Alfred's Teach Yourself to Play Guitar: Everything You Need to Know to Start Playing the Guitar!
Transcript of Alfred's Teach Yourself to Play Guitar: Everything You Need to Know to Start Playing the Guitar!
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TableofContents
TitlePage
CopyrightPage
GETTINGSTARTED
NotesontheFirstStringE
SOUNDOFF:HOWTOCOUNTTIME
NotesontheSecondStringB
NotesontheThirdStringG
INTRODUCINGCHORDS
TheThree-StringCChord
INTRODUCINGTHEQUARTERREST
TheThree-StringGChord
TheThree-StringGChord
NotesontheFourthStringD
TheFour-StringG&G7Chords
NotesontheFifthStringA
IntroducingHighA
NotesontheSixthStringE
THENATURALSCALE
TEMPOSIGNS
BASS-CHORDACCOMPANIMENTS
DYNAMICS
SIGNSOFSILENCE
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TheFour-StringCChord
TIES
MOREBASS-CHORDACCOMPANIMENTS(cont’d.frompage42)
EIGHTHNOTES
SHARPS♯,FLATS♭ANDNATURALS♮THECHROMATICSCALE
TheFour-StringD7Chord
THEMAJORSCALE
KEYSIGNATURES
INTRODUCINGDOTTEDQUARTERNOTES
ADVANCEDTABLATURETECHNIQUES
TABLATURELICKS
DICTIONARYOFTABLATURETECHNIQUES
GUITARNOTECHART
MagicChordAccompanimentGuide
GuitarFingerboardChart
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Avalon®AcousticGuitaronthecoverisaproductofFenderMusicalInstruments.PhotocourtesyofFender.FenderStratocaster®photographbyJ.JeffLeland.FenderStratocaster®courtesyofCarlCulpepper.
CoverDesign:TedEngelbartBookDesign:SusanHartman
Production:BruceMerrillGoldes/PaulWoodring
©CopyrightMCMXCIbyAlfredPublishingCo.,Inc.
Allrightsreserved.PrintedinUSA.
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GETTINGSTARTED
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ASHORTHISTORYOFTHEGUITAR
Instruments related to theguitarhavebeen inexistencesinceancient times.The ideaofstretching strings across a vibrating chamber of air, called a sound box, dates back toprehistoric times,and is found invirtuallyeveryculture in theworld.The ideaofusingfretstomarkthetonesinascaleprobablycomesfromIndiawheretothisdayplayersofthevinaandsitartiepiecesofcatgutacrossthefingerboardsoftheirinstrumentstoactasfrets.EarlyexplorersfromSpainandPortugalprobablybroughttheideatoEuropeand,ofcourse,theEuropeansettlersbroughtguitarswiththemtoAmerica.
Guitarscloselyresemblingtoday’sclassicalguitars(seepage3)werewell-knownduringthe 19th century. Theywere particularly popular among the lesswell-to-do andmobilemembersofsocietybecauseoftheirlowcostandeasyportability.
Early jazzbandsanddanceorchestras tended tofavor thebanjoasachordal instrumentbecauseofitsmorepenetratingtone.Then,inthelate1920s,newadvancesinelectronicsmade the electric guitar feasible for the first time. The guitar’s sound could then beamplifiedandcouldcompetewiththeloudestbrassorwoodwindinstruments.Bythelate1930s,thebanjowasallbutforgottenandtheelectricguitarwascommoninjazzgroupsanddanceorchestras.
Thenextinnovationcameinthelate’40s.Engineersrealizedthatthehollowwoodbodyoftheguitarwasnolongernecessaryasageneratorofamusicalsignal,sothesoundboxwaseliminatedandtheresultwasthesolidbodyelectricguitar.Sincethentherehavebeenmanymodifications in the designof guitars, but basically they all are either acoustic—producingasoundbyvibratingastringoverasoundbox—orelectric—producingasoundbyvibratingastringandamplifyingandmodifying thatsoundelectronically.Using thisbookyoucanteachyourselfhowtoplaytheguitarifyouhaveeithertype.
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TYPESOFGUITARS
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AcousticFlatTopGuitar
AcousticFlatTopguitarshavenarrownecksandsteelstrings.Theyareeitherstrummedwith a flat pick or playedwith one ormore finger picks.They are used in rock, blues,countryandfolkplaying.
Strings:SteelGauge:LightorMedium
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ClassicalGuitar
Classical guitars have flat tops,wide necks, and nylon strings. They are always playedwiththefingers.
Strings:NylonGauge:Varied
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TYPESOFGUITARS
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SolidBodyElectricGuitar
Solid body electrics have narrow necks, light-gauge strings and one or more electricalpickups. The output of these pickups is fed through an amplifier and is sometimesmodifiedfurtherbyusingwah-wahpedals,distortionpedals,chorusesorothermeansofalteringthetone.Solidbodyelectricsareusedalmostexclusivelyforrock,heavymetal,blues,countryandjazzmusic.
Strings:SteelGauge:Light
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ThinBodyElectricGuitar
Thinbodyelectricsaresemi-hollowguitarswithelectricalpickups.Thisgivestheguitarawarm,richsound.Theyaregoodforjazz,blues,rockandfusion.
Strings:SteelGauge:Medium
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BuyingAGuitar
First, ask yourselfwhat kind ofmusic you like themost. Then choose themodel frompages3and4thatisrecommendedforthatstyle.Ifyouwishtoplayclassicalmusiconly,youshouldnotbeplayingfromthisbook,whichisintendedforplayersinterestedinrock,heavymetal,blues,country,jazz,folkandotherpopularstyles.
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NeworUsed?
Oftenausedguitarcanbeaverygood investmentaswellasa satisfying instrument toplay.However, it is importantnot toattempt tobuyausedguitarwithout theadviceofsomeonewhoisveryknowledgeableabouttheinstrumentandwhomyoutrust.Ifyoubuyanewguitar,makesureyoupurchaseitatareliablemusicstore.Itisimportanttochooseaplace thathasbeen inbusinessa long timeand thathas thecapability toserviceyourinstrument.
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WhatKindofStrings?
Guidesthatrecommendwhichkindofstringstouseareindicatedbelowthephotosoftheguitars on pages 3 and 4.Nylon and silk-and-steel strings are easy on the fingers of abeginner.Steelstringsarehardertopushdownbutprojectamorebrilliantsound.Ifyoudecide to startwith steel stringsask for“lightgauge.” Ifyoudesireyoucanworkyourwayuptomediumorheavygaugeasyourfingersgrowstrongerandtougher.
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CaringforYourGuitar
Mostguitarcareissimplycommonsense.Ruleoneisnevertoexposetheinstrumenttoextremesofheatorcold.Thismeans ifyour takeyourguitaroutside,keep itoutof thesun.Italsomeansthatyoudon’tleaveitintheunheatedtrunkofacarinthewinter.Ruletwoistomakesurethestringsaretunedtoanaccuratepitch.Tuningthestringstoohighcanhaveseriousconsequencesfortheinstrument,causingthenecktoboworthebridgetoripoutofthetop.Otherthingsyoucandoaretowipethestringsoffafterplayingandtopolishtheinstrumentusingguitarpolish,whichyoucangetatanymusicstore.Itwon’thurt to ask your repairman to check over the instrument twice a year—just before thesummerandwinter.
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TUNINGYOURGUITAR
Firstmake sure the stringsarewoundproperlyaround the tuningpegs.They shouldgofrominsidetooutside.Seebelow:
4thorDString
5thorAString
6thorEString
Turning the tuningkeycounter-clockwise (always from thepointofviewof theplayer)raisesthepitch.Turningthetuningkeyclockwiselowersthepitch.
Someguitarshavethesixtuningpegsonthesamesideofthehead.Makesureallsixstringsarewoundthesameway,frominsideout.
3rdorGString
2ndorBString
1storEString
Once your strings are stretched across the guitar properly, listen to the TeachYourselfrecordingforthisbook,andfollowthedirectionstogettheguitarinperfecttune.
If you do not have the Teach Yourself recording, follow these directions to get theinstrumentintune.
Important:Alwaysrememberthatthethinnest,higheststring—theoneclosesttothefloor—isthefirststring.Thethickest,loweststring—theoneclosesttotheceiling—isthesixthstring.Whenguitaristssay“thehigheststring,”theymeantheonehighestinpitch,nottheonehighestinposition.
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HowtoTuneYourGuitarWithoutUsingaCassetteorCD
Thesixstringsofyourguitarhavethesamepitchesasthesixnotesshownonthepianointhefollowingillustration:
TunethesixthstringtoEonthepiano.IfnopianoisavailableandyoudonothavetheTeachYourself recording,we recommendyoubuya tuning fork, tuningpipeorelectrictuner.Thefirsttwoareinexpensiveandveryhandy,andallthreeareavailablefromyourmusicdealer.
Press5thfretof6thstringtogetpitchof5thstring(A).
Press5thfretof5thstringtogetpitchof4thstring(D).
Press5thfretof4thstringtogetpitchof3rdstring(G).
Press4thfretof3rdstringtogetpitchof2ndstring(B).
Press5thfretof2ndstringtogetpitchof1ststring(E).
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HOLDINGTHEGUITAR
▲Sitting
▲Sittingwithleftlegcrossedoverright
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▲Sittingwithrightlegcrossedoverleft
▲Standing,withstrap
▲Standingwithfootonstool
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▲Holdingthepick
▲Numberingtheleft-handfingers
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TheLeft-HandPosition
Notethatthethumbfallsaboutoppositethejointofthesecondandthirdfingers.Keeptheelbowinandthefingerscurved.
▲Thelefthandpositionfromthefront
▲Thelefthandpositionfromtheback
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TheRight-HandPosition
Thepickisheldfirmly,butwithoutsqueezingithardenoughtocausetensionintherightarm.Themotionisarelaxeddownwardsweepofthewrist,nottheentirearm.
▲Positionoftherightarm
▲Motionofthepick
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PlacingtheFingeronaString
Whenyouplacealeft-handfingeronastring,makesureyoupressfirmlyandasclosetothefretwireasyoucanwithoutactuallybeingrightonit.Thiswillensureaclean,brighttone.
▲THIS
Fingerpressesthestringdownnearthefretwithoutactuallybeingonit.
▲NOTTHIS
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Fingeristoofarfromfretwire:toneis“buzzy”andindefinite.
▲NOTTHIS
Fingerisontopoffretwire:toneismuffledandunclear.
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GETTINGACQUAINTEDWITHMUSIC
Notes
MusicalsoundsareindicatedbysymbolscalledNOTES.Theirtimevalueisdeterminedbytheircolor(whiteorblack)andbystemsandflagsattachedtothenote.
TheStaff
Thenameandpitchofthenotesaredeterminedbythenote’spositiononagraphmadeoffivehorizontallines,andthespacesinbetween,calledthestaff.Thenotesarenamedafterthe first seven letters of the alphabet (A-G), repeated to embrace the entire range ofmusicalsound.
MeasuresandBarLines
Musicisalsodividedintoequalparts,calledMEASURES.OnemeasureisdividedfromanotherbyaBARLINE.
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Clefs
During the evolution of music notation, the staff had from two to twenty lines, andsymbolswereinventedtolocateareferenceline,orpitch,bywhichallotherpitchesweredetermined.Thesesymbolswerecalledclefs.
MusicfortheguitariswrittenintheGortrebleclef.OriginallytheGothicletterGwasusedonafour-linestafftoestablishthepitchofG:
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GETTINGACQUAINTEDWITHTABLATURE
Tablatureisagraphicmethodofshowinghowtoplaynotesandchordsontheguitar.Itusesasix-linestaff,eachlinerepresentingonestringoftheguitar.
Anumberplacedonalinemeanstoplaythatfretonthecorrespondingstring.Thus,
Numbersplacedoneontopoftheotherareplayedsimultaneously.
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CHORDDIAGRAMS
Chorddiagramsareusedtoindicatefingeringforchords.Theexampletotherightmeanstoplaceyourfirst fingeronthefirst fret,secondstringandsecondfingeronthesecondfret, fourth string. Then strum the first four strings only. The x’s on the fifth and sixthstringsindicatenottoplaythese.
Tomake it as clear as possible, all thematerial in this book appears both in traditionalmusicandintablature.Chorddiagramsareincludedwhereappropriate.
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NotesontheFirstStringE
Playingthefirststringopen(thenoteE):
CombiningthefingerednotesFandGwiththeopenstringE:
MeasuresandBarLines
Musicisalsodividedintoequalparts,calledMEASURES.Onemeasureisdividedfrom
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anotherbyaBARLINE.
MixingItUp
Left-handfingers:Whenplayingfromthefirsttothethirdfret,keepthefirstfingerdown.OnlytheGwillsound,butwhenyougobacktotheF,yourfingerwillalreadybeinplace,makingthetransitionsoundsmoother.
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MoreMixing
Left-handfingers:Placeasclosetothefretwiresaspossiblewithoutactuallytouchingthem.
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SOUNDOFF:HOWTOCOUNTTIME
4KindsofNotes:
TimeSignatures
Each piece of music has two numbers at its beginning called a time signature. Thesenumberstellushowtocounttimeforthatparticularpiece.
Important:
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Fillinthemissingtimesignaturesofthesongsalreadylearned.Eventhoughtablatureplayersdonotreadstandardmusicnotation,itisstillimportanttobecomefamiliarwiththeconceptoftimesignatures.
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PLAYINGDIFFERENTKINDSOFNOTESANDTIMESIGNATURES
HalfNotes(twocounts)
DottedHalfNotes(threecounts)
WholeNotes(fourcounts)
MixedNotes(review)
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NotesontheSecondStringB
Two-StringRock
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BeautifulBrownEyes
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GuitarRock
Merry-Go-Round
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JingleBells
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NotesontheThirdStringG
AuClairdelaLune
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Three-StringRock
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AuraLee
ElvisPresleyrecordedthisfolksonginamodernversioncalled“LoveMeTender.”
LargofromtheNewWorldSymphony
Usedown-strokesonlyuntilfurthernotice.
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INTRODUCINGCHORDS
ACHORDisacombinationoftwoormoreharmoniousnotes.Allnotesexceptthewholenotehaveastemgoingupordown.
WhennotesaretobestrucktogetherasaCHORD,theyareconnectedbythesamestem.
MeettheChords
Two-notechordsontheopenBandEstrings.
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Two-notechordsontheopenGandBstrings.
Three-notechordsontheopenG,BandEstrings.
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TheThree-StringCChord
Thechordsyouplayedonpage22useonlycombinationsofopenstrings.ThenextchordiscalledtheCchord.Itusesonefingerplusthe1stand3rdopenstrings.
OdeToJoy(themefromthe9thsymphony)
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INTRODUCINGTHEQUARTERREST
Thisstrange-lookingrestisusedinmusicnotationtomeanonebeatofsilence.Firstplaytheexercise,thentrytherocksong.
For a cleaner effect when an open-string note is followed by a rest, youmay stop thesoundofthestringsbytouchingthemlightlywiththe“heel”oftherighthand.
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Rock‘n’Rhythm
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TheThree-StringG7Chord
DownintheValley
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MaryAnn
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TheThree-StringGChord
Rockin’withGandC
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NotesontheFourthStringD
ReubenReuben
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OldMacDonaldHadaFarm
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GWhiz
GoodnightLadies
Notallguitarsolosareplayedusingonlyoneformofthe3-notechordsalreadylearned.Thesesongsusevariouscombinationsof2-and3-notechords.
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DaisyBell
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TheFour-StringG&G7Chords
The three-noteGandG7chordsyouhave learnedcanbeexpanded to fuller and richersoundingfour-notechordssimplybyaddingtheopen4thstring.
Rockin’theChimes
Thenextsongusesthefour-noteGandG7chords.Sometimesthenotesareplayedoneatatime(calledanarpeggio)insteadofbeingplayedtogether(asachord).
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LaughingTroll
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NotesontheFifthStringA
PeterGray
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BoogieStyle
Playthispiecefast!
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IntroducingHighA
NoticethathighAisplayedonthe5thfret,butthe4thfingerisused.Slideyourhandupthefret-boardsothe4thfingercanreachthe5thfret.
Rockin’inDorianMode
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INCOMPLETEMEASURES
Noteverypieceofmusicbeginsonthefirstbeat.Musicsometimesbeginswithanincompletemeasure,calledtheUPBEATorPICKUP.Iftheupbeatisonebeat,thelastmeasurewillsometimeshaveonlythreebeatsin4/4,ortwobeatsin¾tomakeupfortheextrabeatatthebeginning.
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A-Tisket,A-Tasket
TheRiddleSong
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NotesontheSixthStringE
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THENATURALSCALE
SilverThreadsAmongtheGold
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TEMPOSIGNS
Temposignstellhowfastorslowtoplay.
ThethreeprincipalTEMPOSIGNSare:Andante(slow)say:on-don-tay
Moderato(moderately)Mah-duh-rah-toe
Allegro(fast)Al-lay-grow
Three-TempoRock
Playthreetimes:1sttimeAndante,2ndtimeModerato,3rdtimeAllegro.
Plaisird’amour
(TheJoyofLove)
Youcandotwothingstogetthemostoutofthenextsongarrangement.First,playaccentednotes(thosemarkedwitha>)alittlelouderthanunmarkednotes.Also,keepyourfinger(s)downwhereindicated.Thiswillmakeyourplayingsound
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smootherandmoreprofessional.
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BASS-CHORDACCOMPANIMENTS
Apopularstyleofplayingchordaccompaniments in4/4 timebreaks thechord into twoparts:asinglebassnotefollowedbyachordmadeupoftheremainingnotes.Onthe1stbeat play only the lowest note (called the bass note). Then play the rest of the chord(usuallythethreehigheststrings)onthe2nd,3rdand4thbeats.Thecompletepatternis:Bassnote-chord-chord-chord.
Anotherstyleofplayingchordaccompanimentsin4/4timeusesabassnoteonthe1stand3rdbeatsandthree-stringchordsonthe2ndand4thbeats.
Thisstyleofplayingchordaccompanimentscanbeadaptedto¾timebyplayingabassnoteonthe1stbeat,andthree-stringchordsonthe2ndand3rdbeats.
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Can-Can
Duet
ThisfamousmelodyfromtheoperaOrpheusintheUnderworldshouldbelearnedtwodifferentways.First,playthesolopartaswritten.ThenfindafriendtoplaythesolopartorlistentoitonyourTeachYourselfrecordingwhileyouplayachordaccompanimentusingeitherpatternAorBonpage42.
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DYNAMICS
Signs showing how SOFT or LOUD to play are called DYNAMICS. The principaldynamicsare:
EchoSong
Learnthesolopartonthenextsong.Ifyouwishtoplayitasaduet,useaccompanimentpatternCdescribedonpage42.
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SIGNSOFSILENCE
Aneasywaytorememberthedifferencebetweenthehalfandwholerestistothinkofthewholerestasbeinglonger(orheavier)andsohangsbelowtheline.Thehalfrestisshorter(orlighter)andsositsontopoftheline.
GiveItARest
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TheFour-StringCChord
WhentheSaintsGoMarchingIn
Remembertoplayaccentednoteslouderthanunaccentedones.
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TIES
Tiesarecurved linesconnecting twoormoresuccessivenotesof thesamepitch.Whentwonotesaretied,thesecondoneisnotpicked;itstimevalueisaddedtothevalueofthefirstnote.Forexample:
TheSidewalksofNewYork
(EastSide,WestSide)
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OHappyDay
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MOREBASS-CHORDACCOMPANIMENTS(cont’d.frompage42)
Whenapieceisin¾time,apopularstyleofchordaccompanimentisfoundinthepattern:bass-chord-chord,chord-chord-chord.Thebassnote is thenote thatnames thechord:CfortheCchord,GfortheGandG7chords.Usuallythebassnoteisalsothelowestnoteinthechord.Firstplaythebassnotealone,thentherestofthechordonthe2ndand3rdbeats.
Avariationontheaboveaccompanimentusesabassnoteonthe1stbeatofeachmeasure.
Ifachordisrepeatedfortwoormoremeasures,alternatebassnotes(anyothernoteofthechord)canbeused togetagreatervarietyofsound. In4/4 time,youmayusealternatebassnoteseveryothermeasureorwithinmeasures.
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CielitoLindo
Usingthepatternsyouhavejustlearned,playchordaccompaniments(usingbassandalternatebassnotes)tothisfamousMexicanfolksong.ThemelodyisonyourTeachYourselfrecording.Thenlearnthemelodyasaguitarsolo.
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EIGHTHNOTES
Eighthnotesareblacknoteswithaflagaddedtothestem♪or .Twoormoreeighthnotesarewrittenwithconnectingstems,♫or .Theeighthrest .
Until now, you have been playing using downstrokes only. To be able to play morequickly,wewillnowuseupstrokes.
Usealternatingdownstrokes andupstrokes oneighthnotes.
EighthNoteRock
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HappyBirthday
Copyright © 1935 (renewed 1962) Summy-Birchard Music, a Division of Summy-Birchard,Inc.Allrightsreserved.Usedbypermission.
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SpeedDrill
Speeddrillsareforthedevelopmentoftechniqueandshouldbepracticeddaily.Startallspeeddrillsslowlyandbesurethateachnoteisclearanddistinct.Oneachrepetitionincreasethetempoalittle.Werecommendyoupracticewithametronometomaintainaneventempo.
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SHARPS♯,FLATS♭ANDNATURALS♮
Thedistancefromonefrettothenextfret,upordownisaHALFSTEP.
TWOhalfstepsmakeaWHOLESTEP.
▲SHARPSRAISEthenoteahalfstep.Playthenextfrethigher.
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▲FLATSLOWERthenoteahalfstep.Ifthenoteisfingered,playnextfretlower.Ifthenoteisopen,playthe4thfretofthenextlowerstringexceptifthatstringisG(3rdstring),thenplaythe3rdfret.
▲NATURALSCANCELaprevioussharporflat.
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THECHROMATICSCALE
The CHROMATIC SCALE is formed exclusively of HALF STEPS. Ascending, theCHROMATICSCALEusesSHARPS(♯),butdescending,usesFLATS(♭)
ChromaticRock
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TheFour-StringD7Chord
Four-BeatBlues
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Rockin’theBach
AdaptedfromafamousminuetbyJ.S.Bach
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AmazingGrace
Learnthesolopartandtheaccompaniment.UsepatternD,EorFonpage50.
FrankieandJohnny
Learnthesolopartandtheaccompaniment.UsepatternAorBonpage42.
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Pachelbel’sCanon
This17thcenturypiecehasbeenusedinmanycommercialsandasthemainthemeinthemovieOrdinaryPeople.
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THEMAJORSCALE
Ascaleisaseriesorsuccessionoftones.Allmajorscalesaremadeofeighttones,whichascend in alphabetical order. Themajor scale always follows this pattern of alternatingwholeandhalfsteps:
Itiseasiertovisualizewholestepsandhalfstepsonapianokeyboard.NoticethattherearewholestepsbetweeneverywhitekeyexceptE-FandB-C.
WholeSteps—OneKeyBetweenHalfSteps—NoKeyBetween
TheMAJORSCALEmaybebuiltstartingonANYNOTE—natural,sharporflat.Usingthispattern,writeaMAJORSCALE,startingonG:
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CHECK:Arethenotesinalphabeticalorder?Didyougivethe7thnoteasharp?
WriteaMAJORSCALE,startingonF:
CHECK:Arethenotesinalphabeticalorder?Didyougivethe4thnoteaflat?
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KEYSIGNATURES
TheKeyofCMajor:
ApiecebasedontheCMAJORSCALEisintheKEYOFCMAJOR.SincetherearenosharpsorflatsintheCscale,anysharpsorflatsoccurringinapieceinthekeyofCmajorarecalledaccidentals.
TheKeyofGMajor:
Apiecebasedon theGmajor scale is in thekeyofGmajor.SinceF is sharp in theGscale,everyFwillbesharpinthekeyofGmajor.InsteadofaddingasharpeverytimeanFappearsinapiece,thesharpisindicatedatthebeginning,inthekeysignature.Sharpsorflatsshowninthekeysignatureremaineffectivethroughoutthepiece.
TheKeyofFMajor:
ApiecebasedontheFmajorscaleisinthekeyofFmajor.
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Ifsharps,flatsornaturalsnotshowninthekeysignatureoccurinthepiece,theyarecalledaccidentals. Accidentals are effective only for themeasures inwhich they appear. Thethreescalesshownaboveshouldbepracticedeveryday.StudentswhodothisshouldhavelittledifficultyplayingselectionswritteninCmajor,GmajorandFmajor.
ThisLandIsYourLand
WoodyGuthrie
First learn the solo part, then the accompaniment using patternB on page 42.Keep inmind that thisarrangement is in thekeyofG;all theF’sareplayedasF♯exceptwhenprecededbyanatural(♮).Thissonghasbecomepopularallovertheworld.Thelyricsarechangedtofiteachcountry.
©Copyright1956(renewed),1958(renewed)and1970LudlowMusic,Inc.,NewYork,NY.UsedbyPermission.
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LaBamba
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INTRODUCINGDOTTEDQUARTERNOTES
Adotincreasesthelengthofanotebyone-half.
PreparatoryDrill
Theonlydifferencesinthefollowingtwomeasuresandthosedirectlyabovethemisthewaytheyarewritten.Theyshouldsoundthesame.
AuldLangSyne
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RockabillyBassLine
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HavaNagila
IsraeliFolkSong
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ADVANCEDTABLATURETECHNIQUES
UsedinRock,HeavyMetal,Blues,CountryandJazz
One of the problems with traditional music notation in relation to the guitar is that itdoesn’t show how themusic is to be played or where on the neck the note should befingered. Tablature enables the guitarist to play more precisely by the use of specialsymbolsthatwewillintroducetoyounow.Throughthesesymbolsyouwillbeabletoseewhen a note should be “bent” up, when to “slide” from one note to another, when to“hammer-on”or“pull-off”andmuchmore.Tablatureenablestheguitaristtoseeagraphicrepresentationoftheexacttechniquethatthemusicrequires.
Bends
Whenyouseethissymbol,pickthenoteshownandthenbendthestring,bypushingitupuntilthedesiredpitchisreached.Wewillstartwitha½bend.Thismeansyoubendthenoteuponehalfstep—theequivalentintonetoonefretup.Atfirstitmaybesomewhatdifficult to bend the string but the more you practice it the stronger your fingers willbecome.Thefartheruptheneckyouplaybends,theeasieritistobendthestring.
BendExercise#1
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BendExercise#2
PickBend&Release
Pickthefirst(lower)note,bendthestringuponehalfsteptosoundthesecond(higher)note,thenstraightenthestringtosoundtheoriginal(lower)noteagain.Pickonlythefirstnote.
PickBend&ReleaseExercise#I
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PickBend&ReleaseExercise#2
½
BendandPickBend&ReleaseExercise#3
Hammer-On
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Pickthefirst(lower)note,thenhammer-on(tapdownfirmlyonthefretboard)thesecond(higher)notewithanotherfingerfromthelefthand.Pickonlythefirstnote.Thesoundofthesecondnote ismadeby thehammer-on.Thesenotesarealwaysplayedon thesamestring.
Hammer-onExercise#1
Hammer-onExercise#2
Hammer-onExercise#3
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Pull-Off
When pulling-off to an open string note, pick only the first (higher) note, then pull-off(raise-up)thefirstfingerofthehighernote.Thesoundoftheopenstringismadebythepull-offfromthefirstnote.
Pull-offExercise#1
Placebothfretfingersonthetwonotestobeplayed.Pickthefirst(higher)note,thenpull-off(raise-up)thefretfingerofthehighernotewhilekeepingthelowernotefretted.Pickonly the first note.The soundof the secondnote ismadeby the pull-off from the firstnote.
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Pull-offExercise#2
Hammer-onandPull-offExercise#3
Slides
Pickthefirst(lower)note,thenslidethefretfingeruptosoundthesecond(higher)note.Thesecond(higher)noteisnotpicked.
SlideExercise#1
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SlideExercise#2
Hammer-on,Pull-off&Slide
PalmMute
Thenoteispartiallymutedbytheright(pick)handlightlytouchingthestringorstrings
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just before the bridgewith the “heel” of the hand. The note is then picked, giving it amuffled sound.The key is not to press too hardwith the right hand as thiswill overlysilencethenote.
PalmMuteExercise#1
PalmMuteExercise#2
Hammer-on,Pull-off,SlideandPalmMute
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TABLATURELICKS
Alickisapatternorseriesofnoteswhichiscommonlyusedasabasisforsoloing.Onthenextfewpageswearegoingtointroduceyoutodifferentstylesofmusicthroughtheuseoflicks.Theselicksshouldhelpyouunderstandhowtablatureandthesenewtechniquescanaffectyourplayingandthesoundsyoucangetoutofyourguitar.
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Rock
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HeavyMedical
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Blues
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Country
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Jazz
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Jazz-Rock
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DICTIONARYOFTABLATURETECHNIQUES
Bends
One-orTwo-NoteUpBend:Pick the firstnote, thenbend thestring tosoundupeitheroneortwohalfsteps.
One- or Two-NoteDownBend: Pick the first (bent) note, then straighten the string tosoundthelower(second)note.
PickBend andRelease: Pick the first note, bend the string up one or two half steps tosoundthehigher(second)note,thenstraightenthestringtosoundtheoriginal(first)noteagain.Pickonlythefirstnote.
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BendandthenPick:Bendthefirstnoteuponeortwohalfstepsbeforepickingit.Thisisusuallyfollowedbyadownbend.
Mute
PalmMute (P.M.):Thenote ispartiallymutedby thepickhandby lightly touching thestringorstringsjustbeforethebridge.
Slides
Slide:Pickthelower(first)note,thenslidethefretfingeruptosoundthehigher(second)note.Thehighernoteisnotpickedagain.
SlideandPick:Sameastheslideexceptthehighernoteisalsopicked.
LongSlide:Strikethenoteduringtheslideuptothedesirednote.
Tapping
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Hammer-on:Pickthelower(first)note,thenhammer-on(tapdownonthefretboard)thehigher(second)notewithanotherfinger.Pickonlythefirstnote.Thesenotesarealwaysplayedonthesamestring.
Pull-off:Placebothfretfingersonthetwonotestobeplayed.Pickthehigher(first)note,then pull-off (raise up) the fret finger of the higher notewhile keeping the lower notefretted.Pickonlythefirstnote.
Vibrato
Vibrato:Pickthestringasthefretfingeroratremolobarrapidlyrollsbackandforthorbends up and down,making the note sound slightly higher and lower. An exaggeratedvibratocanbeachievedbyrollingthefretfingeragreaterdistance.
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GUITARNOTECHART
Thenumberintheblackcircleonthefingerboardindicatesthecorrectfingering.
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MagicChordAccompanimentGuide
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GuitarFingerboardChart
Frets1-12
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