
|
The slow and funky 16 feel |
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|
403 | (2) |
|
Chapter 2 Blues Progressions, Song Forms, And Moves |
|
|
405 | (22) |
|
|
|
405 | (1) |
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Recognizing the Big Dogs: Primary Key Families and Their Chords |
|
|
406 | (2) |
|
The Structure of a Blues Song, Baby |
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408 | (7) |
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|
|
408 | (1) |
|
|
|
409 | (1) |
|
|
|
410 | (1) |
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411 | (2) |
|
|
|
413 | (1) |
|
Straight-four (or rock blues) |
|
|
414 | (1) |
|
Applying Structures to Keys |
|
|
415 | (6) |
|
A move with many chords: The Jimmy Reed move |
|
|
416 | (4) |
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The sound of sadness: Minor blues |
|
|
420 | (1) |
|
Accessorizing the 12-Bar Blues: Intros, Turnarounds, and Endings |
|
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421 | (2) |
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|
|
421 | (1) |
|
|
|
421 | (2) |
|
|
|
423 | (1) |
|
|
|
423 | (4) |
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Chapter 3 Musical Riffs: Bedrock Of The Blues |
|
|
427 | (16) |
|
|
|
428 | (3) |
|
For the low-down bass notes: Quarter-note riffs |
|
|
428 | (1) |
|
The big daddy of riffs: Eighth-note riffs |
|
|
429 | (1) |
|
Adding a little funk: 16th-note riffs |
|
|
430 | (1) |
|
Throwing rhythm for a loop: Syncopated eighth-note riffs |
|
|
430 | (1) |
|
Double the Strings, Double the Fun: Two-Note Riffs (or Double-Stops) |
|
|
431 | (3) |
|
|
|
432 | (1) |
|
Shuffle, or swing, eighths |
|
|
433 | (1) |
|
High-Note Riffs, the Bridge to Lead Guitar |
|
|
434 | (6) |
|
Keith Richards's borrowed trademark: Quick-four riffs |
|
|
435 | (1) |
|
Intro, turnaround, and ending riffs |
|
|
435 | (5) |
|
Mastering the Rhythm Figure |
|
|
440 | (3) |
|
|
|
443 | (58) |
|
Chapter 1 Introducing The Classical Guitar |
|
|
445 | (22) |
|
Classical Guitar: One Term, Two Meanings, and a Bit of History |
|
|
446 | (1) |
|
How a Classical Guitar Is Physically Different from Its Peers |
|
|
447 | (3) |
|
Beyond Physique: Other Unique Attributes of Classical Guitar |
|
|
450 | (3) |
|
Player's form and technique |
|
|
450 | (1) |
|
Musical knowledge and skills |
|
|
451 | (2) |
|
Situating Yourself to Play |
|
|
453 | (7) |
|
|
|
453 | (1) |
|
Supporting the guitar: Leg position |
|
|
454 | (2) |
|
Embracing the guitar: Arm support |
|
|
456 | (1) |
|
Placing your hands correctly |
|
|
456 | (4) |
|
Approaching the Strings with Your Hands |
|
|
460 | (7) |
|
Fretting the strings: Left-hand form |
|
|
460 | (1) |
|
Preparing to pluck: Right-hand form |
|
|
460 | (3) |
|
Stroking the strings: Basic right-hand technique |
|
|
463 | (4) |
|
Chapter 2 Playing Easy Pieces In Open Position |
|
|
467 | (14) |
|
Coordinating Contrapuntal Music: Layered Melodies |
|
|
468 | (4) |
|
Playing two melodies in sync rhythmically |
|
|
468 | (2) |
|
Opposing forces: Separating the thumb and fingers rhythmically |
|
|
470 | (1) |
|
Thickening the upper part by adding double-stops |
|
|
471 | (1) |
|
Melody and Accompaniment: Using All Your Fingers |
|
|
472 | (2) |
|
Matching rhythm between accompaniment and melody |
|
|
472 | (1) |
|
Getting creative with the flow: Two parts, two rhythms |
|
|
473 | (1) |
|
Playing Easy Pieces in Different Textural Styles |
|
|
474 | (7) |
|
Chapter 3 Combining Arpeggios And Melody |
|
|
481 | (20) |
|
Grasping the Combination in Context |
|
|
482 | (1) |
|
Going Downtown: Melody in the Bass |
|
|
483 | (3) |
|
Playing a bass melody within arpeggios |
|
|
483 | (2) |
|
Practicing making a bass melody stand out |
|
|
485 | (1) |
|
Moving Uptown: Melody in the Treble |
|
|
486 | (3) |
|
Playing a treble melody within arpeggios |
|
|
487 | (1) |
|
Practicing making a treble melody stand out |
|
|
488 | (1) |
|
Mixing Up Your Melodic Moves: The Thumb and Fingers Take Turns |
|
|
489 | (3) |
|
Playing a shifting treble-and-bass melody within arpeggios |
|
|
489 | (2) |
|
Practicing making a shifting melody stand out |
|
|
491 | (1) |
|
Playing Pieces That Combine Arpeggios and Melodies |
|
|
492 | (9) |
|
BOOK 7 EXERCISES: PRACTICE, PRACTICE, PRACTICE |
|
|
501 | (80) |
|
Chapter 1 Putting The Major Scales To Use In Your Playing |
|
|
503 | (12) |
|
Practicing Five Major Scale Patterns |
|
|
504 | (8) |
|
|
|
504 | (2) |
|
|
|
506 | (2) |
|
|
|
508 | (1) |
|
|
|
509 | (2) |
|
|
|
511 | (1) |
|
Applying Your Scale Work to Actual Pieces of Music |
|
|
512 | (3) |
|
|
|
513 | (2) |
|
Chapter 2 Adding Major Scale Sequences To Your Repertoire |
|
|
515 | (14) |
|
Practicing Major Scale Sequences |
|
|
516 | (8) |
|
Major scale sequences using pattern #1 |
|
|
516 | (2) |
|
Major scale sequences using pattern #2 |
|
|
518 | (2) |
|
Major scale sequences using pattern #3 |
|
|
520 | (1) |
|
Major scale sequences using pattern #4 |
|
|
521 | (1) |
|
Major scale sequences using pattern #5 |
|
|
522 | (2) |
|
Putting Your Sequence Skills to Work with a Few Songs |
|
|
524 | (5) |
|
"Oh, Them Golden Slippers" |
|
|
525 | (1) |
|
"We Wish You a Merry Christmas" |
|
|
525 | (4) |
|
Chapter 3 Tackling The Three Minor Scales |
|
|
529 | (28) |
|
Familiarizing Yourself with Natural Minor Scales |
|
|
530 | (7) |
|
Natural minor scale pattern #1 |
|
|
530 | (2) |
|
Natural minor scale pattern #2 |
|
|
532 | (1) |
|
Natural minor scale pattern #3 |
|
|
532 | (3) |
|
Natural minor scale pattern #4 |
|
|
535 | (1) |
|
Natural minor scale pattern #5 |
|
|
536 | (1) |
|
Raising the Bar with Melodic Minor Scales |
|
|
537 | (8) |
|
Melodic minor scale pattern #1 |
|
|
538 | (2) |
|
Melodic minor scale pattern #2 |
|
|
540 | (1) |
|
Melodic minor scale pattern #3 |
|
|
541 | (1) |
|
Melodic minor scale pattern #4 |
|
|
542 | (2) |
|
Melodic minor scale pattern #5 |
|
|
544 | (1) |
|
Harmonizing with Harmonic Minor Scales |
|
|
545 | (7) |
|
Harmonic minor scale pattern #1 |
|
|
546 | (1) |
|
Harmonic minor scale pattern #2 |
|
|
547 | (1) |
|
Harmonic minor scale pattern #3 |
|
|
547 | (3) |
|
Harmonic minor scale pattern #4 |
|
|
550 | (1) |
|
Harmonic minor scale pattern #5 |
|
|
551 | (1) |
|
Playing Pieces Using the Three Minor Scales |
|
|
552 | (5) |
|
"God Rest Ye Merry, Gentlemen" |
|
|
553 | (1) |
|
|
|
554 | (1) |
|
|
|
555 | (2) |
|
Chapter 4 Building Finger Independence With Chord Exercises |
|
|
557 | (24) |
|
Practicing Inversion Patterns |
|
|
558 | (16) |
|
Patterns using outside chords |
|
|
559 | (8) |
|
Patterns using inside chords |
|
|
567 | (7) |
|
Playing Chord Progressions |
|
|
574 | (3) |
|
Progressions using outside chords |
|
|
575 | (1) |
|
Progressions using inside chords |
|
|
576 | (1) |
|
Practicing Pieces that Use Chord Progressions |
|
|
577 | (4) |
|
Putting outside chords to use with "Danny Bo/' |
|
|
577 | (1) |
|
Playing inside chords in "Look for the Silver Lining" |
|
|
577 | (4) |
| Appendix A 96 Common Chords |
|
581 | (4) |
| Appendix B Accessing The Video Clips And Audio Tracks |
|
585 | (8) |
| Index |
|
593 | |
