Beginning Guitarfor theNew Millinium

By Ed Rodriguez

2 3

This book is dedicated to those students that have the courage to create and the compassion to under-

stand the spiritual meaning of music and it’s value to hamanity.

Copyright 2002 by Paidia Academic PressLibrary of Congress Number 68-264

All Rights Reserved

This volume may not be reproduced in whole or part in any form without written permission from the publisher.

Printed in the United States of America

2 3

Contents

Tuning the Guitar ...................................................5Holding the Guitar .................................................7The Left Hand ........................................................8The Right Hand HAND .........................................8How to Practice the Guitar.....................................9Diagram Systems ...................................................9

IMPORTANT KEYS ...........................................10Important Chords in the key of G ........................10Strum System Explained......................................11Important Chords in the key of D ........................12Important Chords in the key of A.........................14REVIEW I............................................................16Theory ..................................................................17Review of Chords Learned ..................................17Important Chords in the key of E ........................18Important Chords in the key of C ........................20Important Chords in the key of F.........................22REVIEW II ..........................................................24

BAR CHORDS ....................................................25The Set 1 Bar Chords...........................................26The Set II Bar Chords ..........................................28Notes on the Guitar Fretboard..............................30Suspension Chords...............................................31More chords frequently found in songs ...............31

NOTE READING................................................33Notes On The First String ....................................34Counting...............................................................35Notes On The Second String................................36Notes On The Third String...................................38Notes On The Fourth String.................................40Notes On The Fifth String....................................42Notes On The Sixth String...................................44

4 5

4 5

1. Press down the second string at the fifth fret, and when played it should sound the sme as the first string open. As long as the first string is fairly tightm, you can tune all the strings to it. If the sound of the second string is not the same as the first string, try to deter-mine whether the string is higher or lower by listening. If the second string is higher, loosen: if the string is lower, tighten it to the first string. try humming the sound of each to determine which is higher or lower. Always adjust the string you are holding down.

2. Next, press dwon the third string at the fourth fret and compare that sound with the second string, open. They should sound the same. If not, adjust the thrird string until both the third and second strings sound alike.

3. Press the fourth string dwon at the fifth fret. It should sound the same as the third string, open.

4. Press the fifth sting down at the fifth fret. It should sound the same as the fourth string open. If not, adjust the fifth string.

5. Press the sixth string down at the fifth fret. It should sounc the same as the fifth string, open.

1

2

3

4

5

6

6 5 4 3 2 1 STRINGS

FRETS

Tuning the Guitar

6 7

E A D G B E

E A D G B E

E329.6 cs

Dial tone = A

440 cs

Electronic Tunner

Mid

dle

C

Tuning Devices

6 7

Holding the Guitar

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

8 9

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

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

The Left Hand

The Right Hand

8 9

How to Practice the Guitar

When first learning to play, limit your practice time to a half hour, then take a break. A half hour in the morning and a half hour in the evening is even better: this way you are in constant touch with the instrument. Learn to be patient with yourself. Stick to the lesson when you practice. Don’t keep playing chords you have already mastered. Prac-tice the ones you have trouble with. Learn one set of chords a week. As you progress through the book you can increase your practice time to forty-five minutes before taking a break.

Diagram Systems

The number next to the circle on the string represents which finger of the left hand to use. The strings are marked on the side of the dia-gram. ‘X’ means not to play that string. ‘O’ means play that string even though you are not holding it down.

1

2

3

4

6 5 4 3 2 1

FRETS

X 0 0

2

3

1

IV V7

VII

10 11

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

G Em

C D7

1

2 3

1 2

3

2

1 1

32

0 0 0 0 0 0

X 0 0 X X 0

0

STUDY 1

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

The key of G con-tains one sharp.

Important Chords in the key of G

IMPORTANT KEYS

IV V7

VII

10 11

G

Em

C

D7

5

G

C

D7

C

9

G

D7

C

D7

Study 1

G

G

G

G

5

9

Blues Progression

Strum System Explained

D D D D = One strum for each symbol or mark.

D U D U D U D U

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

= Tie. Strum the first mark connected to the tie but do not strum the second mark. This is called syncopation.

= Triplet – means three strums will equal one beat.

= Rpeat the previous measure.

When strumming try to use more writst action than arm movement. On the up stum play the first three strings only. Keep the right wrist loose.

IV V7

VII

12 13

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

X X 0

1 2

3

1

2

3

32

1 21

00 0 0 0

D Bm

G A7

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

The key of D con-tains two sharps.

Important Chords in the key of DSTUDY II

0 X

X X 0

IV V7

VII

12 13

D

5

D

9

D

Bm G A7

G A7 G

A7 G A7

Study II

Ex. 1

Ex. 2

Ex. 3

Ex. 4

CEmD

GCDG

GCDG

GCDG

G

5

9

13

Chords in the Key of G and D Combined

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

Ex. 5

D DGA7

GBmA7D

5

Ex. 6

D DGC

DGCD

5

IV V7

VII

14 15

STUDY III

Important Chords in the key of A

The key of A con-tains three sharps.

A

D E7

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

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

F#m — Use your first finger to hold the three strings at the second fret.

12 3 1 11

3

1 2 2

1

X 0 0 X X X

X X X 0 0 0 0

F#m

IV V7

VII

14 15

E7DE7A

DE7DA

E7DFmA

5

9

Study IIIEx. 1

Ex. 2

Ex. 3

E7AD7E7

A7AD7D7

A7AAA

5

9

Blues or Rock ProgressionEx. 4

DDA7Em

GFmEmD

A7E7BmD

GFmEmD

5

9

13

D Bm

Combining Chords Learned to this PointEx. 5

-- TIE Strum the first mark connected to the tie, but do not strum

mark. This is called syncopation.

16 17

REVIEW I

1. How many chords have you memorized?

2. Are you trying to get the best sound possible from each chord? If not, play each string one by one to find out where the problem is, then corrct it.

3. Try to stop your strum when changing fromchord to chord, even if a your fingers are not in place yet.

4. Once you learn a new chord put it to use right away. Try to learn a song with that chord in it.

5. Make sure you are holding the guitar pick correctly.

6. Remember to strum from the wrist; do not use the whole arm.

7. If you are having problems with certain chords, yo may not be squeezing with the thumb and fingers at the same time. Check that out.

8. Buy as much sheet music or as many song books as you can afford. Once you learn a new song, play if for your friends. Don’t be bashful—and this is no joke:you will never be a complete musician if don’t learn how to perform.

16 17

G

Em

C

D7

5

D

Bm

G

A7

9

A

Fm

D

E7

Review of Chords Learned

Theory

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

G Em C D7I VI IV V

D Bm G A7I VI IV V

Exercise old key:

New key:

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

Review of Chords Learned

IV V7

VII

18 19

E C#m

A B7

0 0 0 X X 0

X 0 0 X 0

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

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

— Triplet;

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

2 31

2 3

1

1 32 2 3 4

1

STUDY IV

Important Chords in the key of E

The key of E con-tains four sharps.

IV V7

VII

18 19

3

3

E

3

3

B7ACm

5

AB7AE

9

B7AB7E

Study IVEx. 1

Ex. 2

Ex. 3

3

3

B7EA7B7

E7EA7A7

E7EEE

5

9

The Blues or Rock ProgressionEx. 4

DG

E

B7

D

A

5

ADEAE

D

9

A

D G

D G

D A

13

E7

E7

A

D

Other Chords Combined

Ex. 5

Ex. 6

Ex. 7(rest)

(rest)

IV V7

VII

20 21

STUDY V

Important Chords in the key of C

C Am

F G7

The key of C con-tains no sharps.

X 0 0 X 0 0

X X 0 0 0

1

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

2

3

1

11

3 3

2 2

1 1 1

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

IV V7

VII

20 21

G7FC

Am

5

FG7C

F

9

G7FG7C

Study VEx. 1

Ex. 2

Ex. 3

3

3

B7AmGC

EmB7GC

B7AmGC

ADEm

3

3

B7

5

9

13

Other Chords CombinedEx. 4

GFGAm

5

Am

G

F

E

Ex. 5

Ex. 6

IV V7

VII

22 23

STUDY VI

Important Chords in the key of F

The key of F con-tains one flat.

F Dm

Bb C7

Remember to practice all the chords you have learned. This is im-portant so you don’t forget some of them. Chords are like words; the more you know, the better you are able to express yourself.

Bb — You must skip the second fret when holding this chord. Strum the first four strings only.

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

11

2

3 3

1

2

1

432 3 4

1

2

XX X X 0

X X X 0

IV V7

VII

22 23

3

3

C7BAF

5

BC7BF

9

C7BC7F

Study VIEx. 1

Ex. 2

Ex. 3

GFGF

GBAF

GBF

A

5

9

Combining Other ChordsEx. 4

EAmEAm

FDCAm

FECAm

EEAm

C

5

9

13

Ex. 5

24 25

REVIEW II

Congradulations! Now that you reached this point in the book, let’s see how you did.

1. You know almost all the important chords in first posi-tion.

2. You can play music in six different keys.

3. You should have a fine collection of songs to play.

4. Try to memorize those songs you like best.

5 Remember, it’s easy to play guitar, but hard to play guitar well.

24 25

BAR CHORDS

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

Major Minor Seventh

That’s right! Your first finger must lay across all six strings at the same time. Learn all these chords up the neck of the guitar.

FRETS FRETS FRETS

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

26 27

2

43 3 4 3

2

FGbGAbABbBCDbDEbE

FmGbmGmAbmAmBbmBmCmDbmDmEbmEm

F7Gb7G7Ab7A7Bb7B7C7Db7D7Eb7E7

The Set 1 Bar Chords

Major Minor Seventh

That’s right! Your first finger must lay across all six strings at the same time. Learn all these chords up the neck of the guitar.

FRETS FRETS FRETS

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

26 27

CCBG

C

BC7F

B

5

CBG

9

13

BGA

EEAA

EEE

D

FFFF

E

17

21

25

29

D7GC7D7

G7GC7C7

G7GG

C7

33

37

The E-Bar Chord StudyEx. 1

Ex. 2

Ex. 3

Ex. 4

The Bar Chord StudySet 1

Major Minor Seventh

FRETS FRETS FRETS

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

28 29

3 33 3 4 3 2

2

BbBCDbDEbEFGbGAbA

BbmBmCmDbmDmEbmEmFmGbmGmAbmAm

Bb7B7C7Db7D7Eb7E7F7Gb7G7Ab7A7

X 1 1 1 1 1 X 1 1 1 1 1 X 1 1 1 1 1

The Set II Bar Chords

Major Minor Seventh

FRETS FRETS FRETS

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

28 29

AA

GF

GFF

5

9

C D

13

D7GD7A7

E7G

B7

17

21

BAE

D

25

BE F

Gm A

The Bar Chord Study Set 2

Ex. 1

Ex. 2

Ex. 3

Ex. 4

30 31

Notes on the Guitar Fretboard

E A D G B E

FCF

G C F D G

B E A

B

C E AGDA

F

B E A D B

C CF G

B E

DAFCGD

E A B G B

1 2 3 4 5 6 7 8 9101112

Frets

6 5 4 3 2 1

E

30 31

Chord ReferenceMore chords frequently found in songs

Suspension ChordsA suspension means adding a particular note to the chord which is not part of the regular chord.

X

DsusX 0 X 0

Asus0 X 0

Esus0 X 0

Csus

3 4

1 2 1

4

2 3 14 2

1 1

3

X 0 0

Am70 X

EbX X X

CmX X X

BX

2

1

1 2

3

2

1

3

1

2

3

X 0 0

Cma70 X 0

Fma7X X

Dm7X X 0 0 0

Em7

33

2

1 1 1

2 1 2

3

2

32 33

32 33

5

9

13

17

21

Note and Time ValuesWhole Notes

A whole note = 4 beats or countsPlay note and then count: 1-2-3-4

A half note = 2 beats or counts

Quarter Notes

A quarter note = 1 beat or count

Dotted half notes

A dotted half-note = 3 beats or counts

Eigth Notes

An eigth note = 1/2-beat or countTwo eigth notes = 1 beat or counts

Half Notes

NOTE READING

34 35

4

7

10

13

16

Notes On The First String

E - Open

F - Use 1st finger

G - Use 3rd finger

E, F, & G - Notes CombinedEx. 2

Ex. 1

Notes On The First String

0

3

1

G

F

E

34 35

4

7

10

13

16

19

22

25

28

31

34

Counting Time = 4 beats in a measure

Measure 1 Measure 2 Measure 3

= three beats in a measure34

44

Counting

36 37

4

7

10

13

16

19

22

25

Notes On The Second String

B - Open

C - Use 1st finger

D - Use 3rd finger

B, C, & D - Notes Ex. 2

Ex. 1

Notes On The Second String

0

1

3D

C

B

36 37

C G7 C G7

C G7 C G7

5

C G7

C G7

C G7

C

9

G7

C

G7

C

13

C G7 C G7

C G7 G7 C

17

C

C

G7

C

21

C

C

G7

C

25

C C C

C

30

G7 G

C

C

34

C C C

C

38

G7 G7

G7

C

Lake TahoeE. Rod

Mary Had A Little Lamb

A Tisket A Tasket

38 39

4

7

10

13

16

19

Notes On The Third String

G - Open

G- and A- Notes Combined

Ex. 2

Ex. 1

Ex. 3

Notes On The Third String

0

2A

G

38 39

C

F C C G7

C

5

C

F C C G7

C

9

C C C G

13

C

F C C G7 C

17

G G

G

D7

22

G G

G B7

G

26

C C

G

D7

30

G G

G B7

D7

34

G

D7

G C

38 C

D7

D7

G

Old Mac Donald

E. RodThe Three String Waltz

Oh! Susanna

40 41

4

7

10

13

16

19

Notes On The Fourth String

D - Open

E - Use 2nd finger

F - Use 3rd finger

D, E, & F - Notes CombinedEx. 2

Ex. 1

Notes On The Fourth String

0

3F

2E

D

40 41

C

F

G7 C

5

C

F

G7

C

9

C

F

G7 C

13

C

F

G7 C

17

C

C

G7

C

21

C

C

G7

C

25

29

33

37

Little Brown Jug

London BridgesE. Rod

rest = 1 count or beat

42 43

4

7

10

13

16

19

Notes On The Fifth String

A - Open

B - Use 2nd finger

C - Use 3rd finger

A, B, & C - Notes CombinedEx. 2

Ex. 1

Notes On The Fifth String

0

2

3C

B

A

42 43

C

C

G7

G7

5

C

C

G7

C

9

F

Em F

F Em

F

13

F

Em F

F Em

F

17

C

C

G7

G7

21

C F E

Dm G7 C

25

C

C

C

C

G7

30

G7

G7

G7

C

34

F

C

F

C

38

C

C

G7

C

42

C

C

C

C F

46

F

F C

C F G7

C

New World Theme

LullabyJ. Bhrams

Shasta Rock

44 45

4

7

10

13

16

19

Notes On The Sixth String

E - Open

F - Use 2nd finger

G - Use 3rd finger

E, F, & G - Notes CombinedEx. 2

Ex. 1

Notes On The Sixth String

0

1

3G

F

E

44 45

5

9

13

17

21

25

29

33

37

Let’s Rock

Let’s RollE. Rod

Let’s Rock & Roll

E. Rod

E. Rod

Edward Rodriguez taught a generation of guitar players in the Bay Area from the mid-sixties until 1999. After returning from four-years of military service overseas, Mr. Rodriguez embarked on a career in music. He spent two years at the College of San Mateo, then two more years at Hayward state, where upon he received his Bachelor of Arts in Music in 1963. About then, guitar instruction was a very hot field with the booming folk music movement. Mr. Rodriguez interests soon led him to San Francisco’s Haight-Asbury scene, where he witnessed the local rock renaissance and began playing and teaching professionally. “Rod”—as his students liked to call him—began teaching folk, rock, jazz and classical guitar styles out of Wolmer’s music store in Burlingame. He was a popular instructor, right up until suffering a debilitating stroke in 1999. Rod is now retired, living quietly in Modesto, devoting himself to classical guitar and an occasional round of golf.

Mr. Rodriguez was a great believer in having his students perform in public. As result, many of these students saw local success in coffee houses, dance halls, school auditoriums and fairs. Among the acts that Rod coached, included folk-singer, Steven Rosenthal and the rock band, Juveniles. Rod also inspired a new generation of guitar instructors, including the collaborator of this manual, Antony Nispel.

Mr. Rodriguez has always been concerned with the importance of music and the process of creativity in people’s lives. In addition, he has an unusual capacity to understand the essence of what is musically vital and communicate this to his students. This book—his only written work on the guitar—is a testament to this minimalist excellence.

Antony Nispel