rhythm guitar playing book 2
TRANSCRIPT
8/16/2019 Rhythm Guitar Playing Book 2
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Rh$Gkffi
Cuttar
FreWGmtr
Book
2
T/"lMCtril,t
An
invaluable
aid in
preparing
for
the
Registry
of
Cuitar
Tutors
electric
guitar
exams.
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3
l,o,
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5
An innovative
and
helpful
book
for
all
modern
guitar
players
who
want
to
improve
their
rhythm
guitar
playing.
€
j2.
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Rrutr
egistry
of Guitar
Tutors
8/16/2019 Rhythm Guitar Playing Book 2
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pr*Yuvq
BaaKruro
€RJLDE
8-qBADE
4-GRADE
5
eY
gHItZHJhBT
ISBN: I-898466-I5-7
A
CIP record
for
this
publication is
available
from
the
British
Library
Published
in
Great
Britain
by
Registry
Mews,
ll to 13
Wilton
Rd, Bexhill,
Sussex, TN40
IHY
Printed
and
bound
in
Great
Britain by Gemini
Press
WARNING
PHOTOCOPNNG
OF ANY
PART
OF
THIS BOOK
IS
ILLEGAL
Breach of
copyright,
by
photocopying
or
any
other means,
may
result
in both
a
claim
for civil
damages
and
criminal
prosecution.
@
Copyright
2O03
by Registry
Publications
Ltd.
ALL
WORLDIVIDE
RIGHTS RESBRVED
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FORf,VtrORD
Ttre
Registry
Of
Guitar Tutors.
in
association
with London
College
Of
Music
Exams,
first
began
to offer
graded
examinations
in electric guitar
playing
in
1993.
Since
that
time
the
examinations
have pror
ed
io
be highly
popular
with
students
and
teachers
alike.
However,
the
Registn'
has
repeatedly
had
requests
for
additional
course
material
to
accompany
the
Rhythm
Guirar
Playing
section
of
the
examinations.
This
series
of three
books
by
Chaz
Hart.
one
of the
Registry's
senior
electric
guitar
examiners,
has
been
especially
designed
ro
tunfil
that
need.
E-ach
book pror
id+s
a
lr
ide
range
of musical
examples
that
clearly
demonstrate
the
type
of
chord
prclressi:,rs
that
*-ill
appear
in
each
grade
of
the
examinations.
In
addition,
Chaz
has
thiu::lrfui,r
provided
Playing
Tips
with each piece.
These give
advice
on
the
most
cor]Ll'l]L]l'1
prc'btrernatic
areas
and
offer
suggestions
on
how
to
gain
those
extra
elusive
mark-:.
3mause
r-rf
Chraz's
rvide
experience
as a
teacher
and
examiner,
these
comments
are
alu
ar
s
1ns..h:fun
and poignant.
Oi
erall
rre
series
provides
a
structured
and
progressive
way
of
approaching
the
study
of
rh'n:hrn
suitar
plaving
and
will
undoubtedly
provide
a
valuable
study
method
for
all
stlrdents
of
suitar
-
whether
intending
to
take
the examination
or
not.
In
addition,
the
series
sen
es as
an
excellent
teaching
resource
which
guitar
teachers
can
use
to
c
or-l'lpXernent
rheir
own
teaching
programme.
t'^\
)/^;^,r,
TONY
SKINNER
DIRECTOR
-
REGISTRY
OF
GUITAR
TUTORS
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RruY&'runw
@uIT'AR
punVlwie
tsooK
2
F'to-
my
experience
as a
teacher and
electric guitar
examiner,
I've
found that
one
of
the main
difficulties
facing
guitar
players,
is
not
having
enough
chord
charts
to
practise
in a full range
of keys.
This
book
aims
to alleviate
that
difficulty.
All
of
the
chord
charts have
been
officially
approved
by
The
Registry
of
Guitar
Tutors
for
use
in their
electric
guitar
examinations,
which
are organised
in
association
with
London
College of Music
Exams.
The
book
is written
in
a
progressive
manner,
so
that even if
you
are
planning
to
take the
Grade Five
examination
it
will
be
helpful
if
you
work through
ALL
sections
of the
book from
Grade
Three
upwards.
You'll
find
that
I've
made
many
references
in
the
Tips
section
to
using
each
piece
as
a
test, and not stopping,
but
it's
the
one
thing
in
any
musical
situation
that you
must
not do,
so...
I make
no apologies
for
saying
yet
again
-
DON'T
STOP.
Th".. are
a
few
progressions
that
will
come
up many
times, and
if
you
know
these
it
will
help
you play
through
them
with
ease.
Below
are
some
of the
most
common
changes, which I have
written
in
the key of
C, but
practise
them
in every
key:
The numbers represent
the
positions
in
the
scale
of
each
chord, and
will
be the
same
in EVERY
key.
II
Dm
III
Em
nf
you
work out
that C
(5th
string root) is on the
third
fret, the
IV
chord
(F)
is
always
two
frets
lower
(6th
string root
),
the V chord
(6th
string
root
G
chord
)
is
on the
same
fret
as
the C
chord, and the
VI
chord
(6th
string root A minor
chord
)
is
two frets
higher.
These
changes
will
be
the
same
in
every
key.
I VIIV
V
C AmF
G
I
C
I
C
VI
GC
VIV
AmG
E*d
klEU,
e/tqTant
LRAM
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Introduction
The
following
notes
and
their
names
are
shown
together
with
their
basic
comparative
values:
Note
values
Semibreve
(Whole
note)
Minim
(Half
note)
Quaver
(Eighth
note)
-
Crotchet
which
is
written singly,
(Quarter
note)
in
pairs,
or
groups:
Semiquaver
(Sixteenth
note) -
which
is
written
singly
or
in
a
group:
Worth4beats
2beats
Yz abeat
Ya
of
abeat
RgStS
The
following
signs
are
rests
which
last
for
the
same
amount
of time
as their
note
counterpart,
but
as
silence...
Semibreve Minim Crotchet Quaver
Semiquaver
(Whole
note)
rest
(Half
note)
rest
(Quarter
note) rest
(Eighth
note) rest
(Sixteenth
note)
rrst
br
a whole
bar
Time
signature
This
is the
number that
appears
after
the treble
clef
sign at
the
beginning
of a
piece
of
music.
The
top
number
indicates
how
many
beats
to
count
in
each
bar,
whilst
the
number
undemeath
shows the value
of
each beat.
In this
grade
you
need
to know
the
following
time
signatures and these are
shown together
with
the
most
commonly
used strums.
Notice
how the
quavers
(eighth
notes)
in
a
I
time are
counted
as
the
main
beat
because
the
undemeath
figure
is
an
8
(which
denotes
a
quaver
value)
-
however
the
first
of
every
three
beats
is accented,
giving
a
feel
of
'two in
the
bar'.
tl
2
3
Strum
Down,
D,
D,
Count
Strum
D,
D/U
land2
DI
U D,
4
D
34
D,D
4
D
I 2and
D,
DAJP
|
2
3and
D,
D,
D/U
3and 4
D/U
D
1
D,
2
and
DIU
J
D
t2
D,
D,
I2
D,
DI
1234s6
D,D,D,D,D,D
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Grude Three
There are
four different
barre chord
shapes
to
learn
for
this
grade.
Whilst
the
barre
chord
shapes
can
be
learnt
fairly
quickly,
the
trick
is
to
learn
the notes
on the
6th
and 5th
strings
up
to the
12th
fret,
this
will
then
give
you
all
the chords
you
need
forthis grade.
(See
page
32for
chord
shapes).
Repeat
Marks
Sections
to
be
played
again
are
marked
with two
vertical
dots
at
the
start
and
end
of
the
bars.
The
only
exception
to this
is
when
you
repeat
from
the
beginning
where
the
start
dots are
omitted.
This sequence
wouldread:
I
C
I
G
I
F
I
G
I
F
I
C
i
1st
&
2nd
time
endings
The
bar
marked
with
a
I
is
played
the
first
time,
and
then
omitted and
replaced
by the
bars
with
2 the
second
time.
Hence
the sequence
would read:
I
A
I
D
I
A
fE
I
A
I
Split
bars
These
bars contain
2 chords.
Each
split
bar chord
has
a
dot after
it
which
indicates
another beat.
In
I
time
each
chord
has 2
dots after
it
to
show
the
other
2
quaver
beats,
but the
bar
is
still
split
equally
at
this
grade.
t,
t
DynamiCs
These
indicate
changes
in volume
and
the signs
and
their meaning
are
shown
in
the
next
sequence
-
which
is
easier than
usual
so
you
can
practise
one
thing
at
a time
(play
softly)
f
@tuvloudly)
---
(get
softer)
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1.
Moderate
tempo
rip:f
;f
,'l:::ff
:"f,,1,1# , ',ilil,voucan
a"
p
a
t,lll
a
**********>F**8rr**{<d<+'F*'8***,f*>F***d<{<{<*****{<{<*************{<*****d<****A*{.*d<
2.
Fairly
slow
Tip:
If a
piece
ends
with 2
bars
of
the
same
chord
play
a single
strum
at
the
beginning
of
the
last
bar.
This
makes
a
very
strong ending.
p
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Tip:
(Jse
these
sequences
as a test.
Take your
time
looking
at
them
to
assess
YOUR
best
tempo.
3. With
a rock
feel
f
a
I
*****{<************{<rFrF>1.**x****{<*+****1k{<***{<****x******{<{<>Ft<*>frF*****rF*******d<*>k*rF
4.
Slowly
r
ip
t
:::
f :';
":#'
:,
::l
;:'
#i';
{",, ,li'
mf
, f
I
I
t
lll
I
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\\"ith
a
beat
ripzf;i:li;'1,tri:f-:x ;:;' f ,i' f
,:iff
;,,
i
It
a
a
p
6
d
;t#***r*t**tI ****+*******,k*********{.**,l<**{.****d.d.*d<*>1.4.*:F***{<rFrF{<****x*****t
***{<*
F-ast
Tip:
Although
the tempo
indication
is
'fast,,
be
care.ful
not
to
overplay
this
and
make
enors
in
the
split
bars.
,?f
L
,p
fr
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7
.
With
a blues
feel
T ip
z
y;:
: ,"J:f""::;,:I ,:tr';i;r:
ili:'
ff
i'
ry
*t<'F*x**{<*'t****>l'**x<**i<*'ri.****'F******x*rF********{<***xx******{<**{<******{<***{<*{.***{<*
8.
Slow
T ip
z
y
:;::;
"Iz
o{;,,i,*{,;*'"'
m e
ons
p
tllr
mp
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9.
Uptempo
Tip:'ili, ii":::,:',:::f:Tl:;',I:;:1,:{each4
**** F*d<d<*********{<**************************'f*'r*X{.*{.*****X***rt
X***************,F:r*
Ti
Look
through
the
sequence
for
30 seconds
A.
BEFORE
you
play
and
then take
a
deep
r
breath and
DON'T
STOP
10.
With
a
swing
feel
rnf
rt- l,r
a
lll
/'
I
10
________--
nw
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Grude
Four
Repeat
mafkS
In this
grade
the
repeat
marks
are
the same
as for
Grade
Three,
so
please
refer
to
page
Five.
Tie
notes
This is
where
two
notes
of
the
same pitch
are
shown
with
a
curved
line
joining
them.
This indicates
that
the
second
note
of
the
pair
should
not
be
played,
but
held
on.
The
numbers
in
brackets
show
a
note
counted
but
not
played.
For
example:
3
and
(4)
Syncopation
Syncopation
(continued)
This is
commonly
known
as
accenting
the
'off
'beat,
and is
one
of the best
ways
to
modemise
a rhythm
part.
Notice
how
the last
note
in
bar
1
seems
to
come
in
early
in bar 2.
This is
known
as
a'Push'.
Be
careful
to
wait
for
the
whole
of
the
first
beat
in
bar 2,
otherwise
the
tempo
could
increase.
The
rhythm
pattem
in
bars
3
and,4
could be
played
over Wonderful
Tonighr
by
Eric Clapton.
and
(1)
2
2
and
(3)
and
4
sim...
The
key
to
successful
rhyhm
playing
is
to
move
your
hand
down
on the
main
beat
even
when
you're
not
striking
the strings
on
that
strum,
as
with
these
syncopated
timings,
so
that
your
hand is ready
to
play
the
'Up'
strum
in the
correct position.
Practise
this
until
it feels
right and
I
assure
you
that
your
rhythm
playing
will
dramatically
improve.
Here
are
two
more
lines
of
rhythms
for
you
to
practise.
The
first
line
rhyhm
could
be
played
over Roll
lhith
It
by
Oasis.
3and
(4)
count
1
2
(3)
and
4
and
sim...
I
and(2)
and
slm.....
il
I
and2
and
(3)and
4
sim....
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Variations
in
strumming
O.K.,
now we have
explored
the
syncopated
route,
let's put
it
well
known
strums
in
the three
time
signatures
that
you
need
your favourite
sequences
until
you
can't
play them
wrong
Note
: In
the
Registry
of Guitar
Tutors
examinations
the
rhythm patterns
that
you
play
will
NOT be notated,
so it's up
to
you
to
have
practised
a
repertoire
of
useful
rhythm
patterns
from
which
you
can
select
an
appropriate
one
for
the
style
of
the
piece.
into
practice.
Below
are
three
for
this
grade.
Practise
them
on
count
and
(2
)
Dynamics
These
signs
are
broadly
the same
as
in Grade Three,
but
with
more
range.
It would be
a very
strange piece
that
used
all of
them
in
one
section,
so
I
have
written
out
the
new
ones
for this
grade
together
with
their
meanings.
Notice
how
they
are varying
degrees
of
soft
to
loud.
Go
on
-
Give
that E
chord
a really
good
whack
Ppp
Play
as softly
as
possible
PP
Very
soft
nw
Moderately
soft
rnf
ff
fff
Moderately
Very loud
loud
Turn
the
amp up
to
11
I'-aa--
)'
l,rtl
: 1,,
12
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1. Lively
Tiptl#,if
,"iif
i ,'::r fl
,: l:;;:"':{r2fr0,1, :#u,,^
rip
? iii#,il;
t;ff':;,?:,f
;ff,*
m,f
'1.'lc**{<*{.:1.*******x*t<**{<*{.{<**>r**i.********'k*****{.***t
********'1.{<*>F*rF***,Fx****:F{<*****:F
2. In
a blues style
PP
m,f
13
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3.
Moderate
tempo
t ***rk'F***{.r.{<**************{<******(*****************{<t<*.********'1.*{<****xrkxx*'f
*****
Try
to
vary the
strumming
on
the repeat
Tin
2
secrion when
hopefutly
y"ou
know
the
-a
chords
a
little
better
r ip
I
T{
::
T;;
#'l:
"Y#,r;";f;
nw
, f
4.
Slowly
, f
ir--^^
^
r'
a
r-u-^-
-
a
_^--
a
a
a
p
a.tc-t
I tlll ,
t
m,f
t4
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Tip:f3",,i"2::r;::::,iiiiir'i"i,jir,1l',;,:r:';::]i
5.
Waltz
tempo
a
Ylll
v
IrU
vrrl
,
X****t<***{<*{<*{<*******{<*****************>k*****>l.x{.rF{<{<{<****(******,F*{<'k*********{<*ik*
6. Slowly
Tip:
Concentrate on
hearing
the
harmonic
changes
in
these split
bars, and
keep
the strumming
simple.
mf
l5
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TiptY:l' :;i ,;: ',": ,':,';Hf;l::TJ,"[ ,',1 f
,,*
7
. In
a
blues style
ff
I
L^Vr-
t<{.*{.***rk**{<*****.**.rkx:f****>krl.****d.****>1.****x*<{<*>1.*******d<***'F****tr<d<*d.***d<*******d<*{<
Tip:
Try
to
phrase
the sequence and
give
it
shape by
slowing
down
slightly at
the
end
of
every
4th
bar.
8. Freely
nlp
mp
Y
a
a
-lll
I
t
I l-t
--t
vr^^
t
16
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9.
Bright
& lively
ff
**t
d<***{<*********,*X***{<*rl.,F*rF>F*{.t,1.{<*{<*{.****{<**{<XX*{<**>k***t
rF*rl.*X'|<rF*****'l.t<{<rFt<******
Tip:
Ifyou
have
anyfretbuzz,
check
that
you
are
playing
as
close
to the
frets
as
possible
with
all
of
your
fingers,
before
increasing
the
pressure
when
holding
down
the
chord.
Tip:
In
the
exam
you
have
one chance
to
play
a
sequence.
Use
this
piece
to
practise
this
technique.
fff
10.
Slow
with
feeling
mp
a. r at'-,
rffnr
a
/ a
I tll
a
/
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Grade
Five
Repeat
marks
The
repeat double dots
and first/second
time
endings
are the
same as
for
Grade Three and Four,
so
please
look
back to
page
five
for
an update.
However,
there
are some
new
repeat signs
for this
grade:
D.C.
-
Play
again from
the
beginning
D.^S.
-
Play again
from
the
sign
ff
Al Coda
-
Go
to the Coda
from
the sign
0
after a section
repeating from
a
D.C.
al
Coda
orD.S.
al
Coda
Coda
-
A musical
end section
Here
are some
examples
to
play
through:
1.
I
al
Coda
g
Coda
D.C.
To Coda
S
.
This
sequence
would
read:
lD
I
G
lBm
I
Em
I
F#m
I
Bm
lEm
I
A7
lD
I
u
1l
This sequencewouldread:
I
E
I
E
I
A
I
B
I
E
I
E
I
A
I
B
I
This
sequencewouldread:
I
C
I
F
I
G
I
Am
I
C
I
F
I
G
I
C
I
18
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Split
bars
We have
seen in
previous
grades
that
a
bar can
be
split
between
two chords,
and
that
these
can
be
written in
the
following
ways:
Or
in
I
time
showing
the
two dots
for
the
quaver
beats:
The bar could also be
split into different parts,
or
with
more
chords. The
most
common
sequences are
where the
bar
has
three
chords
with
the
first
chord having
two
beats and
the
latter
two
chords
one beat
each:
In
?
time,
with only three beats
in
a
bar,
one
of
the chords
could
last
two
beats
with
the
other
chord lasting one
beat.
I
t t
t^--^
ll a
I
l-
--tl-
I
l9
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Rhythm
Patterns
The
time signatures
for
this
grade
are still
1
t,
and
8,
so I
feel
that
you
should
be
thinking
of
varying
the
rhythm
on the
repeats
as
a
necessity
rather
than
a luxury
I
have
written
the
first
two
bars
of
the
following
three
sequences
straight,
followed
by
bars
three
and
four as a variation,
usually
with
some
syncopation.
In
practice
you
would
iossibly
start
with
the
rhythm that featured
less
detail
and
go
to
the
fuller
rhythm
as
the
piece
progressed.
Dynamics
These
are
the
same
as
for Grade Four
so
please
look
back
to
pages
five
and
twelve, and
practise
them
over many
sequences.
(1)
and
2
3
(4)
and
(l)and
2
3
(a)and
and
(3)
and
20
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n-t.
Try to
discover
the
overall
structure
r
rp'
",{: '
:f
y:;::,i;:
watch
out
for
the
1.
Bright
&
rhythmic
g.Coda
D.S.
ul
Coda
llr
tll
,
ltLq
\
I tlll I
,ltt
2'l
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T i
p
:
"ii,
,i
l:
"'
;:
"::;:;
:",t
h
e,'
s
P
t
i
t
b
ar
s'
2.
With
abeat,
but
not
too
fast
To
Coda#
Coda
p
rr
---
^
:
F
vtt
ILL
t
rla:-
f
,J.J-_^^
-'
ttF
22
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Watch
out
for
all the
repeat
sections.
This
ta-t
a
t fD I
sequence
looks
short
but
has
the
same
I
number
of bars as
the
previous
piece
3.
In
a
ballad
style
D.C.
al
Coda
23
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Tip:
Try to
'yoice'
the
chords
so
that
the lst beat
is
played
on
the
bass
strings
qnd
the
4th
beat
is
played
on tlte
treble
strings.
4.
With
feeling
gCoda
To
Codu$
/'-_
^:
-
p
24
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An effective
way
to
play
a
split bar
of
3 chords
is
to
emphasize
the
bass
notes
o.f
the chord,
so that
a run
is
heard.
Wen
a
piecefinishes
with
2 bars
of
the same
cltord,
end
the
piece
by
playing
a
strong
downbeat
on thefirst
beat
of
the
last
bar. This
gives
a
good
positive
ending.
Tip:
2
5.
With a
rock
blues
beat
Coda
To Coda
$
D.C.
uI
Codu
, f
I
I,
-
--
fff
25
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a-
v----
Slow
&
reflective
Codu
rnf
p
p
Tip:
Keep
the chord positions
as close
as
possible
to
either the
4th
fret
or 9th
"fret,
but
make
that choice
before
you
start.
To
Codu
S
D.C.
al Coda
-a-'--.-
j
t^ a--
itlt
nw
I
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Practise
previous
charts
standing
up
-
it
can
be
a
.
learning
experience
(Keep
the
headstock
of
the
guitar
at
lpi
abour
ioridq
tevel
io
falilitate
a
good
hand
position.)
7.
With
abeat
f
t^
s
To
Coda
mf
I
l
I
D.S.
al
Coda
llt
r
lla:t
27
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I
Tip:
Set
your
music
stand
as
high
as
possible
so
that
your
head
is
not
bent
forward
when
reading
the music.
Fast
funky
tempo
4,Coda
f
r I t--t
tE++c
a
T fat
tlr
I\tll t
vv
^^^
To
Codu&
D.C.
al
Coda
p
t\^--
-
A
lll
I
mf
28
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9.
In
a thoughtful
mood
r
ip
r'n:;:
,;f:i :::'
f:
,:x
T""
,#;;:f ',X::1,
To
Coda$
pp
p
f
.-lali
-)
lrt
r,lll
TI..
D.C.
al
Coda
29
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Lively
Tip:
I
-
Watch outfor
the
split bars
which
can
catclt
you
out when
there
are
just
a
few
of them.
2
-
Try
to
emphasize
the
added
notes
in
the
chords.
D.S.
ul
Coda
E
Y
-6-i
t l-.t
a
s-rr5
r
,ltt
rlll
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Glossary
of
musical
terms
Accent
Al Coda
Coda
D.C.
D.S.
Dynamics
Frets
Fretbuzz
Harmony
Plectrum
Rubato
Sequence
Sim.
Split-bar
Syncopation
Tempo
Time signature
Play louder
on
a
particular
beat.
Go to the
Coda
(end
section)
A
musical ending
(Da
Capo
:
from
the
head) play
from
the
beginning.
(Dal
Segno:
from
the sign)
play
from
the
sign
marked.ff
Changes
in
volume.
Metal
strips that divide
up the fingerboard.
The buzzing
sound
that
occurs if
you
don't
press
the
strings
firmly
and close to the
frets
with
the
tips
of
your
fingers.
The sound of
two
or more notes
being
played
together.
A
triangular
object
(usually)
made
of
plastic,
that
is
used
to
strike the strings.
The
deliberate
slowing down at the
end
of
a
section to
enhance
the
phrasing
of the music.
A
section of music usually constructed
of
a
set
number of
bars.
Keep
playing
in
a
similar fashion.
Where
two
or
more
chords
occur in
a
single
bar.
Featuring the
'off
beat'
as
the
main
accented
part.
Overall
speed.
The numbers which
occur
at
the beginning
of
all
written
music
that
inform
you
of the number
of
beats
per
bar,
and
the value
ofeach beat.
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CHORD
sUMililA&Y
The
solid black line
on the
third fret
shown in
all
diagrams on
this
page
indicates
that
all
six
strings
should
be fretted,
using
the
first finger
as a barre.
5 string
chords
1-
6
string chords
-
3r
Cm
)
G7
R
Gm7
x
t
C7
x
)
I
Cm7
X
)
I
I
G6
GmajT
x
CmajT
Gm
L
xx
2.
Gm6
Gsus4
Cm6
Csus4
All
of
the
chords
above
have been shown
as G
for
the
6
string
shapes
and
C for the 5 string
shapes,
but all
of
them
can be
played
on any
fret
using the
chart
below.
For
a
sharp move
one
fret higher
and
for
a
flat
move
one
fret
lower.
For
example, DD
would
be
on the
9th fret
as
a
6
string
shape and on the
4th
fret
as a 5
string
shape.
1
G C
x
I
I
x
It t:
C6
x
)
)q
X
I
frets
I
2
J
4
5
6 7
8
9
l0
ll
t2
6 string F
G A
B
C
D E
5
string
B
C
D
E
F
G
A
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CfuHaa
is
an
experienced
and
versatile
guitarist.
He has
enjoyed
a 20 year
career
as
a success[ul
session
musician;
recording
many
popular
television
themes,
and has
also
released
three
instrumental
guitar
albums
under his
own
name.
-
Chaz has
worked
with
a wide
variety
of rock
and pop
bands
and has had
record
contracts
with
major labels.
Since gaining
his
teaching
diploma
from
the Royal
Academy
of
Music,
Chaz has
developed
a highly
successful
teaching
practice
in
Surrey.
N
Chaz has
been
actively
involved
with
the
London College
of
Music and
Registry
of
Cuitar
Tutors'
guitar
examinations
for
many
years
and
is
a
senior examiner
in
electric guitar
playi
ng.
ISBN
I
-898,1
66
-
I
5
-7