beginning guitar for the classroom€¦ · classical guitar technique is presented methodically,...

Beginning Guitar For the Classroom

Fourteenth Edition

Lou Warde

Platso Music Copyright © 2020, Platso Music

International Copyright Secured All Rights Reserved

A Comprehensive Approach

2Forward

This book is intended for the beginning student with no previous guitar experience. The goal is that the student acquires basic proficiency in three distinct areas: popular, classical and ensemble playing. Popular Style Students will learn all the basic chords as well as a variety of extended chords, including bar chords. Chords are always learned in the context of playing popular songs, from a variety of genres, so that there is immediate and relevant application. Playing with the recordings of these songs is not only fund, but it also teaches the students how to listen to and play to a beat. Students will learn all songs by reading song charts, which contain the chords, strumming rhythms, form and other details of the song. The class final for the rock portion of this book is to learn and perform the iconic song, Stairway to Heaven. It’s makes for an excellent final since it includes a variety of chords and strumming patterns, some with demanding and aggressive rhythms, as well as a variety of fingerstyle patterns. Beginning in Lesson 13, students will learn this song section by section as it correlates to the objective of each lesson. By Lesson 20, students will be equipped to not only learn to play this song proficiently, but also authentically. That, in and of itself, is a huge trophy for any guitar player! Guitar Ensemble There are significant reasons and benefits to including ensemble music in a guitar curriculum. The first is that for students (or really, for any musician) to perform ensemble music with other students is a magical. More than that, in the context of music education, students learn the practical skill of preparing music for a performance. This means not only learning their own part (both reading it and technical preparation), but also in rehearsal, listening to their part in the context of the whole, considering important musical elements such as balance, tone, phrasing, dynamics, tempo fluctuations and other expressive devices. Lastly, for my program, building this fundamental skill now prepares students for the following years in my program when the guitar ensemble is an active performing ensemble. Ensemble playing actually starts in chapter 3, when students begin learning to read music in the context of playing duets with the teacher. Like learning chords in the context learning popular songs, learning to read music in the context of playing duets not only gives students a relevant and enjoyable application to acquiring reading skills, but it also teaches students to how to listen, the most important skill in music. Classical Guitar By the second semester, students will have become proficient enough in music reading skills to begin learning classical guitar. Classical guitar technique is presented methodically, beginning with simple arpeggios and ending with three-part studies. All repertoire is taken from standard classical guitar literature. While developing technical skill is obviously a primary objective here, the goal is more than that. As important as it is, technique is only physical. No one, including the performer, wants to hear only fingers playing notes. From the beginning, this book emphasizes that what makes all music, but in particular, classical guitar, meaningful to both the audience and the player is when the player is able to express how they hear the music – their interpretation, framed within the perimeters of the composer’s intentions. The function of technique is to give us the tools to articulate what hear. It’s never only about the fingers, but about the inner ear. When students are able to play what they hear, the music becomes far more personal because they are expressing their thoughts and emotions through the notes. Subsequently, the music becomes so much more meaningful to them as well as to their audience. When students internalize the music and make expression the goal, technical mastery will be automatic. NOTE: As a supplement to this book, it is highly recommended that students and teachers utilize the eBook found on my website, www.TheGuitarClassroom.

3

Contents PART I PART II 57

Lesson 1 (A and D Chords)………………………….……. 4 Lesson 11 (Sus4 Chords, Certain Kind of Fool)………… 58 Get Back…………….………….………………….…… 5 Classical Guitar ……………..…………………………… 59 Lesson 2 (Rhythm)……………………………..…………. 6 p-i-m Patterns (Allegro)……………...……………………… 60 The E Chord, Strumming Patterns…………...…………. 7 Ode to Joy (Guitar Quartet Score)……..……………… 61 Hollywood Nights, Chasing Cars………………….…… 8 Guitar 1 & 2…………………………………………… 62 No Rain………………...………….………….………… 9 Guitar 3 & 4…………………………………………… 63 Lesson 3 (G and C Chords)……………………………..….. 10 Lesson 12 (Sus2, Hide your Love Away)………………… 64 Reading Music, Notes on the 1st String....………….….... 11 p-i-m-i Patterns (Prelude in G)……………..……..… 65 Half Notes and Whole Notes, Duets…………………..... 12 Allegro, Estudio………………………………………. 66 Lesson 4 (The E Minor Chord)….………….… ..…………. 14 Finale (Guitar Quartet Score)…………………………. 67 In Your Time ………….……………....….….………….. 15 Guitar 1 & 2…………………………………………… 68 Heart of Gold ………….……………...….….………….. 16 Guitar 3 & 4…………………………………………… 69 Notes on the 2nd String, Duets, Sight-Reading Ex.……... 17 Lesson 13 (add9 Chords, The One I Love)……….……… 70 Sight-Reading Exercises.…………………………….….. 21 p-i-m-a Pattern (Prelude in A, Prelude in C)……...…. 71 Lesson 5 (F Chord)…………………………………………. 22 Finlandia (Guitar Quartet Score)…….……….………. 72 Wishlist……………....………………………………….. 23 Guitar 1 & 2………..………………….…………… 74 Notes on the 3rd String, Dotted Quarter Note…………… 24 Guitar 3 & 4……..………………………………… 75 Duets: Allegro in C, Menuett, Spanish Dance….………. 25 Lesson 14 (The F and Fm Bar Chords)………..……….… 76 Note Review, Practice Reading Test,………......….……. 27 Have You Ever Seen the Rain?..........................………. 77 Lesson 6 (Am and Dm Chords),……………..………..……. 28 p-i-m-a-m-i Patterns (Study, Etude No. 1)……...….… 78 The Chain…………………………………..…………… 29 Lesson 15 (Bm Bar Chord, Hotel California).…...……… 79 Take It Easy…………………………………...………… 30 Against the Wind………..…………………….………. 80 Notes on the 4th String, (Practice Melodies)……….…… 31 Combining Patterns (Study, Ländler).……………..… 81 Four-String Melody…………..…………….…………… 32 Be Thou My Vision (Guitar Quartet Score)……………. 82 Note Review, Practice Reading Test,………......…….…. 33 Guitar 1 & 2………..……………………………… 83 Lesson 7 (A7, E7, & D7 Chords).…………………...…..…. 34 Guitar 3 & 4……………………………………...… 84 Home (Jack Johnson)……………………………………. 35 Lesson 16 (A Formation Bar Chord, Home)……….……. 85 Build a Levee …………………………………………… 36 Two or More Notes Played Together (Waltz)…….…. 86 Notes on 5th String, Duets…..………….……...………... 37 Pedal Notes (Andantino, English Dance)…….….…… 87 Andante in C (Duet)………………….…………………. 38 Lesson 17 (Advanced Rhythms: Syncopation)…….……. 88 Sight-Reading Exercises………………………………. 39 Here is Love (Guitar Quartet Score)………………….. 90 Note Review…………………………………..………… 40 Guitar 1…………………………………………..… 92 Lesson 8 (G7, C7, & B7 Chords)…...…………….….…..… 41 Guitar 2……………………………………….….… 93 Sittin’ On Dock of the Bay……………………………… 42 Guitar 3…………………………………………….. 94 Heartache Tonight …………………….……….……… 43 Guitar 4…………………………………………….. 95 Notes on the 6th string, Duets…………...…..……………. 44 Lesson 18 Classical Final: (Estudio, Prelude)…………. 96 Saturday Night ………………………..………………… 45 Lesson 19 Fingerstyle Patterns (Hey There Deliliah)……. 97 Dueling Banjos…....…………………………………….. 46 Dust in the Wind, Freight Train…...………………. 98 Sight-Reading Exercises…....…………………..……….. 48 Hallelujah………………………………………….. 99 Lesson 9 (Bm, Fields of Gold)……………….…….………. 49 Yosemite (Guitar Quartet Score & Parts)………….….. 100 Comfortably Numb…………….…………………...…… 50 Lesson 19 (Stairway To Heaven)……………….………... 106 Accidentals (Maestoso Duet)………………….……..…. 51 Appendix 109 Jesu, Joy of Man’s Desiring (Duet)…………………….. 52 Chords…………………………..………………….….. 110 Arietta (Duet)…………………………....……………… 53 Guitar Fretboard………………………………….……. 111 Sight-Reading Exercises…..……………….……………. 54 Notes in 1st Position……………………………...……. 112 Lesson 10 (Am7, Dm7, Cmaj7, Fmaj7, Don’t Panic)……... 55 Grading Rubric…………………………………...……. 113 Bourée……………………….…………………..……..... 56

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INTRO

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CHORUS

"Get back"

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"Get back"

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Get Back BEATLES

*Whenever you see a repeat sign, go back to the nearest repeat sign facing it. If there isn't one, go back to the beginning.

(Go to %)

5

D.S. is an abbreviation for Dal Segno, an Italian term meaning, go to the sign:

= Whole note. Strum once and let it ring for 4 beats; in other words, the whole measure. = Whole rest. Silence for the whole measure.!

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‘This symbol ( ) is called a one-measure repeat.It means to play this measure like the previous one.

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Lesson 2Rhythm

In Lesson 1, we learned about the beat. We also learned to read symbols that told us to strum a chord on the beat and let it ring for one beat or for the whole measure. This is called rhythm. Rhythm simply tells us when to strum those chords and how long to let them ring out based on the beat. Beats are the reference points.

6

Note Strum Rest

Clap and count the following rhythm exercises. Pat your lap on the rests.

Note Strum Rest

Beam

Since eighth notes last for only half a beat, and in , each beat must add upto a quarter note, we can fit two eighth notes in one beat. Two eighth notes are beamed together so that you know they both belong to one beat.

When playing two eighth notes, the first one is played right on the beat and the second one is played exactly at the halfway point between that beat and the next beat. When counting eighth notes, the first one is called by whatever beat it lands on, for example, "one" or "two." The second eighth note is always called "and."

Notes or strums that ring for one beat are called a quarter notes. Essentially, that's what the bottom number in a time signaure is telling you. While the top "4" tells you that there are 4 beats in a measure, the bottom "4", an abbreviation for (¼), tells you that the quarter note is the value of the beat. In other words, each beat must add up to a quarter note.

Since a quarter note lasts for one beat, then logically, a note lasting only half a beat is called an eighth note, since half of a quarter is an eighth.

Quarter Notes

Eighth Notes

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Strumming Patterns7

Strumming patterns are repeated rhythmic patterns we make while strumming. Play the strumming patterns below with a metronome. Make sure you synchronize your downstrum to each click!

When two 8th notes are on one beat, the first is referred to as the downbeat, and the second is referred to as the upbeat. With that in mind, strum down ( ) on the downbeat, and strum up ( ) on the upbeat. Downbeats = Downstrums, Upbeats = Upstrums.

Barton HollowThe Civil Wars

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Hollywood NightsBOB SEGER

8

(Whole rest)1st time: Play 7X2nd time: Play 5X

1st time: Play 2X2nd time: Repeat until fade-out

Chasing CarsSNOW PATROL

*D.C. is an abreviation for Da Capo, an Italian term meaning, go back to the head (beginning) of the music.

1st ime: No repeat, D.C.2nd time: Repeat3rd time: (after D.S.) fine

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Lesson 310

1st Time: 6X2nd time: 2X

Arku DantzaTrad. Spanish Basque Dance

G to C Progression

Can't You See: D C G DSweet Home Alabama: D C GHonky Tonk WomanEveryday People (G-C)

Already Gone

Eagles

1st Time: Play whole notes only.

Paperback WriterBeatles

3rd time: Stay on G until fade-out.

(Vocals Only)

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i m i m œ œ œ œ Œ 3i m i m1 œ œ œ œi m i m œ œ œ œ Œi m i m

11

In this lesson, you will begin learning to read music one string at a time, and only on the first three frets, which is called First Position. We will begin with the first string, also called the E string since that is the note it sounds when played open (no finger held down on the string). The note on the 1st fret is F. The note on the 3rd fret is G. (See below.) We will not play the note on the second fret in this lesson.

open 1st fret3rd fret

Reading Music

Notice the numbers next to some of the notes in the exercises below. These numbers indicate the left-hand fingers you will use to play those notes. While in first position, the numbers will correspond to fret numbers. Since you will be playing in first position only, numbers really aren't necessary at all. All notes on the 1st fretwill always be played with the first finger and notes on 3rd fret will always be played with the third finger.Because of that, finger numbers are used sparingly throughout the book so that you are not tempted to read numbers instead of reading the notes. Keep in mind that the point of these exercises is not so much to play the melodies, but to read the melodies.

Play the following exercises alternating between the index finger (i) and middle finger (m) and using arest stroke. After striking the string, the finger rests against the string just above. For example, after striking the 1st string with the index finger, the finger will "rest" against the 2nd string. Lastly, in the left hand, keepthe thumb behind the neck (it should not hang over the fretboard), always aligned with the middle finger. This will create an arch to the left hand, causing the fingers to be aligned with the frets, so that you won't have to look at your hand while reading the music.

Notes on the 1st (E) String

Numbers Next to Notes

Right and Left-Hand Technique

Play the exercises below using alternating between the index (i) and middle (m) finger and using a rest stroke.

index finger in right hand

1st finger (index finger) in left hand

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12

Half Notes and Whole NotesThese are half notes. A half note last for 2 beats, or half a measure.

Beats: X X X X

This is whole note. A whole note last for 4 beats, or a whole measure.

These are the corresponding rests. It's easy to confuse the two at first.

Note: Audio recordings of these duets are available in the eBook at www.TheGuitarClassroom.comGuitar Duets

Beats: X X X X

Note ReviewA. Write the letter name of the note below the staff. B. Draw the note indicated below the staff.

example ex.

Half Rest Whole Rest

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13

Sight-Reading Practice ExercisesSight-reading is the skill to read music fluidly, with little to no practice time. To assess your music-reading skills taught in this lesson (notes and rhythms), you will be asked to sight-read short music examples, such as those below.

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Between the Shadows

The Minor ChordLesson 4

14

Em There are four basic types of chords: major, minor, diminished, and augmented. All the chords you have learned so far have been major chords, identified by just one letter, i.e. "A", "D", "E". When an "m" is placed just after the letter, i.e. Em, it means that the chord is a minor chord. The "m" is simply an abbreviation for "minor". The difference between a major and minor chord is not in their importance, but in the quality of sound each produces. Compare the quality of sound between an E major and E minor chord. Form an E chord and strum it. Now, form an Em chord (simply lift your first finger off the 3rd string) and strum it. Did you notice the difference in quality of sound?

Exercise No. 1

Loreena McKennitt

3rd time: play 1X, then, jump to

The Dotted Half NoteThe dotted half note lasts for 3 beats.

4th time: play 4X

Notice the curved line that connects the two whole notes in measures 1 and 2 below. This is called a tie. A tie extends the duration of a chord or note. In the first measure below, the Em chord, being a whole note, can only ring for 4 beats. However, since it's tied to the whole note Em chord in measure 2, it rings for four more beats. You can think of the tie as a plus sign.

(Don't play on the repeat.)

( )

Beats: 1 2 3 4

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VERSE 1 & 2

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In Your Time

Words and Music by BOB SEGERRock Ballad

15

Optional Rhythm

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Neil Young

Heart of Gold16

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11

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10

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1

1

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3

4

3

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1

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2

1

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œ œ œ œ œ œ œ# œ˙ ˙3 241 2

˙ ˙œ œ œ œ ˙˙ ˙1

3

2

17

Dust in the WindKansas

Second-String Player

Notes on the 2nd (B) String

Notice that there's only two beats in the first measure. This is called a pickup. The first note here starts on beat 3.

Not only does a good left-hand position help you in your technique, but it is also essential in order to develop good music reading skills. With a proper left-hand

The Importance of a Correct Left-Hand Position

However, if your left-hand position is incorrect, the fingers will not be aligned with the frets, resulting in buzzing or even wrong notes. If you do not correct the left hand position, you will likely try to remedy the problem by looking at the left hand. This leads to a dependacy on needing to see the fingers to play the right notes. As a result, your eyes will bounce back and forth between the music and your fingers, causing you to lose your place (especially when performing, when nerves kick in). Also, it will take you longer to learn the music, which means your overall progress will be much slower than if you had kept your eyes on the music and relied on a good left-hand position to find the notes.

a. Make sure your left hand position is correct: wrist out, thumb behind neck, and fingers aligned with frets. b. Use a rest stroke in the right hand and always alternate between your index and middle finger. c. Keep your eyes on the music! Do not be tempted to look at either hand.

If your left hand position is correct, your fingers will automatically be aligned with the frets, making it unnecessary to look at your left hand. This will allow you to focus your attention on reading the music. Remember, keep the thumb behind the neck (it should not hang over the top of the fretboard) and aligned with the middle finger. The neck of the guitar should not rest against the palm of your hand.

&

&

44

44œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3

.˙ œ

1

2

Student

Teacher

32

1

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œ œ œ œ œ œ œ œ œ œ œ œ3 3 33

.˙ œ

œ œ œ œ


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&

&

....

..

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œ œ œ œ œ œ œ œ œ œ œ œ3 3 33

.˙ œ3

2

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œ œ# œ œ œ œ œ œ œ œ œ œ3 3 33

.˙ œ

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œ œ# œ œ œ œ œ œ œ œ œ œ3 3 3 3

˙ ˙

œ œ ˙œ œ# œ œ œ œ œ œ œ œ œ œ

3 3 33

˙ œ œ

w

wwww

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44

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1 30

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Teacher m i m i

3

14

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œ œ œ œ œ œ œ œ.˙ œ3

1 4

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œ œ ˙œ œ œ œ œ œ œ œ.˙ œ4

2

1

œ œ ˙œ œ œ œ œ œ œ œ.˙ œ1

2

œ œ œ œœ œ œ œ œ œ œ œ˙ ˙#3

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1

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& w–––

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w–––

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w–––

w––– G

&C F E B D

18

BE BE String

The Beast Ring

Combining Notes on the 1st and 2nd String

(Remember, when there isn't a facing repeat sign, go back to the beginning.)

Note ReviewA. Write the letter name of the note below the staff. B. Draw the note indicated below the staff.

&&

44

44

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1

Teacher

2

*i or m wwwœ œ œ œ

œ œ œ œœ œ œ œw

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&&

5 wwwn œ œ œ œ

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œ œ œœ# œ˙ ˙

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&&

44

44

wwwww

1

2

Student

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˙ ˙˙ ˙˙ ˙

wwwww

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&&

6 ˙ ˙˙ ˙˙ œ œ

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&&

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19

Dance de las HachasGaspar Sanz

(17th Century)

(from Eight Easy Dances)

*Unless specified otherwise, you may start with either i or m. Remember to always alternate.

Pavana IIILuis de Milán(1500–1561)

&&

43

43˙ œ˙ œ˙ œ

1

2

12

Teacher

Student ˙ œ˙ œ˙ œ

34

œ œ œœ œ œœ œ œ

˙ Œ˙ Œ˙

˙ œ

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˙ œ˙ œ˙ œ

˙ Œ˙ Œ˙

&&

9 ˙ œ

˙ œ˙ œ

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œ œ œ

œ œ œ˙ œ

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˙ œ˙ œ˙ œ#

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43

43

.˙

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1

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2

Teacher

Andantino œ œ œœ œ œ.˙

.˙

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...˙ .˙

20

Mauro Giuliani(1781–1828)

The time signature here is . (3 beats in every measure.)

Andantino in C(excerpt)

StudyMauro Giuliani

&

&

&

&

&

&

44

44

44

44

44

44

1

2

3

4

5

6

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ ˙

œ œ ˙

œ œ œ œ ˙

œ œ œ œ œ

œ œ ˙

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ ˙

œ œ œ ˙

œ œ œ œ ˙

œ œ œ ˙

œ œ ˙

œ œ œ ˙

21

Sight-Reading ExercisesAs you sight-read these examples, here are some helpful tips: 1. Keep your eyes on the music. All of the exercises below are in first position, so there's no need to look at your left hand. 2. Always look ahead so that you can prepare to play what comes next before you get there. 3. Play at a slow enough tempo that allows you to play without stopping. 4. Never lose track of the beat. If necessary, use a metronome or tap your foot.

& Û≥ Û≥ Û≤ Û≥ Û≥F

2

3

11

INTRO

‘C

‘

&F

2

3

11

‘C

‘

& ..F

2

3

11VERSE

‘C

‘

&F

2

3

11

‘C

‘

&F

2

3

11

‘C

‘

&F

2

3

11

G

3

1

2

C F2

3

11

& ..C

(3rd time only)

|G

3

1

2

C

|(3rd time only)

3X

22

FLesson 5

The Whole Night SkyBruce Cockburn

Notice the X over the 6th string. This means to avoid striking this string when strumming this chord.

This curved line over the first two stringsindicates to bar these strings with your index finger. This means you will be pressingdown on both strings with the pad of your index finger. It is not easy, and may take time to develop the strength play this cleanly.

& 44 .. ..Û≥ Û≤ Û≥ Û≤ Û≥ Û≤ Û≥ Û≤C

INTRO

‘F

2

3

11

C

Repeat 1st time only

& .. ..CVERSE

1–3

‘F

2

3

11

C1st time: 4X2nd time: 2X

&F

2

3

11CHORUSC F

2

3

11

C

&F

2

3

11

C G

3

1

2

F2

3

11

‘1st time: D.C.

& .. ..F

2

3

11

‘SOLO

G

3

1

2

F2

3

11

C

‘

&G

3

1

2

F2

3

11

‘ ‘

& .. ..C

VERSE 4

‘F

2

3

11

C

&F

2

3

11CHORUSC F

2

3

11

C

&F

2

3

11

C G

3

1

2

F2

3

11

‘ ‘

& .. ..C

OUTRO

‘F

2

3

11

C

Fade-out on repeat

23

Pearl JamWishlist

& œ œG A

©.& .œ Jœ

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44

44œ œ œ œ ˙

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2

1

3

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1

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1

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1/2 II

4

12

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.˙

...˙ .˙

24

Notes on the 3rd (G) String The Dotted Quarter NoteThe dotted quarter note ( ) lasts for 1 1/2 beats. In other words, 1 beat plus the 1st half of the next beat.

This eighth note is played on the 2nd half of the beat.X X

Beat: 1 2 and

Air on the G String

Dance on the 3rd String

"1 2 and 3"

&

&

44

44œ

œ

1

Student

2

Teacher

˙ œ œ

˙ œ œŒ .˙

œ œ œ œ

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œ œ œ œœ œ œ œ.˙ Œ

&

&

..

..

5 ˙ œ œ

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.˙

.˙ .˙

&

&

43

43

œ œ œœ œ œ.˙

Student

1

Teacher

2

.˙

.œ œ œ

œ œ œœ œ œ.˙

.˙

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&

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7 œ œ .œ jœœ œ .œ jœœ œ œ

.˙

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12 .˙

.œ œ œ

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œ œ œ

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œ œ .œ Jœœ œ .œ jœœ œ œ

.˙

.˙ ...˙

25Allegro in C

Fernando Sor

MenuettJohann Krieger(1651 – 1735)

& œ A

5th Fret

&

&

43

43

Œ œ œ

Œ œ œ

1

2

Student

Teacher

.œ Jœ œ

.œ jœ œ

.˙

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&

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5 œ œ œ

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9 Œ œ œ

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14 .œ Jœ œ

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.˙

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26

From Spanish DanceGaspar Sanz

(17th Century)

New Note on 1st String

1

2

& w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

&–––A F––– G––– E––– D––– G––– C––– –––B

& 44 .œ Jœ ˙ .œ Jœ ˙ .œ jœ œ œ w

& 44 .œ jœ œ œ .œ Jœ œ œ .œ Jœ œ œ œ œ ˙

& 44 ˙ œ œ .œ Jœ ˙ .œ Jœ œ œ œ œ ˙

& 44 .œ jœ œ œ œ œ ˙ .œ Jœ ˙ .œJœ ˙

& 44 .œ Jœ œ œ œ œ ˙ .œ Jœ ˙ .œ Jœ ˙

27

Note ReviewA. Write the letter name of the note below the staff.

B. Draw the note indicated below the staff.

(3rd string) (1st string)

1. Keep your eyes on the music. In first position, there's no need to look at your left hand! 2. Always look ahead so that you can prepare to play what comes next before you get there. 3. Play at a slow enough tempo that allows you to play without stopping. 4. Never lose track of the beat. Feel free to tap your foot.

Practice Reading Test

1

2

3

4

5

& 44 .... ....|C

1

2

3

|Am

32

1

|Dm

3

2

1

|G

3

1

2

& 44 .... ....Û Û Û ÛG

3

1

2

D

Û Û Û ÛAm

32

1

Û Û Û ÛG

3

1

2

D

Û Û Û ÛC

1

2

3

F

& 44 .... ....| Û. Û.Dm

3

2

1

(Don't play 1st time after D.C.) ‘ | Û. Û. ‘ Play 3X

& | Û .Û Û .Û(optional rhythm)

& | Û. Û.Dm

3

2

1

‘G

3

1

2

‘ ‘ ‘Dm

3

2

1

‘

&F C

1

2

3 Û Û Û .Û Û .ÛDm

3

2

1

(optional rhythm) ‘ | Û. Û.F C

1

2

3 Û. Œ ÓDm

3

2

1

(1st time only)

∑ D.C.

& .... .... .... ....| Û. Û.Dm

3

2

1SOLO

‘ ‘ ‘Am

32

1

‘Dm

3

2

1

‘

& .... .... .... ....G

3

1

2

‘Dm

3

2

1

‘C

1

2

3

‘ Û. Œ ÓDm

3

2

1

(on repeat) ‘

Lesson 6

Knockin' On Heaven's DoorBob Dylan

Another Brick in the WallPink Floyd

50's Cliché

The dot here means to play the chord staccato – short and detached.

28

Am Dm

Note to teacher: When students are comfortable playing this quarter note strumming pattern, play with the strumming pattern in of Stairway to Heaven (p.107)

& # 44 4INTRO

4

& # .. ..|Em

VERSE

%| |A G

| |D C

|Em

(2nd time, play 3 times)

& # .. ..Û. Û. Û. Û.Am

CHORUS

Û. Û. Û. Û. Û Û Û ÛEm C

Û Û Û ÛD

(2nd time, play 3 times)

& # |Em

| | |D.S.

(to VERSE)

& # .. ..|Em

.˙ œ œ(Optional bass line.)

q = c.156 (The tempo is more than twice as fast as before!)

œ œ œ œ œ œ w w(Play 3 times)

& # .. ..Û Û Û> Û

>

Û Û Û> ÛAmTAG C G Em

‘(Repeat until fade-out)

The Chain

Fleetwood Macq = c72

29

This means 4 measures of rest.

*Note to teacher: Before attempting to play this eighth-note strumming pattern at this fast tempo, the student should first play single strums on each chord change in order to give them time to make the chord changes. When they're able to do this, practice the eighth note strumming pattern without the recording and at a much slower tempo. Optional: Add the accents ( ) on beats 2 & 4. (See p. 36 for an explanation of accents marks.)

*

(non stacatto)

& # 44 .....Û≥ JÛ≤≤ ≥ Û≥ Û≤ Û≥ Û≤

1 and (3) and 4 and

G3

1

2

(and) (2)

( ) ( ) ( )

INTRO

‘C

1

2

3

D

& # .... Û Û Û Û Û Û Û ÛG

3

1

2

‘ VRS

G

3

1

2

%‘

G

3

1

2

D

& #Am

32

1

C1

2

3

(3rd time)

G3

1

2

D C1

2

3

G3

1

2

& #Em D

CH.

‘(2nd time)

C1

2

3

G3

1

2

Am32

1

C1

2

3

& #Em

‘C

1

2

3

G3

1

2

C1

2

3

G3

1

2

& # ....Am

32

1

C1

2

3 ÛG

3

1

2

(3rd time)‘

3rd time to Coda fi G

3

1

2

GTR. SOLO

‘G

3

1

2

D

& #C

1

2

3

G3

1

2

D C1

2

3

G3

1

2

Em D

& #C

1

2

3

G3

1

2

Am32

1

C1

2

3

Em Em D

D.S.

& # .... ....C

1

2

3

fi CODA

‘ Û Œ ÓEm

G

3

1

2

(5th time)

(5th time)

‘ Play 5X

Take It Easy30

Eagles

(This INTRO is optional.)

& œ œ œD E F

& 44 ˙ ˙Dm(add9) C(add9)/E

With a lively, bluegrass feel

Student

Teacher

3 2 wD(add9)

0˙ ˙F C

wD(add9)

& ......˙ ˙Dm(add9) C(add9)/E

wD(add9)

˙ ˙Bb C

wG

w

& 44 ......‰ jœ œ œ ˙Am F

Student

Teacher

q = c 54

‰ jœ œ œ ˙C Dm

‰ jœ œ œ œ œAm F C

˙ ÓDm G

& 44 ......œ œ œ œ œ œC C sus4 C

Teacher

Student

q = c 72

œ œ œ œ œ œAm7 Am7(s us6)Am7

œ œ œ œ œ œG G 6

œ œ ˙F G

& 44 ˙ ˙C G

˙ ˙Am Em

˙ ˙F C

˙ ˙F G

& œ œ œ œC G

œ œ œ œAm Em

œ œ œ œF C

œ œ œ œF G

wC

31

DEF Jam

DEF Tones

Notes on the 4th (D) String

DEF In It

Pachelbel Canon

&&

44

44∑

˙ œ œ œ ˙ œ œ œ˙ ˙

Relaxed q = 72

Teacher

Student

32

12

2

11

∑

˙ œ œ œ˙ œ œ œ˙ ˙2

3

˙ ˙˙ œ œ œ ˙ œ œ œ˙ ˙32

12

2

11

˙ ˙

˙ œ œ œ˙ œ œ œ˙ ˙2

3

˙ ˙˙ œ œ œ

˙ œ œ œ˙ ˙3 21

&&

6

w

˙ œ œ œ ˙ œ œ œ˙ ˙3

2

˙ ˙˙ œ œ œ ˙ œ œ œ˙ ˙32

12

2

11

˙ œ œ˙b œ œ œ ˙ œ œ œ˙ ˙1

24

˙ œ œ

˙ œ œ œ˙ œ œ œ

˙ ˙1

2

˙ ˙˙ œ œ œ ˙ œ œ œ˙ ˙34

12

&&

11 ˙ œ œ˙˙bggggg œ œ˙

œ œ .œ jœ˙ œ œ œ ˙ œ œ œ˙ ˙32

12

2

11

˙ ˙˙ œ œ œ

˙ œ œ œ˙ ˙2

3

1

œ œ .œ Jœ

˙ œ œ œ˙ œ œ œ˙ ˙3 2

1

.˙ œ

˙ œ œ œ ˙ œ œ œ˙ ˙3

&&

16 œ œ œ œœœœggg œ œ œ ˙ œ œ œ˙ ˙2

1

˙ œ œ œ

˙b œ œ œ œ œ œ œ˙ ˙1

24

1

˙ œ œ œ

˙n œ œ œ œ œ œ œ˙ ˙2 4

1

˙ œ œ œœ œ œ œ œ œ œ œ˙ ˙32

4 1

˙ œ œ

˙bgggggœ œ˙ 3

&&

21 ˙ ˙

˙ œ œ œ ˙ œ œ œ˙ ˙32

12

2

11

œ œ œ œ

˙ œ œ œ˙ œ œ œ˙ ˙2

3

˙ ˙

˙ œ œ œ˙ œ œ œ˙ ˙3

1

˙ ˙

˙ œ œ œ ˙gggggg˙ ˙3

&&

25 ˙ ˙˙ œ œ œ ˙ œ œ œ˙ ˙32

12

2

11

˙ ˙˙b œ œb œ

˙ œ œ œ˙ ˙n12

3 4

˙ ˙

˙ œ œ œn ˙n œ œ œ˙ ˙

0

3

2 1

˙ ˙

˙ œ œ œ ˙ œ œb œ˙ ˙32

1 4

wwwwwww

gggggggg

32Four-String Melody

L.Warde

& w w w w w w w w w w w

&F4

E1

A B D2

D4

C E4

F1

G3

G1

& 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ .œ jœ ˙

& 44 œ œ œ œ œ œ œ ˙ œ œ .œ jœ w

& 44 œ œ œ œ œ .œ jœ ˙ œ œ œ œ œ œ œ œ œ œ ˙

& 44 œ œ œ œ œ œ .œ Jœ ˙ .œ jœ ˙ .œ jœ ˙

& 44 œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ .œ jœ ˙

33

NOTE REVIEWA. Write the letter name of the note below the staff.


___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___

___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___(string)

Practice Reading Test

1

2

3

4

5

& Û Û ÛX X

& .Û Û Û

& # # # 44 .Û≥ Û≤ .Û≥ Û≤ .Û≥ Û≤ .Û≥ Û≤A

D A A72 3

& # # #D D7

2

1

3

A A72 3

& # # # ..E7

1

2

D72

1

3

A72 3

E71

2

Lesson 7

The Shuffle Strumming PatternNormally, the beat is divided evenly – the first 8th note right on the beat andthe second 8th note excactly at the halfway point between beats:

12-Bar Blues

34

When strums are shuffled (also called swinging), the downstrum is held alittle longer and therefore, the upstrum has to come up a little quicker:

Beat: 1 2

Brush the strings when strumming. On the downstrum of beats 2 & 4, strum with slightly more force.

& # # 44 .Û Û .Û Û .Û Û .Û ÛD

INTRO

‘Em

‘

& # # ..G A 7 D

‘

& # # ..D

VERSE

‘ ‘ ‘Em

‘

& # # ..‘ ‘D

‘ ‘ ‘

& # # ..D

CHORUS

‘Em

‘

& # # ..G A 7 D

‘D

‘

& # # ..D

VERSE

‘ ‘ ‘Em

‘ ‘ ‘

& # # ..D

‘Em

‘D

‘ ‘ ‘

& # # ..D

CHORUS

‘Em

‘

& # # ..G A 7

(on repeat only)|D

‘

Jack JohnsonHome

35

& 44 Û Û ¿> Û Û Û ¿> ÛAm

INTRO

‘ ‘ ‘ ‘ ‘ ‘ ‘

& ..Am

VERSE 1 & 2C G Am C G

‘Am

&C G

‘Am

‘C G Am

& ..Dm

CHORUS

"Gotta build yourself a levee deep inside"

E7 Am

‘Dm E7 Am

‘

&Dm E7

|> |Am

"high"

‘ ‘ ‘

&Am

VERSE 3C G Am C G

‘Am

&C G

‘Am

‘C G

‘ ‘Am

‘

& .. ..Dm

"Gotta build yourself a levee deep inside"

CHORUS

Play 3 times

E7 Am

‘

& .. ..Dm E7

|>>

|"high"

∑ ∑AmTAG

‘ ‘Repeat until fade-out‘

Build a LeveeWords and Music by

Natalie Merchant

36

*The accent marks ( ) on beats 2 & 4 indicate to strum with a little more force. Optional: add a palm mute to give it a percussive, drum- like sound. To palm mute, rest the palm of your right hand on the strings at the same time your pick strikes the strings. The second half of beats 2 & 4 should be clean (not muted).

(optional: palm mute on accents)

*

& œ œ œA B C

&

&

44

44

..

..

....

..˙ ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

0

Student

Teacher

˙ ˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 ˙ ˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ2 ˙ ˙

œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&

&

5

˙ ˙

œ œN œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ ˙œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ

wwwww

&

&

43

43

..

..

....

...˙

œ œ1 œ2.˙

Student

Teacher

œ œ œ.˙1 œ œ2 œ3

.˙œ4 œ œ.˙

œ œ œ.œ3 œ œ2

œ œ œ.œ2

jœ1 œ œ2œ3 œ3 œ

œ œ œ˙ œœ2 œ œ3

œ œ œœ3 œ1 .œ jœ3œ œ2 œ

.˙

.˙ .˙

&

&

..

..

....

..

..

..

....

..

9 ˙ œœ1

2œ4 œ˙ œ

œ œ œ.œ3 œ1

2 œ

˙ œœ œ1 œ4˙ œ3

œ œ œ.œ2 œ œ3

œ œ œ

œ œ œœ23

œ œ12

œ œ œœ œ œœ œ

3œ4

2

œ œ œœ œ .œ4

jœ1œ1

3 œ œ.˙.˙ .˙3

37

Play BAC

Notes on the 5th (A) String

Menuett(from Lesson 5) Johann Krieger

(1651 – 1735)

Note to Teacher: Begin the Sight-Reading Practice Exercises on page 39.

&&

44

44œ œ œ œœ œ1 œ œ4œ3

œ2 œ œ3

Student

Teacher

œ œ œ œœ1 œ œ œœ2 œ œ œ

œ œ œ œœ2

œ1 œ œ4œ3œ2 œ œ3

œ œ ˙œ1

œ ˙4œ2 œ3 ˙2

&&

5

œ œ œ œœ œ1 œ œ4œ3

œ2 œ œ3

œ œ œ œœ1 œ œ œœ2 œ œ œ3

œ œ œ œœ2

œ1 œ œ4œ3 œ œ œ3

œ œ ˙w1œ2

œ ˙3

&&

9

˙ ˙œ4 œ œ1 œ˙2

˙˙ ˙œ œ œ1 œ˙3

˙2

˙ ˙œ œ œ4 œ˙ ˙3

˙ ˙œ1 œ œ œ˙2 ˙3

&&

13

˙ ˙œ4 œ œ1 œ˙2

˙˙ ˙œ œ œ œ4˙3 ˙2

˙ ˙œ2

œ1 œ œ˙ ˙

˙ Ów3œ œ œ œ

&&

17


œ2 œ œ3

œ œ œ œœ1 œ œ œœ2 œ œ œ

œ œ œ œœ2

œ1 œ œ4œ3œ2 œ œ3

œ œ ˙œ1

œ ˙4œ2 œ3 ˙2

&&

21


œ2 œ œ3

.˙ œœ1

œ ˙4

.˙2 œ2

.˙ œœ4 œ1 œ4 œ.˙3 œ

œ œ ˙w1œ2

œ ˙3

38

Andante in CFernando Sorarr. L.Warde

&

&

&

&

&

&

&

44

44

44

44

44

44

44

1

2

3

4

5

6

7

.œ jœ œ œ

œ œ œ œ œ

.œ jœ œ œ

œ œ œ œ ˙

œ œ œ œ ˙

.œ jœ œ œ

.œ jœ œ œ

.œ jœ ˙

œ œ œ ˙

.œ jœ ˙

œ œ œ œ ˙

œ œ œ œ ˙

œ œ œ ˙

.œ jœ ˙

œ œ œ ˙

œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ .œ jœ

œ œ œ œ .œ jœ

.œ jœ œ œ

œ œ œ .œ jœ

œ œ œ ˙

.œ jœ ˙

œ œ œ ˙

.œ jœ ˙

œ œ œ œ ˙

œ œ œ ˙

œ œ œ ˙

39

Sight-Reading Exercises

& 44 w–––1.

w–––2.

w–––3.

w–––4.

w–––5.

w–––6.

w–––7.

& w–––8.

w–––9.

w–––10.

w–––11.

w–––12.

w–––13.

w–––14.

&–––B5th

15. –––B2nd

16. –––F1st

17. –––F4th

18. –––D4th

19. –––D2nd

20. –––G1st

21.

&–––G3rd

22. –––E4th

23. –––E1st

24. –––C5th

25. –––C2nd

26. –––A5th

27. 28.–––A3rd

& œ–––29. 1

w–––30.

˙–––31.

.˙–––32.

Jœ–––33.

.œ–––34.

& ‰–––35.

Œ .–––36.

Ó .–––37.

∑–––38.

Œ–––39.

Ó–––40.

40

Note ReviewA. Write the letter name of the note below the staff.


String:

C. What is the value of the indicated note or rest? In other words, does the note last for 1 beat? A half beat?

Ex.

& # 44 .... ....|Em INTRO

VERSES 1, 2Am B7 Em Em Am B7 Em

3X

& #Am

CHORUSB7 Em

‘Am B7 Em

‘

& # .... ....Em

SOLOAm B7 Em Em Am B7 Em

& #Am

CHORUSB7 Em

‘Am B7 Em

‘ ‘ ‘

& # Û≥ Û≤ ¿ Û≤ Û≥ Û≥Em

A Tap lightly on the fretboard.

‘B7

‘

& # ....Em

‘B7

‘Em

‘

& # .... ....Am

B

‘Em

‘B7

‘Em

‘

Lesson 8

Tango to Evora

Loreena McKennitt

FragileSting

41

D.C. (3x)

fine

In this song, you will strum using your hand. Make downstrums using the top of the nails of your index, middle and ring fingers. Makeupstrums using the top of your thumbnail. NOTE: 1st and 4th time, strum whole notes by rolling the chords with the pad of your thumb.

& # 44 Û Û ¿> Û Û Û ¿> ÛG

INTRO

‘ ‘ ‘

& # .... ....G

VERSE

% B7 C A

& #G

CHORUS

E1

32

G E1

32

& #G A G E

1

32

3rd time: to Coda fi1st time: D.S.

& #G D

BRIDGE

C G D C

& #G D C G F D

D.S.

& # .... ....Gfi Coda

‘ ‘E

1

32

42

Sittin' on the Dock of the BayOtis Redding

Fade out

Palm mute on beats 2 & 4.

& # 44 Û≥ Û≥ Û Û≥ Û≥ ÛF C

INTRO

|≥G

3(3 measures of rest)

8VERSE 1

& # |≥G

VERSE 2Em G Em G C G D

‘

& # .Û≥ Û≤ .Û> Û .Û >Û .Û ÛC7

1

2

43CHORUS

‘G7

‘C7

1

2

43

‘A7

2 3

D7

& # .... .....Û≥ Û≤ .Û> Û |G

VERSE 3, 4Em G Em G C G D

‘

& # .Û Û .Û> Û .Û Û .Û> ÛC7

1

2

43

CHORUS%

‘G7

‘C7

1

2

43

‘A7

2 3

D7

& #G

BRIDGEG7 C7

1

2

43

A72 3

G D7 G2nd time: to Coda fi ‘

& # .... ....Û≥ Û≥ Û Û≥ Û≥ ÛF CInstrumental

Break

.Û Û .Û> Û .Û Û .Û> ÛG

4X 3 8VERSE 5

& # |≥G

VERSE 6Em G Em G C G D

‘ D.S.

& # .... ....C7

1

2

43

fi CODA G D7 G

‘ Û≥ Û≥ Û Û≥ Û≥ ÛF C

OUTRO

.Û Û .Û> Û .Û Û .Û> ÛG

4X

Heartache TonightEagles

43

accent with palm mute

+palm mute

+palm mute

a cappella (vocals only)drums only

4th time: whole note strum

4th time: whole note strum

drums only a cappella

& œ œ œE F G

&

&

44

44

..

..

œ œ ˙

Û Û Û Û .Û Û Û Û Û Û ÛAm

5fr.

Student

Teacher

0 œ œ ˙G

3fr.

3 œ œ ˙F

1 œ œ ˙E

0

&

&

44

44

..

..

˙ ˙

œ Ûœ

ÛAm

Student

Teacher

˙ ˙

œ Ûœ

Û

˙ ˙

œÛ

œÛ

F E

˙ œ œ

œ Ûœ œ

Am F G

&

&

44

44

..

..

˙ ˙œœ œ œ œ

œ œ œœ œ œ œ

œœ

Student

Teacher

˙ ˙œœ œ œ œ œ œ œ

œ œ œ œœ œ

˙ ˙œœ œ œ œ

œ œ œœ œ œ œ

œ œ

˙ ˙œœ œ œ œ

œ œœœ œ œ œ

œ œ

&

&

44

44

..

..

˙ ˙œ œ œ œ œ œ œ œ˙ ˙

Student

Teacher

˙ ˙œ œ œ œ œ œ œ œ˙ ˙

˙ ˙

œ œ œ œ œ œ œ œ˙ ˙

˙ ˙œ œ œ œ œ œ œ œ˙ ˙

44

Pachelbel Canon

Mr. Travis Takes A Walk

Strolling Down 5th Ave

Flamenco Flirt

Notes on the 6th (E) String

& # 43 œ≥ Û≥ Û≥G

œÛ Û

Em

œ Û ÛAm

œ Û Û œ Û ÛD7

œ Û Û œ Û ÛG

œ Û ÛD7

& # ....9

œ Û ÛG

VERSE

œÛ Û

Em

œ Û ÛAm

œ Û Û œ Û ÛD7

& #14

œ Û Û œ Û ÛC

œ Û ÛD7

œ Û ÛG

œÛ Û

Em

& #19

œ Û ÛAm

œ Û Û œ Û ÛD7

œ Û Û œ Û ÛG

œ Û ÛG7

2nd time: to Coda fi

& #25

œ Û ÛAm

CHORUS

œ Û ÛG

œ Û ÛC

œ Û ÛG

œ Û ÛAm

œ Û ÛG

& #31

œ2 œ0 œ1œ0

Û ÛDm

œ Û Û œ Û ÛAm

œ Û ÛG

œ Û ÛC

& # ....37

œ Û ÛG

œ Û ÛC

œ Û ÛG

œ Û ÛD7

œ Û ÛG

œ Û Û

& #43

œ Û ÛCfi CODA

œ Û Û œ Û ÛG

œ2 œ0 œ1 œ3

Û ÛC

œ Û Û œ Û ÛG

& #50

œ2 œ0œ2

œ3

Û ÛC

œ Û Û œ Û ÛG

œÛ Û

Em

* .|UG

.|UC

.|UG

45

Saturday Night

The FermataThe fermata ( ) is a symbol placed over a note or chord that tells the player to hold that note or chord longer than the given duration, usually at the discretion of the player.

Eagles

Adding bass notes to your strumming is an important skill to learn as a guitar player. It adds another dimension to your sound, making it more full and interesting. In Saturday Night below, play the bass note on beat one (and the walk-ups at bars 31, 46 & 50) with a downstroke of your pick. Then, downstrum the chord on beats two and three.

Playing Bass Notes

*This is called a fermata. It tells you to hold the chord or note under it longer than the given duration, usually at the discretion of the player.

Use a downstrokefor bass notes also.

&

&

44

44

Guitar 1

Guitar 2

œ œ œ œ U

∑

GVery Free

34

2

∑

œ œ œ œUœ œ œ œ U

∑

G

Ó Œ ‰ Û≥ Û≤

œ œ œ œU

G

&

&

5 Û≥ Û≥ |u≥ ‰U Û Û

Œ ‰U Û≥ Û≤ Û≥ Û≥ Ûu≥

G C G G

G C G

Û Û |U ‰U œ œ

Œ ‰ Û Û Û Û ÛU

C G

G C G

1

&

&

7 œ œ œ œ œ œ œU

Ó Œ ‰U œ œ

32

1

Ó Œ ‰U œ œ

œ œ œ œ œ œ œU1

32

œ œ œ œ œ œ œU

Ó Œ ‰U œ œ

32

1

Ó Œ ‰U jœœ œ œ œ œ œ œU

32

&

&

11 œ œ œ œ œ œ œU

Ó Œ ‰U jœ

2 Ó ŒU ‰ œ œœ œ œ œ U 3

2


Ó Œ ‰U œ œ2 3

Ó Œ ‰Uœ œ


21 3

&

&

15


Ó Œ ‰U œ œ2 3

Ó Œ ‰Uœ œ


21 3


Ó Œ ‰U œ œ2 3

1

Ó Œ ‰Uœ œ


3 1 3

46Dueling Banjos

Arthur "Guitar Boogie" Smith(This is supplemental, and therefore, optional)

&

&

19


Ó Œ ‰U œ œ2 3

Ó Œ ‰Uœ œ


13

œ œ œ# œ œ œ œU

Ó Œ ‰U œ œ1

3 13

2

Ó Œ ‰U Û Ûœ œ œ# œ œ œ œU

G

1 2 4 21

&

&

23 Û Û |u‰U Û Û

Œ ‰U Û Û Û Û Ûu

C G G

G C G

Û Û |u‰ œ œ

Œ ‰U Û Û Û Û Û

C G

G C G

&

&

25 œ œ œ œ œ œ œ

œ œ œ œ œ œ

In time3 1

2

1

œ œ œ œ œ œ

œ œ œ œ œ œ œ31

2


œ œ œ œ œ œ

31

2

&

&

28 œ œ œ ‰ jœœ œ œ œ œ œ œ œ3 1

2

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

2

2

accel.

accel.

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

22

22

& ..31

œ Û œ Û œ Û œ ÛC

All Downstrums

33

Fast {q = c 140} Gtr. 1& 2

(or 4)3 œ Û œ Û œ Û œ Û

G

œ Û œ Û œ Û œ ÛD

œ Û œ Û œ œ œ œ

G

&35 œ Û œ Û œ Û œ ÛC

33

4 œ Û œ Û œ Û œ ÛG

œ Û œ Û œ Û œ ÛD

œ Û œ Û œ Û> Û>UG

47

& 44 w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

w–––

& 44 .œ Jœ œ œ1 .œ Jœ œ œ œ œ œ œ œ œ œ œ ˙

& 44 œ œ œ .œ Jœ2œ œ ˙

œ œ œ .œ jœ œ œ ˙

& 44 œ œ œ .œ jœ3 œ œ œ œ ˙ œ œ œ .œ Jœ œ œ œ œ ˙

& 44 œ œ4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .œ jœ ˙

& 44 œ œ œ œ œ5 œ œ œ œ œ œ œ œ œ œ .œ jœ ˙

& 44 œ œ .œ jœ6 œ œ œ œ ˙ œ œ .œ jœ œ œ œ œ ˙

48

Sight-Reading Practice Exercises

Note ReviewWrite the letter name of the note below the staff.

& 44 ..Û≥ Û≤ Û≥ Û≤ Û≥ Û≤ Û≥ Û≤1 & 2 & 3 & 4 &

Bm

air-strum down

D Em G

& # # 44 .. ..Û Û Û Û Û Û Û ÛBm

Intro

‘ ‘ ‘

& # # ..BmVerse

1 & 3G

‘D Bm G D

& # #Bm A Bm Bm G D

‘

& # # ..BmVerse

2 & 4G

‘D Bm G D Bm A D

& # #G

BridgeD G D G D

& # #Bm A D Bm A D

‘

& # # .. ..Bm Solo,

Vs. 5 & 6G

‘D Bm G D Bm A D

3X

& # #Bm A

TagD Bm A

.Û JÛ |D D sus4

& # # ‘ ‘ ‘ ‘ ‘ ‘ |D

StingFields of Gold

2 3 4 5 6 7

49Lesson 9

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repeat until fadeout

Comfortably NumbPink Floyd

50

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51

Maestoso Mauro Giulianiarr. L.Warde

The sharp sign ( ) raises a note by one fret. For example, since F is on the 6th string, 1st fret, F is on the 6th string, 2nd fret. (See measure 1)

The flat sign ( ) lowers a note by one fret. For example, since B is on the 5th string, 2nd fret,B is on the 1st fret. (See measure 9)

AccidentalsIbI b(A term from early 15th century, taken from the Latin word, accidentem, meaning "outside the normal course of nature.")

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52

Jesu, Joy of Man's Desiring

Daniel Gottlob Turk (1756 - 1813)arr. L.Warde

*This is called a courtesy accidental. It's just a reminder that the note is not altered, as it was in a previous measure.

When a note is altered by an accidental, it will stay altered throughout the entire measure (but only for that measure.) For instance, if we sharp F, all other F's in that measure will automatically be sharped and therefore, a sharp sign on the other F's in that measure is not necessary. (see m. 10)

F E F #

If the repeated note is not suppose to be altered, a natural sign ( ) must be used on that note to cancel this rule. A natural sign is an accidental that simply tells you to play the note in its natural, unaltered state.Notice the *courtesy natural signs ( ) below.

A Rule on Accidentals

Johann Sebastian Bach(1685-1750)

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53

AriettaDaniel Gottlob Turk (1756 - 1813)

arr. L.Warde

Key Signatures

for Guitar Duet

n

n*This is called a courtesy accidental. It's just a reminder that this note is F , not F#, as it was two measures back.

When a note(s) is altered throughout the piece, instead of placing an accidental on each note, a key signature, located at the beginning of each staff line, will indicate which notes will be altered. In Arietta below, notice the flat sign ( ) on the middle line at the beginning of each staff line. Since the note, B, sits on this line, the flat indicates that all B's, high or low, will be flat. If any B should not be altered, a natural sign ( ) must be placed before that note.

This key signature indicates that all B's, high or low, will be flat.

A number in a circle indicateswhat string the note is on.

b

3rd String

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54More Sight-Reading Practice Exercises

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Lesson 10

Don't PanicWords and Music by

Coldplay

Below are four new chords, which, as you will see, are simple alterations of chords that you already know, and, are easier to play!

55

1 2 3 4 5 6 7

Adding Notes to Chords

Am7 Dm7 Cmaj7 Fmaj7

Before we can talk about adding notes to chords, we need to first discuss what a chord is, specifically. A chord is made up of threenotes, and because of that, it is often called a triad ("3 notes"). What are these three notes? The first and most important note is the root. The root is the foundation of the chord and as such, the chord is named after the root. For instance, the root of a D chord is "D"; the root of an Am chord is "A". The other two notes are simply distances or, intervals from the root. One note is an interval of a 3rd from the root, and the other is an interval of a 5th. This is easily understood if we think of the root as "1". In an Am chord for instance, A, the root, is "1". If A is "1", C, is "3" and E is "5": A-B-C-D-E. These are the three notes in an Am chord.

1 2 3 4 5

We can add more notes to the chord. The additional note is indicated not by its letter name, but by its distance from the root, just like the 3rd and 5th. For instance, if we want to add a G to the Am chord, we count its distance from A, the root: A-B-C-D-E-F-G.We can see that that G is a distance (or interval) of 7 steps from A. Therefore, Am + G = Am7.

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Bourée56

for Guitar DuetJohann Sebastian Bach

(1685-1750)(All F's are sharp!)

57

PART IISECOND SEMESTER

A. More Advanced ChordsB. Stairway to HeavenC. Quartet MusicD. Classical Guitar

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Certain Kind of Fool

Eagles

58Lesson 11Sus4 Chords

Sus4 is an abbreviation for "Suspended 4th". This means that the note four steps away from the root is added to the chord, replacing the 3rd. This creates a suspended, unresolved feeling, since our ears want to hear the chord with the 3rd. This is why a sus4 chord typically resolves to the basic chord, as it does in Certain Kind of Fool below.

59

Classical GuitarThe guitar is the most popular instrument in the world. It is no surprise then that the guitar is the primary instrument in most styles of popular music, including rock, blues, folk, pop, country, and bluegrass. In these styles, the guitar is used mainly as an accompaniment instrument. But the guitar is also a serious and respected solo instrument for the classical concert hall. The music written for the classical guitar is bothabundant and diverse. Additionally, there are hundreds of serious works written for the guitar in combination with other instruments. In fact, the most famous concerto of all time is Joaquin Rodrigo's Concierto de Aranjuez, a work for guitar and orchestra. (A concerto is a piece written for one instrument and orchestra.)

As we begin to learn classical guitar in the following lessons, the main focus will be to develop right-hand technique. Most beginning classical guitar music and virtually all popular songs using fingerstyle technique (i.e. Dust in the Wind, Stairway to Heaven, etc.) are essentially just simple chord progressions played with patterns in the fingers of the right hand. From a technical standpoint, the only difference between this music and the songs you’ve played in past lessons is the right hand technique. In other words, you will still be forming chords in the left hand, but instead of strumming the chords, the fingers of the right hand will play individual notes using patterns. Playing chords this way is called arpeggios, which literally means, "broken chord." Each lesson will introduce you to a different pattern. For instance, the right-hand pattern in Lesson 11 is: thumb (p), index finger (i) and middle finger (m). You will play this p-i-m pattern continually, while the left hand merely changes chord positions. [Note: p stands for pulgar, which means "thumb" in Spanish.]

When playing arpeggios, we want the notes in each chord to continue ringing until we form the next chord. We accomplish this in two ways. First, in the right hand, we will use a free stroke, not a rest stroke. A free stroke is different from a rest stroke in that after striking the string, the fingers glide freely towards the palm of your hand, allowing that string to continue to vibrate. Secondly, in the left hand, we must make sure we continue to hold down the notes in the chords until we form the next chord.

Free Stroke

Reading the MusicWhen we learned chords and songs, the chord diagram showed us where to put our left-hand fingers. We simply formed the chord and strummed the strings. Unfortunately, chord diagrams (and tablature) would have a very limited benefit in classical guitar music. Chord diagrams may show us where to place our left hand fingers, but it doesn't tell us which notes to play or how to play them in the right hand. Likewise, tabs may tell us which notes to play, but does not tell us how to play these notes, including the rhythm.Therefore, when learning classical guitar music, we must read standard music notation to know what chords to form in the left hand and how to play them in the right hand. Like the songs we've learned, most of the chords in this beginning classical guitar music lasts for a whole or half a measure. With that in mind, when learning the music, instead of reading note to note as you did when you reading duet music, you will need to look over all the notes in each measure so that you know how to form the chord and when the chord changes.

Chord TransitionsOne of the most challenging things when learning chords is transitioning from one chord to the next. This will also be true with the classical guitar music you will be learning. To help you form the chords quickly and accurately, keep fingers down on the notes that will also be used in the next chord. Secondly, always look ahead so that you can prepare for the next chord before you get to it. Lastly, never look at the fingers of your right hand! Doing so will not only inhibit your learning of the technique, but it will also hinder the flow of your performance, since your eyes will constantly be shifting from the music to your left hand and right hand. Instead, only look at your left hand, and only if necessary. In fact, place your music to your left so that your eyes can easily shift between the music and your left hand without moving your head.

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60

AllegroMatteo Carcassi

(1792-1853)from "Six Easy Preludes"

Left Hand: You will be forming chords in the left hand and holding these chords for a half, whole or two measures. Keep your fingers down on the notes of these chords until you form the next chord. If the next chord has one or moreof the same notes, keep your finger down on those notes. This will make chord transitions much easier.

*These are called triplets, which means the beat is divided evenly into three.

p-i-m Pattern

Right Hand: The right hand will continually play this pattern: thumb (p), index (i) and middle finger (m). Always use a free stroke when playing chords! (see page 59) Tip: The middle finger will always play the 1st string and the index will play the 2nd string. The thumb plays the bass notes (stems down) on all other strings.

Study No. 1

Study No. 2

Form the chord under the brackets. Each chord has only one note you hold down. The other two notes are open strings.

The focus of this study is thumb movement. Do not look at your thumb! Instead, find the strings by feel.

(Chord 1)(Chord 2) (Chord 3)

(One chord)

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Guitar I

Guitar II

Guitar III

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Ode To JoyLudwig van Beethoven(1770-1827)

arr. L.Warde

Score

for Guitar Quartet(Excerpt from Symphony No. 9)

61

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V13 œ œ œ œ1 3 œ œ œ œ1 œ œ œ œ1 .œ Jœ ˙1


arr. L.Warde

Guitar 2

Guitar 1

62

(Excerpt from Symphony No. 9)

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arr. L.Warde

Guitar 4

Guitar 3

63

(Excerpt from Symphony No. 9)

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You've Got to Hide Your Love Away

John Lennon and Paul McCartney

64Lesson 12Sus2 Chords

The sus2 chord is similar to a sus4 chord in that the 3rd of the chord is temporarily replaced by the 2nd. Forinstance, the three notes in a D chord are D E F# G A. In a Dsus2 chord, E replaces the F#: D E F# G A

1 2 3 541 3 52 4

2 beams = 16th notes

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65p-i-m-i Patterns

Study No. 3

Prelude in G

Ferdinando Carulli (1770-1841)

Keep the 1st finger down on C throughout. Only the bass notes change.

Gently strum with the thumb

Tip: Like Allegro in Lesson 11, the index finger always plays the 2nd string and the middle finger always plays the 1st string. Also, in measures 1-7, the bass note on beats 2 and 4 will always be on the 3rd string.

(1-7: 1 chord per measure)

(8-11: 2 chords per measure. Bass notes are repeated.)

(12-14: Same chord )

Notice that in Prelude in G (and also Allegro and Estudio) that the beat is divided evenly into four 16th notes.

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66Allegro

Estudio

Matteo Carcassi(1792-1853)

Dionisio Aguado(1784-1849)

On the guitar, most notes can be found on more than one string. For instance, B can be played on the open 2nd string or on the 3rd string, 4th fret. When necessary, a number in a circle ( ) clarifies what string to play the note on.

3rd string (4th fret).

Same Note, Different Strings

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Guitar II

Guitar III

Guitar IV

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Excerpt from Symphony No. 3 – FinaleCamille Saint-Saens (1835-1921)

arr. L.WardeScore

Arranged for Guitar Quartet

67

V 43 Œ œ œ3 œ œ œ1 3 œ œ œ1 3 .˙1

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Camille Saint-Saens (1835-1921)arr. L.Warde

Guitar 2

Guitar 1

68

Excerpt from Symphony No. 3 – Finale

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Excerpt from Symphony No. 3 – Finale

Camille Saint-Saens (1835-1921)arr. L.Warde

Guitar 4

Guitar 3

69

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|Em7

The One I LoveR.E.M.

70Lesson 13Add9 Chords

3rd time: 4X, then TAG

Exercise No. 1

The add9 simply means that you add the note 9 steps away from the root. For instance, in a C(add9) chord, the note nine steps away from C, the root, is D: C-D-E-F-G-A-B-C-D.

1 2 3 4 5 6 7 8 9

Note: Begin learning of Stairway to Heaven, p. 107.

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Prelude in AFerdinando Carulli

p-i-m-a Patterns

Prelude in CMatteo Carcassi

71

Whenever possible, keep your finger down on strings when transitioning between chord formations. This is true whether the finger stays on the same note as a pivot or shifts to another note on the same string as a guide finger.

a = ring finger (a is an abbreviation for anular, which means ring finger in Spanish)

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44

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Guitar I

Guitar II

Guitar III

Guitar IV

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72

FinlandiaJean Sibelius (1865-1957)

arr. L.WardeScore

for Guitar Quartet

* Considering the possibility that this and subsequent quartets may take longer to prepare than the other material in the lessons, quartets will be presented every other lesson, allowing the option to carry them over into the next lesson.

*

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73

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V #19 œ œ .œ jœ4 œ .˙2 Œ œ œ# œ2 1 .˙n œ œ œ .œ jœ4 w


arr. L.Warde

Guitar 2

Guitar 1

74

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fine

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arr. L.WardeGuitar 3

Guitar 4

75

& bbbb 44 .. ..ÛC 7

(Let ring)

VERSES

∑ ÛFm

∑ ÛC 7

∑ ÛFm

∑

& bbbb .. ..Û≥ Û≥ Û≥ Û≥ Û≥ Û≥ Û≥ Û≥C 7

1st Time: Play 3 Times2nd Time:Play 2 TimesCHORUS

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‘1st Time: D.S.

& 44 .. ..| |Am

5fr.G

3fr.Bar the5th fret

|F

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76Lesson 14Bar Chords

Bar chords are common in all styles of guitar music. They allow you to easily play chords that might otherwise be difficult to play in open position.

The bar chords below are simply E and Em formation chords. The first finger functions as a capo, allowing you to transpose these chords up the neck. The root of these chords will always be on the 6th string, so whatever note your first finger touches on the 6th string, that is the name of the chord. For example, below are the F and Fm chords. Notice that in both chords, the first finger bars the 1st fret and that the note on the 6th string, 1st fret is F, the root. Because the root will always be on the 6th string, the lowest sounding string on the guitar, this bar chord will alwayshave a nice andfull sound, just like the open E and Em chords!

Stairway Exercise

The rest of the fingers form astandard E major chord

Em-FormationBar chordF Fm

The 1st finger functions as a capo

E-FormationBar chord

The 1st finger functions as a capo

The rest of the fingers form astandard E minor chord

Flamenco Flirt Revisited

PolitikColdPlay

(Excerpt)

(Students strum whole notes.)

Teacher

& 44 Û Û ¿> Û Û Û ¿> ÛAm

INTROF C G C

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VERSE%

‘ ‘ ‘

& ....G

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‘

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˙ ˙

Am

&F G C

F

G

|C

77

Have You Ever Seen The Rain?Creedence Clearwater Revival

Palm mute on beats 2 & 4.

1st time:

Note: Begin learning of Stairway to Heaven on page 107.

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Mauro Giuliani (1781-1828)edited L. Warde

Etude No. 1from 24 Etudes for the Guitar, Op. 100

p-i-m-a-m-i Pattern78

StudyLou Warde

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INTRO

Play on repeat only

let ring ÛF#

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32

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Repeat until fade-out

Lesson 15

The Eagles

79

Hotel California

Like the E and E minor formation bar chords you learned in the Lesson 15, the A minor formation bar chord is simply an A minor chord with the first finger functioning as a capo, allowing you to transpose this chord anywhere on the fret-board. Like a standard Am chord, the root of this bar chord will always be on the 5th string, not the 6th. Therefore, the note on the 5th string identifies what chord you're playing. For instance, if the 1st finger bars the 2nd fret, you'll have formed a Bm chord, since the note on the 5th string, 2nd fret is B. (see chord to the left)

The 1st finger functions as a capo.

The rest of the fingers form an Am chord.

The A Minor Formation Bar ChordBm

& # 44 .. Û Û Û> Û Û Û Û> ÛG

‘ ‘ ‘VERSE

G

‘

& #7

B m

‘C G D C G

‘

& #15

B m

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‘

& #22

Em D

PRE CHORUS

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C

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CHORUS

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3X

G

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D

‘C

TAG

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Repeat until fade-out‘

Against the WindWords and Music by BOB SEGER

80

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w‰ œ œ œ œ œ œ œw2 3 ‰ œ# œ œ œ œ œ œw1

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i m a

2 11

4 ‰ œ œ œ ‰ œ# œ œ˙ ˙

2 11

‰ œ œ œ ‰ œ# œ œ˙ ˙

2 11

4 ‰ œ œ œ ‰ œ# œ œ˙ ˙

2 11 ww2

m

p

& # # 43 ‰ jœ œ œ œ.˙i

m i a

p

13 2 ‰ jœ œ œ œ

.˙3

‰ jœ œ œ œ.˙ 1

24 œ œ œ œ œ œa m i m

ip3

13

41

2

& # # ..5 ‰ jœ œ œjœ ‰.˙

im i

a

13 2

p

‰ jœ œ œ œ.˙3

‰ jœ œ œ œ œ.˙

im a m i

1 24 3 .Œ ˙

m

p

4

& # # ..9 ‰ jœ# œ œ œ œ.˙

im a m

13

i

‰ jœ œ œ œ œ.˙ 1 2

3 ‰ jœ# œ œ œ œ.˙

1 4 .Œ ˙m

p

2

& # # ..13 ‰ jœ œ œjœ ‰.˙

im i

a

13 2 ‰ jœ œ œ œ

.˙3

D

‰ jœ œ œ œ œ.˙

im a m i

1 24 3 .Œ ˙

m

p

4

StudyMauro Giuliani(1781 - 1828)

81

Combining Patterns

Ländler Joseph Küffner (1776 -1856)

pattern a pattern b

pattern c

Note: Begin learning of Stairway to Heaven on page 106.

V # 43 .˙3 .˙ œ ˙1.˙3

3rd time: to CODA fi œ œ œ2 œ

V #6

œ2 œ œ œ œ œ2.˙ œ2 œ œ œ œ œ3

V #11 œ œ3 œ .˙3

fiœ œ œ2 œ3 œ2 œ œ3 œ œ3 œ œ4

V # ..16

˙2 œ œ œ œ3 œ œ3 œ œ œ2 œ œ 3Xlast time: rit. .˙3

V # 43 œ1 ˙ .˙ .˙ .˙2

3rd time: to CODA fi

œ œ œ2 œ

V #6

œ2 œ œ œ œ œ4 .˙ œ4 œ2 œ œ4 œ œ2

V #11 œ œ œ2 .˙ œ œ œ œ œfi œ3 œ œ œ4 œ œ

V # ..16

˙2 œ œ œ œ œ œ œ œ œ2 œ2œlast time: rit. .˙3

Traditional Irish Melodyarr. L.Warde

Guitar 2

Guitar 1

83

Be Thou My Vision

V # 43 .˙3 œ2 ˙ .˙ œ ˙4

3rd time: to CODA fi

œ œ œ2 œ

V #6

œ2 œ œ œ œ œ .˙ œ œ œ œ2œ œ4

V #11 œ œ2œ .˙ fiœ1 œ œ3 œ œ œ œ œ œ2

œ4 œ2

V # ..16

˙3 œ œ œ4 œ2 œ3 œ œ2 œ œ3 œ œ2

last time: rit. .˙

V # 43 .|gG

*

.|gEm

.|gC

.|gD 3rd time:

to CODA fiœ |gG

V #6

œ |gEm

œ |gC

œ |gG

œ |gD

œ |gBm

V #11

œ |gEm

œ |gG fi

œ |gC

œ |gG

œ |gBm

V # ..16

œ |gC

œ |gG

œ |gC

œ |gAm

last time: rit. .|gG

Traditional Irish Melodyarr. L.Warde

Guitar 4

Guitar 3

84

Be Thou My Vision

*With the pad of your thumb, gently strum downwards.

& 44 Û≥ .Û≥ Û≤ Û≥ Û≤ Û≥ Û≥G

‘ ‘ ‘

& .. ..GVERSE% Dm Bb C

3fr.

& .. ..G

CHORUSDm Bb C

3fr. 1st time: D.C.3rd time: to Coda fi

&G

‘ ‘ ‘

&Bb

BRIDGEC

3fr.

F2

44

111

G3fr.

&C F

2

44

111

Am

‘

& .. ..GSOLO/

CHORUSDm Bb C

3fr.

Last time: D.S.Play 4X

& .. ..Gfi CODA

‘ ‘ ‘Repeat until fade-out

Lesson 16

Sheryl Crow

85

Home

The A-Formation bar chord is the basic A chord transposed up the fret with the first finger functioning as a capo, allowing you to move this chord up and down the fretboard. Like the A minor formation bar chord, the root of this chord will always be on the 5th string. So, whatever note your first finger touches on the 5th string, that is the name of the chord. For example, if your first finger is on the 1st fret, you will have formed a B chord. (see left)

The 1st finger functions as a capo.The rest of the fingers form an A chord.

A Formation Bar ChordB

b

b

& # # # 83 ....œ œ œ.œ1 2

i m a

P

Allegro

œ œ œ.œa m i œ œ œ.œ

41

ima

œ œ œ.œ1 2

i m a

œ œ œ.œ12

i m a œ œ œ.œa m i œ œ œ.œ 1

ima

4 œ ‰œm

& # # # .... ....9 œœ œ œ.œ

im

a m

1œœ œ œ

.œ12 œœ œ œ

.œ23

3œœ œ œ

.œ12 œœ œ œ

.œ1œœ œ œ

.œ12 œ œ œ.œ

4

1

ima

œ ‰œm

& # # # .... ....17

œœ œ

.œ4 3

im

*

œ œ œ.œ 1

m i

œœ œ

.œ2 œ œ œ

.œ 1

i m

œœ œ

.œ4 3

m i

œ œ œ.œ 1

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.œ2 œ ‰œ1

m

& 43 ....œ œ œ.˙Allegro

3

m i m

P

1 œ œ œ.˙ œ œ œ.˙

i ma œ œ œ.˙1 4

a m 1 œ œ œ.˙i

1

m m œ œ œ.˙ 4 œ œ œœ œ œ2

1 .˙ .˙

& .... ....9 œ œ œ.˙i m

a

3

1

3

œ œ œ.˙a

i m

1 œ œ œ.˙m i m

2 œ œ œ.˙m i m

23

œ œ œ.˙i

m1

3

a œ œ œ.˙a

i m œ œ œ.˙i

4

ma .˙ .˙finei

& .... ....17 œ œ œ.˙

m i m

12

œ œ œ.˙

m i

4 1

a

œ œ œ.˙

m i m

1 4 œ œ œ.˙i m i œ œ œ

.˙m i m œ œ œ

.˙m i

4 1

a

œ œ œ.˙

m i m .˙ .˙i

& .... ....25 œ œ œ.˙

i m

4

a œ œ œ.˙mi

1 2

i œ# œ œ.˙

mi

1

m

B

œ œ œ.˙

mia œ œ œ

.˙4

i a m œ œ œ.˙mi

1 2

i œ œ œ#.˙m i

2 1

a .˙ .˙ D.C. al finem

86

Two or More Notes Played Together

Ferdinando Carulli(1770-1841)

Waltz in A

Waltz Leopold Meignen(1793-1873)

*2nd Position: Your 1st finger is assigned to 2nd fret. Also, you may use a rest stroke on the melody notes.

Begin learning of Stairway to Heaven on page 106.

(Note: If there is only time to learn one piece in this lesson, choose Andantino on page 87.)

& 44 ....œ œ œ œœ œ œ œ œ œ œ œi i

p

m

1

2

p

m simile œ œ œ œœ œ œ œ œ œ œ œ3

4 1

2

œ œ œ œœ œ œ œ œ œ œ œ

3

1 œ œ ˙œ œ œ œ ˙

33

1

& ....5 œ œ œ œœ œ œ œ œ œ œ œ1

P

1

im

P

im

4

simile

œ œ œ œœ# œ œ œ œ œ œ œ2 41 œ# œ œ œœN œ œ œ œ œ œ œ3

1

4 œ# œ ˙œ œ œ œ ˙3

1

2

4

& ....9 œ œ œ œœ œ œ œ œ œ œ œ1

2

œ œ œ œœ œ œ œ œ œ œ œ3

4 1

2

œ œ œ œœ œ œ œ œ œ œ œ

3

1 œ œ ˙œ œ œ œ ˙

33

1

& 42 .... ....jœModerato

i œ œœ œ œ œi1

m

P

mi

P

2

œ œœ œ œ œ4

3œ œœ œ œ œ1

2œ œœ œ œ œ4

a

œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ3

3

œ ‰œ1

& .... ....9 jœ œ œœ œ œ œ1

3

œ œœ œ œ œ2

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1 œ œœ œ œ œ4

2

œ œ œ œœ œP

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m

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m

2 œ œ œ œœ œ3

4

2

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4 œ ‰œ1

3

fine

& .... ....18 jœ#1

m œ œ œ œ˙i

2

m i

1

m

œœœ œ œœœ œ

P

1

im

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12

im

œœœ

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34

3 1

0

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i m

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2 œœœ

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3 1

0 œ ‰œ

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m i œ œ œ œ˙1

˙ œ œ œ˙3

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m

œœœ œ œœœ œ

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0 œ ‰œ D.C. al fine

87

Andantino Matteo Carcassi(1792-1853)

English DanceMatteo Carcassi

More With Pedal NotesIn Andantino below, there are three parts – the melody (stems up), the bass (played with the melody) and a pedal note (the open G or D string), played at the second half of each beat. The melody is always the most important part and should be played with that understanding. Make sure the melody is slightly louder than the other parts and give attention to the quality of the sound you give it. The pedal should sound more like a drone supporting the melody than actually a part of the melody. You'll have to use lots of control (especially with the thumb) when playing these pedal notes to accomplish this!

& 44 ..‰ JÛ≤ ‰ JÛ

≤ ‰ JÛ≤ ‰ JÛ

≤1 and 2 and 3 and 4 and

A

‰ JÛ≤ ‰ JÛ

≤ ‰ JÛ≤ ‰ JÛ

≤1 and 2 and 3 and 4 and

D E1

32

& 44 Û≥ Û≥ Û≤ JÛ≥ Û≤ Û≤ JÛ

≤1 and a 2 and (3) and (4) and

Am7 Am Dsus2

C

Û Û≤ Û≥ Û≥ Û≥(1) and 2 3 4

D

ad lib

& ..Û≥ Û≥ Û≤ JÛ≥ Û≤ Û≤ JÛ

≤1 and a 2 and (3) and (4) and

Am7 Am Em7fr.

*

JÛ Û≤ Û≤ .Û≤(1) and (2) and (3) and (4)

D1

2 3

5fr.C

3fr.D

1

2 3

5fr.

Lesson 1788

In popular styles of music, syncopation means that the upbeats are emphasized. Most of the time, this means that you will strum only on the "and" of the beat. Since you will be strumming inbetween the beats, you really have to have a good sense where the downbeat is.

Syncopation

Stir It Up

Stairway to Heaven

Bob Marley

Led Zeppelin

*Note: When transitioning from the Am chord to the Em chord that you keep your third finger down on the third string! Once the Em chord is formed, keep your third and index finger down when transitioning to the D chord.

Syncopation is a distinct characteristic in reggae styles of music. Stir it Up, by Bob Marley, is a good example of this style. Notice that you strum only on the upbeats.

Advanced Rhythms

Keep the 3rd finger down as a guide.

& 44 .. ..Û≥ Û≥ Œ Û≥ Û≥ ŒAm

5fr.G

3fr.G

Û≥

>

Û≤ Û≥ Û≤ Û≥ Û≤ Û≥ Û≤ Û≥ Û≤ Û≥ Û≤ Û≥ Û≥F

244

111

F G3fr.

7X

(Final: 4X only)

& 44 .. ..Û> Û> Œ Û> Û> ŒAm

5fr.G

3fr.

G

Û>≥ Û Û Û>≤ Û Û Û>≥ Û Û Û>≤ Û Û Û>≥ Û>≥1 2 3 1 2 3 1 2 3 1 2 3

F2

44

111

F G3fr.

7X

(Final: 4X only)

& .. ..Û≥ Û≥ Œ Û≥ Û≥ ŒAm

5fr.G

3fr.G

Û≥ ¿≤ ¿≥ Û≤ ¿≥ ¿≤ Û≥ ¿≤ ¿≥ Û≤ ¿≥ ¿≤ Û≥ Û≥1 2 3 1 2 3 1 2 3 1 2 3

F2

44

111

F G3fr.

(muted)7X

(Final: 4X only)

& .. ..Û≥ Û≥ Œ Û≥ Û≥ ¿> Û≤>Am

5fr.G

3fr.F

(optional)49 Û Û Û Ûad lib 2X

F

89

Section G of Stairway to Heaven is a very high energy part of the song that can be a bit tricky to learn at first. In order to quickly master this rhythm, below, it is broken down below into three steps.

More Advanced Rhythms (cont.)

Stairway to Heaven

Step 2: Next, play the rhythm with the accents ( ) as shown. To accent, simply strum the chord with more force. Notice that every third strum is accented. Count this as "1-2-3, 1-2-3, 1-2-3", making sure you accent on 1.

Step 3: Finally, you will mute the strums on "2 and 3". This will add a percussive sound that will emphasize the accent on "1" even more. To mute, simply release the pressure off the strings without taking your fingers off the strings.

Step 1: Without the accents, the rhythm is very straightforward. Play the strumming pattern at a slow tempo at first.

Bars 51-end. The song concludes by returning to the material played at . You will play this 4 times. The last time, you will make a ritardando, then make one strum on the F chord. Here, the vocalist will sing acappella until the word, "Heaven", at which point you will gently strum an Am chord. Optional: play the vocal melody, as written below.

Bars 49-50. In the last part of this section, you will play the F chord at the second half of beat 4. It is important to accent this chord aggressively. As an optional effect, you can make a muted strum right on beat 4. Otherwise, make this a rest.

VV

##

43

431, 2 & 3

4

Ó œ œ2

∑

Relaxed {q = c 76}

.œ jœ œ2 œ

œ3œ ˙

pi

m

œ œ œ œ œ2

œ3

œ2˙

.œ jœ œ4 œ

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˙2 œ œ

œ œ2˙4

.œ jœ œ2 œ

œ3œ ˙

VV

##

7 œ œ œ œ œ2

œ3

œ2˙

.œ jœ œ2 œ4

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pi i

m

˙ œ œ1

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.œ3 Jœ œ1 œ

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œ œ2˙4

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œ œ2˙3

VV

##

13 ˙ œ œ2

œ œ2˙

.œ jœ2 œ œ4

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VVVV

####

18 Ó œ œ2

Ó œ œ2

∑

œ3

œ2˙

.œ jœ œ2 œ

.œ jœ2œ4 œ

Œ ˙3

œ3œ œ œ

im

ip

œ œ œ œ œ2

œ œ2 œ œ œ3

Œ ˙

œ3œ2

œ œsimile

.œ jœ œ4 œ

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jœ3 œ œ2

Œ ˙

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˙2 œ œ

˙4 œ2 œ4

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œ œ1œ3 œ

.œ jœ œ2 œ

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œ3œ œ œ

90

Here is Love

Welsh Melodyarr. Lou Warde

Scorefor Guitar Quartet

1

2

3

4

Guitar 1 only

Guitar 2 only

Guitar 3 only

VVVV

####

24 œ œ œ œ œ2œ œ œ œ œ3Œ ˙3

œ3 œ2 œ œ

.œ jœ œ2 œ4

.œ2 jœ œ œŒ œ3 œ2

œ3 œ œ œ

˙ œ œ1

˙ œ œ2Œ ˙

œ3 œ œ œ

.œ3 Jœ œ1 œ

.œ jœ œ2 œŒ ˙1

œ3 œ œ œ

(X)

pi m i

a

œ œ2 œ œ œ

œ œ4 œ œ œŒ ˙

œ œ1 œ3 œ

.œ1 jœ2 œ3 œ1

.œ2 jœ2 œ œ2Œ

˙3

œ œ2 œ3 œ

(XII)

VVVV

####

30 ˙ œ œ2

˙ œ œ4Œ

˙

œ œ2 œ œ

.œ jœ2 œ œ4

.œ2 jœ œ œŒ

˙

œ3 œ2 œ œ

œ œ œ œ œ2

œ œ œ œ œŒ ˙1

œ3 œ œ œ

(X)

.œ jœ œ2 œ4

.œ jœ œ œŒ ˙

œ œ œ œ

˙ œ œ1

˙ œ œ2Œ ˙

œ œ œ œ

.œ3 Jœ œ1 œ

.œ jœ œ2 œŒ ˙

œ œ œ œ

VVVV

####

36 œ œ2 œ œ œ

œ œ4 œ œ œŒ ˙

œ œ1 œ3 œ

.œ1 jœ2 œ3 œ1

.œ2 jœ2 œ œ2Œ

˙3

œ œ2 œ3 œ

(XII)

˙ œ œ2

˙ œ œ4Œ

˙

œ œ2 œ œ

.œ jœ2 œ œ4

.œ2 jœ œ œŒ

˙

œ3 œ2 œ œ

œ œ œ œ œ2

œ œ œ œ œŒ ˙1

œ3 œ œ œ

(X)

.œ jœ œ2 œ4

.œ jœ œ œŒ ˙

œ œ œ œ

rit.

rit.

rit.

rit.

œ ˙

œ ˙Œ ˙

œ œ ˙

91

V # 43 Ó œ œ2

Relaxed {q = c 76} .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ4 œ

V #5 ˙2 œ œ .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ2 œ4 ˙ œ œ1

V #10 .œ3 Jœ œ1 œ œ œ2 œ œ œ .œ1jœ2

œ3 œ1 ˙ œ œ2

V #14

.œ jœ2 œ œ4 œ œ œ œ œ2.œ jœ œ2 œ4

.˙

V #18 Ó œ œ2 .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ4 œ ˙2 œ œ

V #23 .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ2 œ4 ˙ œ œ1


œ3 œ1 ˙ œ œ2

V #31 .œ jœ2 œ œ4 œ œ œ œ œ2.œ jœ œ2 œ4 ˙ œ œ1


œ3 œ1 ˙ œ œ2

V #39 .œ jœ2 œ œ4 œ œ œ œ œ2.œ jœ œ2 œ4

rit. œ ˙

92

Here is LoveWelsh Melodyarr. Lou WardeGuitar I for Guitar Quartet

(Guitar 2 only)

(Guitar 3 only)

(Guitar 1)

V # 43 Ó œ œ2

Relaxed {q = c 76} .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ4

œ

V #5

˙2 œ œ .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ2 œ4 ˙ œ œ1


œ3 œ1 ˙ œ œ2

V #14

.œ jœ2 œ œ4 œ œ œ œ œ2.œ jœ œ2 œ4

.˙

V #18 Ó œ œ2 .œ jœ2œ4 œ œ œ2 œ œ œ3 .œ2

jœ3 œ œ2 ˙4 œ2 œ4

V #23 .œ jœ2 œ4 œ œ œ2 œ œ œ3 .œ2

jœ œ œ ˙ œ œ2

V #27 .œ jœ œ2 œ œ œ4 œ œ œ .œ2 jœ2œ œ2 ˙ œ œ4

V #31

.œ2

jœ œ œ œ œ œ œ œ .œ jœ œ œ ˙ œ œ2

V #35 .œ jœ œ2 œ œ œ4 œ œ œ .œ2 jœ2œ œ2 ˙ œ œ4

V #39

.œ2

jœ œ œ œ œ œ œ œ .œ jœ œ œrit. œ ˙

93

Here is LoveWelsh Melodyarr. Lou Warde

Guitar 2 for Guitar Quartet

(Guitar 1 only)

(Guitar 3 only)

(Guitar 2 only)

(Guitar 2)

V # 43 Ó œ œ2

Relaxed {q = c 76} .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ4

œ

V #5

˙2 œ œ .œ jœ œ2 œ œ œ œ œ œ2 .œ jœ œ2 œ4 ˙ œ œ1


œ3 œ1 ˙ œ œ2

V #14 .œ jœ2 œ œ4 œ œ œ œ œ2.œ jœ œ2 œ4

.˙

V #18 ∑ Œ ˙3 Œ ˙ Œ ˙ Œ ˙2

V #23 Œ ˙3 Œ ˙3 Œ œ3 œ2 Œ ˙

V #27 Œ ˙1(X)

Œ ˙ Œ˙3

(XII)

Œ˙

V #31 Œ˙

Œ ˙1(X)

Œ ˙ Œ ˙

V #35 Œ ˙ Œ ˙ Œ˙3

(XII)

Œ˙

V #39 Œ˙

Œ ˙1(X)

Œ ˙ rit. Œ ˙

94



(Guitar 1 only)

(Guitar 2 only)

(Guitar 3 only)

V # 43 ∑Relaxed {q = c 76}

œ3œ ˙

pi

m œ3

œ2˙ œ3

œ ˙

V #5

œ œ2˙4 œ3

œ ˙ œ3

œ2˙ œ3

œ œ œp

i im œ3

œ ˙

V #10

œ3œ ˙ œ œ2

˙4

œ œ2˙3 œ œ2

˙

V #14

œ3œ2

˙ œ3œ ˙ œ œ œ œ œ œ ˙

V #18

œ3

œ2˙ œ3

œ œ œi

mi

p

œ3œ2

œ œsimile œ3

œ œ œ œ œ1œ3 œ

V #23

œ3œ œ œ œ3

œ2œ œ œ3

œ œ œ œ3œ œ œ

V #27

œ3œ œ œ

pi m i

a œ œ1œ3 œ œ œ2

œ3 œ œ œ2œ œ

V #31

œ3œ2

œ œ œ3œ œ œ œ œ œ œ œ œ œ œ

V #35

œ œ œ œ œ œ1œ3 œ œ œ2

œ3 œ œ œ2œ œ

V #39

œ3œ2

œ œ œ3œ œ œ œ œ œ œ

rit. œ œ ˙

95



& # 43 œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ.˙4

am i

12

œ œ œœ œ œ œ œ œ œ œ œ.˙1 2

34

1


2

œ œ œœ œ œ œ œ œ œ œ œ.˙3

& #5 œ œ œœ œ œ œ œ œ œ œ œ.˙4 œ œ œœ œ œ œ œ œ œ œ œ.˙

1 234

1


2 œœœ ˙.˙i

am

p

& #9 œ œ œœ œ œ œ œ œ œ œ œ.˙3 3

* œ œ œœ œ œ œ œ œ œ œ œ.˙

11 1

4

V12 œ œ œœ œ œ œ œ œ œ œ œ.˙

31 2

4 41 3

3 œ œ œœ œ œ œ œ œ œ œ œ˙ Œ1

4 2 2

& #13 œ œ œœ œ œ œ œ œ œ œ œ.˙4 œ œ œœ œ œ œ œ œ œ œ œ.˙

1 234

1


2 œœœ ···˙ œ*Harm. XII

& # 86 .œ‰ œ œ œ œ œ.˙p

i m

a

i m4 .œ‰ œ œ œ œ œ.˙p

i m i ma .œ‰ œ œ œ œ œ

.˙ 21

3 .œ‰ œ œ œ œ œ.˙

& #5 .œ‰ œ œ œ œ œ.˙ 2

3 .œ#‰ œ œ œ œ œ.˙ 3

1

4 .œ‰ œ œ œ œ œ.˙

.œ‰ œ œ œ œ œ.˙

& #9 .œn‰ œ# œ œ œ œ.˙ 1

2 .œ‰ œ# œ œ œ œ.˙ .œ‰ œ œ œ œ œ.˙32 1

.œ#‰ œ œ œ œ œ.˙ 2 1

3

& #13 .œ‰ œ œ œ œ œ.˙1

.œ‰ œ œ œ# œ œ.˙13 1

4

A

II .œ‰ œ œ œ œ œ.˙ .˙

Francisco Tárrega (1852-1909)

Patterns Emphasizing the Ring Finger

Estudio

Prelude Matteo Carcassi (1792-1853)ed. L.Warde

96

V: This means to form half of a bar chord (1st 3 strings) on the 5th fret. *

Note: Begin learning of Stairway to Heaven.

*Optional: Play these notes as open harmonics on the 12th fret.

Lesson 18

& # # 44 œ œœ12 œ œœ œ œœ œ œœ

D

INTRO

p

im

p

im

œ3œœ1

1 œ œœ œ œœ œ œœF#m

œ œœ12 œ œœ œ œœ œ œœ

D

œ3œœ1


& # # .. œ œœ12 œ œœ œ œœ œ œœ

D

VERSE%

œ3œœ1


œ œœ12 œ œœ œ œœ œ œœ

D

œ3œœ1


& # # ..œ1

œœ24 œ œœ œ œœ œ0

œœBm Bm/A

œ1

œœ24 œ

œœ œ0

œœ11 œ œœ

G A

œ1

œœ24 œ œœ œ œœ œ œœ

Bm

œ0

œœ11 œ œœ œ

œœ14

œœœ

AA

2

& # # .. ..œ œœ12 œ œœ œ œœ œ0

D D/A

CHORUS

œ1


œœBm Bm/C#

œ œœ12 œ œœ œ œœ œ0

D D/A

œ1


œœBm Bm/C#

& # # œ œœ12 œ œœ œ œœ œ0

œœD D/A

D.S.

97

Hey There, DelilahPlain White T's

(Excerpt)

Typically, fingerstyle patterns in popular styles, such as rock, folk, and country are very basic and easy compared to classical guitar. This is true with Hey There, Delilah below. The pattern is: p-im-p-im throughout. Here are some tips:

a. The index finger's assigned to 3rd string: the middle finger's assigned to the 2nd string. (You won't play the 1st string.)b. You will constantly alternate between the thumb and index/middle fingers. c. The thumb plays the bass notes on the 4th, 5th and 6th strings.d. In the left hand, your index finger will 1/2 bar the 2nd fret throughout the song.

Lesson 19Fingerstyle Patterns in Popular Styles of Music

(This lesson is optional)

& 44 œœ œ œ œ œ œ œ

C

p

p ppm i

mi œœ œ œ œ œ œ œ

CMa j7


C(add9)


C

& œœ œ œ œ œ œ œAsus 2

œœ œ œ œ

œ œ œAsus 4

œœ œ œ œ œ œ œAm

œœ œ œ œ œ œ œAsus 2

& œœ œ œ œ œ œ œC(add9)

œœ œ œ œ œ œ œC

œœ œ œ œ œ œ œCMa j7

œœ œ œ œ œ œ œC(add9)

& œœ œ œ œ œ œ œAm

œœ œ œ œ œ œ œAsus 2

œœ œ œ œ

œ œ œAsus 4

œœ œ œ œœœœœ

Am G/B

www

C

& 44 .. œœ œ œ œ œ œ

C C

p

m

p

i

p

m

p

œœ œ œ œ œ œ

C (add9) C

œœ œ œ œœœ

G

wœ œ œ œ

G7

p p p p

& œœ œ œ œ

œ œ

G G7

œœ œ œ œ œ œ

G G

œœ œ œ œœ œ

C

wœ œ œ œb

C

& œœ œ œ# œ

œ œ

E

œœ œ œ# œ

œ œ

E7 E

œœ œ œ œœ œ

Am Am

œœ œ œ œœ œ

Am Am

& ..œœ œ œ œ œ œ

C

œœ œ œ œœœœ

G Am G/B

œœ œ œ œ œ œ

C

wœ œ œ œ

Kansas

Travis Picking StyleTravis Picking, a fingerstyle technique named after Merle Travis (1917-1983), is common in popular styles of music, including folk, country, and bluegrass. The right-hand pattern in Dust in the Wind is: - p - i - p - m - p - i. Notice that the index finger always plays the 3rd string and the middle finger always plays the 2nd. The thumb always alternates between the 4th and 5th strings.

Dust in the Wind

Freight TrainElizabeth Cotten

(1895 - 1987)

98

pm

& 812 œ œ œ œ œ œ œ œ œ œ œ œ

C A m

p p p p

i ma m i m a m

œ œ œ œ œ œ œ œ œ œ œ œ

C A m

similep

& ..3

œ œ œ œ œ œ œ œ œ œ œ œ

C A m

VERSE

œ œ œ œ œ œ œ œ œ œ œ œC A m

p

i m a m i

œ œ œ œ œ œ œ3œ œ œ œ œ

F G

i

&6 œ œ œ œ œ œ œ œ œ œ œ œC G

œ œ œ œ œ œ œ œ œ œ œ œC F G

p p

i m i m

œ œ œ œ œ œ œ œ œ œ œ œA m F

p

i m a m i

simile

simile

&9 œ œ œ œ œ œ œ œ œ œ œ œG E m

œ œ œ œ œ œ .˙

A m

œ œ œ œ œ œ œ œ œ œ œ œF

&12 œ œ œ œ œ œ œ œ œ œ œ œA m


œ œ œ œ œ œ œ œ œ œ œ œC G

& ..15



TAG

œ œ œ œ œ œ œ œ œ œ œ œA m

&18 œ œ œ œ œ œ œ œ œ œ œ œF


œ œ œ œ œ œ .˙C

rit.

Hallelujah99

David Buckley

Play 5X's

5th time to TAG

&&&

&

13 œ3 œ œ3 œ#2

œ3 œ3 œ œ3

œ œ œ1 œ

œ3

|gG

(small notes on repeat)œ# 2 œ œ2 œœ œœ œ œ œ#4

œ œ2 œ œ

œ |gE m

To Coda

.œ2jœ œ œ2

.œ2jœ œ2 œ

.œ3

jœ œ2 œ

œ Ûg ÛgA m D

˙ œ3 œ

˙3

Œ

˙3

Œ

œ3

|G

fi

pizz.

pizz.

pizz.

œ œ2 œ œ

œ œ1œ3 Œ

œ œ1œ3 Œ

œ œ1œ3 Œ

with thumb

with thumb

with thumb

&&&

&

18 œ1 œ œ œ1

œ3œ2

œ œ œ2

œ3œ2

œ Œ

œ3œ2

œ Œ

ord.

œ3 œ2 œ œœ œ#4 œ4 œœ œ1

œ3 Œ

œ œ1œ3 Œ

œ1 œ Œœ2 œ œ œ2

œn 3 œ3 œ3

Œ

œn 3 œ3 œ3

Œ ord.

∑œ œ3 œ2 œ

∑

Ûg |gBmG

Œ Œ œ œœ1 œ œ œ# 4

Œ Œ œ2 œ

Ûg |gAm Em

ord.

&&&

&

..

..

..

..

23 .œ2 jœ œ œ#4

.œ2jœ œ2 œ

.œ3

jœ œ œ

œ Ûg ÛgA m D

˙ œ œ

˙3 œ œ2

˙3 œ œ2

œ3

|gG

˙ œ2 œ

˙3

œ œ#4

˙3

œ2 œ

œ3

Ûg œ

G

fi .œ2jœ œ œ#4

.œ2jœ œ œ3

.œ3

jœ œ2 œ

œ Ûg ÛgA m D

rit.

rit.

rit.

rit.

.˙U

.˙2

U

.˙3

U

|gu

G

101

& 43 œ3œ2F

œ3œ2 œ3 œ œ2 œ œ1 œ .œ2 Jœ1 œ3 œ

&4 ˙3œ3 œ#2 œ3 œ3 œ œ3 œ œ œ œ#4 .œ2

jœ œ2 œ

& ..8

˙3

œ œ œ1 œ œ œ3 œ1 œ œ1 œ .œ1 jœ3 œ œ2

&12 ˙ œ2 œ œ3 œ œ3 œ#2

(small notes on repeat)œ# 2 œ œ2 œœ œTo Coda

.œ2jœ œ œ2

fi

&16 ˙ œ3 œ œ œ2 œ œ œ1 œ œ œ1 œ3 œ2 œ œ

& ..20 œ1 œ Œ ∑ Œ Œ œ œ .œ2 jœ œ œ#4 ˙ œ œ

&25 ˙ œ2 œfi

.œ2jœ œ œ#4

rit.

rit.

.˙U

102

YosemiteL.Warde

for Guitar Quartet

Guitar 1

& 43 œ3œ2F

œ3œ2 œ3 œ œ2 œ œ1 œ .œ2 Jœ1 œ3 œ

&4 ˙3œ3 œ#2 œ3 œ3 œ œ3 œ œ œ œ#4 .œ2

jœ œ2 œ

& ..8

˙3 œ3œ2 œ3

œ2 œ3 œ œ2 œ œ1 œ .œ2 Jœ1 œ3 œ

&12 ˙3œ3 œ#2 œ3 œ3 œ œ3 œ œ œ œ#4

To Coda

.œ2jœ œ2 œ

fi

&16

˙3

Œ œ œ1œ3 Œ

with thumb

pizz.

œ3œ2

œ œ œ2

ord. œ œ#4 œ4 œ

& ..20 œ2 œ œ œ2 œ œ3 œ2 œ œ1 œ œ œ# 4 .œ2jœ œ2 œ ˙3 œ œ2

&25

˙3

œ œ#4

fi.œ2

jœ œ œ3

rit.

rit.

.˙2

U

103

YosemiteL.Warde

for Guitar Quartet

Guitar 2

& 43 œ3œ2F œ3

œ2 œ3 œ œ2 œ œ1 œ .œ2 Jœ1 œ3 œ

&4 ˙3œ3 œ#2 œ3 œ3 œ œ3 œ œ œ œ#4 .œ2

jœ œ2 œ

& ..8

˙3 œ3œ2 œ3 œ œ œ2 œ3 œ2

œ2 œ .œ3

jœ2 œ œ

&12 ˙ œ3 œ œ œ œ1 œ œ œ2 œ œTo Coda

.œ3

jœ œ2 œfi

&16

˙3

Œ œ œ1œ3 Œ

with thumb

pizz.

œ3œ2

œ Œ œ œ1œ3 Œ

& ..20

œn 3 œ3 œ3

Œ ∑ Œ Œ œ2 œord.

.œ3

jœ œ œ ˙3 œ œ2

&25

˙3

œ2 œfi

.œ3

jœ œ2 œrit.

.˙3

U

104

YosemiteL.Warde

for Guitar Quartet

Guitar 3

& 43 Œ œ3|g

C

Ûg |gCF

œ1

|gF

&4

œ3

|gG

œ3

|gG

œ |gE m

œ Ûg ÛgA m D

& ..8

œ3

|gG

œ3|g

C

Ûg |gCF

œ1

|gF

&12

œ3

|gG

œ3

|gG

œ |gE m

To Coda

œ Û ÛDA m

fi

&16

œ3

|G

pizz.

œ œ1œ3 Œ

with thumbœ3

œ2œ Œ œ œ1

œ3 Œ œn 3 œ3 œ3

Œ

& ..21 Ûg |gBmGord.

Ûg |gAm Em

œ Ûg ÛgA m D

œ3

|gG

&25

œ3

Ûg œ

Gfiœ Ûg Ûg

A m D

rit.

rit.

|gu

G

105

YosemiteL.Warde

for Guitar Quartet

Guitar 4

&TAB

44 ‰ œ œ œ œ œ œ œ˙ ˙#

55

5 75

57

7 6

Am5fr.

E/G#5fr.

p

i m a a m i aA

3 21

1 1 31 1

p i m a ap m i a

œ œ œ œ œ# œ œ œ˙n ˙#8

55

8 23

22

5 4

C/G5fr.

D/F#2fr.

31

41 1

12

1

simile

œ œ œ œ œ œ œ œwn0

12

10

12

3

FMaj7

m a m ia m i

31 2

ap m i m a m i

œœœ œœœ œœœ ‰ jœ j¿ œ œ002

120

120 0 8 7

G/B Am

i

(don't play 2nd time)p slide2

12

m

32

0

5

im

3rd time: to fi

&TAB

5 ‰ œ œ œ œ œ œ œ˙ ˙#

75

57

55

7

06

Am5fr.

E/G#5fr.

3

*

œ œ œ œ œ# œ œ œ˙n ˙#8

55

8 23

22

5 4

C/G5fr.

D/F#2fr.

31

4 12

1œ œ œ œ œ œ œ œwn0

12

10

12

3

FMaj7

1 2 œœœ œœœ ˙ œ œ002

120

120 0 2

G/B Am

p p22

12

&TAB

9

œ œ œ œ œ# œ œ œ˙

32

00 2

32

2

0

C D

a m i aBi a

32

1

23

p p

p p i a a m i a

œ œ œ œ œ œ œ Œ˙ œ œ œ0

12

00 1

23

0 0 2

Fmaj7 Am

31 2 21

2

H

œ œ œ œ œ œ œ œ˙ ˙1

02

13

00

3

33

C G

41

3 2

4 œ œ# œœ ˙œ œ ˙ œ œ3 2 2

323

0 0 00 2

Dsus4 D

2

3

2p p

P

&TAB

..

..

13

œ œ œ œœ œ# œ œ œ˙

32

001

23

22

0

C D

32

1

23( )

(2nd time)

( )

(2nd time)

œ œ œ œ œ œ œ˙ œ œ œ0

12

00 1

23

0 0 2

Fmaj7 Am

31 2 21

2p p

œ œ œ œ œ œ œ œ#

32

01

02

32

C D

iim

maa

3 2

1 1 32

*

p

p pi i mm a a

œœœœn œœœœ ....˙

0123

0123

0123

Fmaj7

321

(2X)

106

Stairway To HeavenLed Zeppelin

Lesson 20

*2nd time: Play Am exactly as bar 1

*2nd time: Play C and D chords using the same fingerstyle pattern as bar 11.

p = thumbi = indexm = middlea = ring

&TAB

17 ‰ œ œ œ œ œ œ œ œ œ œ˙ ˙#

21

5 7 010 7 0

1

01

Am5fr.

E/G#5fr.

a m i m a m ifiœN œ œ œ œ œ œ œ# œ œ œ# œ œ œ010 8 0

10

423

2324

C/G5fr.

D/F#2fr.

p pi m a m i simile

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3210

12

3210123

FMaj7

p pp

i m a m i i m am i

œœœ œœœ ˙ Û≥ggg002

120

120

Ûggg

G/B Am G/B

G/B2

12

& ..21 Û≥ Û≥ Û≤ Û≥ Û≤ JÛ Û≤ JÛ≤

Am7 Am Dsus2C

Û Û≤ Û Û≥ Û≥D

ad lib

Û≥ Û≥ Û≤ Û≥ Û≤ JÛ Û≤ JÛ≤

Am7 Am Em7fr.

&24

JÛ Û≤ JÛ≤

JÛ .Û≤D

5fr.C

3fr.D

5fr.


Am7 Am Dsus2

&26 Û Û≤ Û Û≥ Û≥D

ad lib


Am7 Am Em7fr.

JÛ Û≤ JÛ≤

JÛ .Û≤D

5fr.C

3fr.D

5fr.

&TAB

29


3

00

1

2

30

0

C G/B

a i m i mD

3 2

41

m

p p

p a i m m i m

œ œ œ œ œ œ œ œ2

20

22

1

0 2

Am

m i

p

i m a3

21

2p p

m i p i m a p p

œ œ œ œ œ œ œ œœœœ

3

00

1

2

30

0123

FMaj7C G/B

3

1

2

4

(Strum or grab with fingers)

‰ ....œœœœ Œ œ œ0120 0 2

Am

2

&TAB

..

..

33


3

00

1

2

30

0

C G/B

3 2

4 œ œ œ œ œ œ œ œ2

20

22

1

0 2

Am

32

1

2œ œ œ œ œ œ œ œœœœ

3

00

1

2

30

0123

FMaj7C

3

1

2

4 ‰ ....œœœœ Œ œ œ0120 0 2

Am

2œ œ œ œ œ œ œ œ

3

00

1

2

30

0

C G/B

3

1

2

4

(3X)

107

& 43 4438 .| ‰ Û≥ Û≤D Dsus2 D

E

.Û≥ Û≥ Û≤ .Û≥ Û≥ Û≤Dsus4 Dsus2 D Dsus4 Dsus2 D

Û≥ Û≥ Û≥Dsus4 D

& 44 45 44 4341 Û≥ Û≥ Û≤ Û Û≤ Û≥ Û≥C (add9) C(add9)+#11 C (add9)

Û≥ Û≥ Û≤ Û Û≤ Û≥ Û≥ Û≥ Û≥ Û≤C (add9) Cadd9(#11) C (add9) Dsus2 D

.Û≥ Û≥ Û≤ .Û≥ Û≥ Û≤Dsus4 Dsus2 D Dsus4 Dsus2 D

& 43 83 43 4444 Û≥ Û≥ Û≥Dsus4 D

.Û≥C (add9)

.Û≥ Û≤ Û≥ Û≤ Û>≥ Û≤

C(add9)+#11 C (add9)Û≥ Û≤ Û

>≥ Û≤ Û≥ Û≤ Û

>≥ Û≤

G/B

& .. ..48 Û≥ Û≥ Û≥ Û≤ Û≥ Û≥ Û≥ Û≤Am Am7/G

F

ad lib(suggested rhythm)

Û≥ Û≥ Û≥ Û≤ Û≥ Û≥ Û≥ Û≤F

10X

& .. ..50 Û≥ Û≥ Œ Û≥ Û≥ ŒAm

5fr.G

3fr.G

Û≥ ¿≤ ¿≥ Û≤ ¿≥ ¿≤ Û≥ ¿≤ ¿≥ Û≤ ¿≥ ¿≤ Û≥ Û≥F F G

3fr.

(muted)7X

& .. ..52 Û≥ Û≥ Œ Û≥ Û≥ ¿> Û>≤Am

5fr.G

3fr.

(optional) Û Û Û ÛF

ad lib 2X

&TAB

..

..

..

..

54 ’ ’ ’ ’Am Am7/G

4th time: rit.

FAs ( )

Play chords as above

’ ’ œ1 œ3

1 3

F

4X

4th time: strum on beat 1 only, then play vocal melody (optional)

œ3 œ3 œ1 œ

5 3 1 0

2œ1 œ œ2 œ œ1

1 02 0

1P

|ggg|ggg

Am

Am

108

Appendix

109

A A7 Amaj7 A (add9) Asus4Am Am7

B7B Bm

C

Bmaj7

2fr.

C7

Bm7

2fr.

Cmaj7

B (add9)2fr.

C (add9)

Bsus4

2fr.

D D7

Cm

3fr.

Dmaj7 D (add9) Dsus4

Cm7

3fr.

Dm Dm7

C sus4

E E7 Emaj7 E (add9) Esus4Em Em7

F F7 Fmaj7 F(add9)

G G7

Fm

Gmaj7 G(add9) Gsus4

Fm7

Gm

Fsus4

F F7 Fm Bb

Gm7

3fr.

Bb7 Bbm

Chords

Bar ChordsE Formation (Root on 6th string) A Formation (Root on 5th string)

110

&

&&&&&&&&&&&&

Open

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

11th

12th

œ6

œœ# œbœœ# œbœœ# œbœœœ# œbœœ# œbœ

œ5

œ# œbœœœ# œbœœ# œbœœœ# œbœœ# œbœ

œ4

œ# œbœœœ# œbœœ# œbœœ# œbœœœ# œbœ

œ3

œ# œbœœ# œbœœœ# œbœœ# œbœœœ# œbœ

œ2

œœ# œbœœ# œbœœœ# œbœœ# œbœœ# œbœ

œ1

œœ# œbœœ# œbœœ# œbœœœ# œbœœ# œbœ

Guitar FretboardString

Fret

111

&

&

&

&

w w wE F G

w w wB C D

w wG A

w w wD E F

w w wA B C

w w wE F G

112

Notes in 1st Position

1st (E) String

2nd (B)String

3rd (G) String

4th (D) String

5th (A) String

6th (E) String

Fine

EveryGoodBoyDoes

FACE

113

GRADING RUBRIC FOR PERFORMANCES

A The performance goes beyond mere proficiency–it demonstrates a command of the music both technically and musically. It’s ready to be performed publicly.

The performance reflects complete control and mastery of technique. The performance reflects a clear understanding of the composition, recognizing and controlling elements

in the music that are deeper than just correct notes and rhythms. These include: a. Recognizing, distinguishing and balancing the multiple voices in the polyphony. b. Playing phrases rather than playing from note to note, and shaping those phrases with

expressive devices such as volume, speed, color and vibrato. Performance is fluid. There are no hesitations between sections or chords. Performance is expressive and the expressive interpretation is informed and appropriate in the context of

the performance practices in the time period the piece was written. Student projects the sound with confidence; he or she plays to the “back of the room.”

B The performance is proficient. The student knows the material, but performance is not quite ready to be performed publicly.

Technique, notes/chords and rhythms are correct, but the performance does not reflect a command of those things.

Performance is a bit choppy, lacking fluidity. Student seems to plays from note to note rather than playing phrases.

Shows slight insecurity/hesitations in some sections, such as struggling with some transitions and chords. Performance lacks expressiveness. Student does not observe or implement phrasing, dynamics,

articulations, vibrato, etc. The performance does not reflect an understanding of the composition. For example, in polyphonic

repertoire, the student does not seem to be aware of the different voices. The different parts are not clearly distinguished, controlled or properly balanced.

The overall sound is lacking. Student does not project the sound and/or the tone lacks confidence and/or beauty.

C The performance is not proficient. It is rough and needs work. It’s still in the working-out phase.

Student is struggling through some or all of the music. There may be incorrect notes, rhythms and/or chords. Technique may be incorrect. Severe and consistent hesitations, perhaps stopping to work out notes, rhythms and/or chords before

continuing.

The assessment and grading of performances fall either under the criteria listed in A, B and C above, or, as an Incomplete, the latter equating to a zero until the assignment is made up. The letter grade of D or F is more applicable to the final grade rather than the assessment of an individual performance. However, with the combination of incompletes (zeros) and A-C’s, the resulting grade can be still a D. The criteria for a final grade of D or F is listed below.

D Although this grade can reflect a student’s achievement, for those students whose final GPA is less than 60% it can reflect overall effort rather than achievement.

If the student has been attending class regularly, and had been consistently engaged in the class and participating to a satisfactory level, at the end of the semester, that student will pass the class with a letter grade of D, even if the student’s overall grade is less than 59%, including 0%.

F Student demonstrated insufficient effort.

Did not attend class regularly Demonstrated no effort while in class Was not engaged in class.

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