AL LEONARD GUITAR METHOD BOOK SECOND EDITION BY WILL SCHMID AND GREG KO Your Gitar Notes onthe Sith Suing. Tiing Dho-Wop .... Praying Poston Give My Regards to roadway . Musial Symbos Bass Rock... Notes onthe First Sting . pollobidalans Steps . Spanish Theme .. en Notes onthe Second Sting i ae (order World Beat ihe Oe to Joy Blues Notes onthe Tid Sing Deep Ble. Rockin’ Robin... Red River Valley . Yankee Doodle Twang . Surf Rock . Rock 'N' Rest. Au ar de a ne Eighth Hotes Avalee ... : Ho’ daly Good Fellow ee Notes onthe Furth Sting The Star-Spangled Bamer Woried Man Blues . es Sag Praying Chords . The Em Chord. Cand 67 Chords. He, Ho, Nobody Home Tom Daley Shalom chavein Gand 07 Chous «... The D Chord Pay Me My Money Down This Tain 12-Bar Rock « Bogie Bass Amazing Grate sania fifi... a When the Saints Go Marching In co. Will the Circle Be Unbroken "Notes on the Fifth String . Blues Bass Joshua Fought the Battle of Jericho Greensleeves .. Shenandoah Spy Riff Rests Sea Shanty Down inthe Valley Minuet in. Time Ison My Side Grand Finale Chord Chart. ISBN 0-7435-1245-x HALeLEONARD® CORPOR N ‘Coorg © 197,104 202 HAL LEONARDO ConPonATION maton Copyght Secured Al Fights Resend Fora works contained nee: ramones copa, rang, aang, or uns Rorormancs san egenert ct Pro Trengars ae abl we ew,YOUR GUITAR Tis book is designed for use with any type of guitar—acoustic steel-string, nylon-string classical, or electric. Any of these guitars can be adapted for use in a wide variety of styles of music. STEEL-STRING Neck and Fingerboard Head Sound Hole Pick Guard NYLON-STRING ELECTRIC Input Jack iekup Selector Switch one contig Volume Control If you are using a solidbody-electric or an acoustic-electric be sure to practice with an amplifier some of the time,TUNING When you are tuning your guitar, you will adjust the pitch (highness or lowness of sound) of each string by turning the corresponding tuning key. Tightening a string raises the pitch and loosening it lowers the pitch. The strings are numbered 1 through 6 beginning with the thinnest string, the one closest to your knee. Follow the instructions below to ‘tune each string in sequence, beginning with the sixth string TUNING WITH AN ELECTRONIC TUNER ‘An electronic tuner “reads” the pitch of a sound and tells you whether or not the pitch is correct. Until your ear is well trained in hearing pitches, this can be a much more accurate way to tune. There are many different types of tuners available, and each one will come with more detailed instructions for its use. TUNING TO A KEYBOARD uence If you have a piano or electric keyboard nearby, play the correct key (see diagram) and slowly turn the corresponding tuning key until the sound of the string matches the sound of the keyboard | | al | jo &H Sth ath Grd and tat wiring string sting srng_ string string ANOTHER WAY TO TUNE To check or correct your tuning when no pitch source is available, follow these steps: + Assume that the sixth string is tuned correctly to E. + Press the sixth string at the Sth fret. This is the pitch A to which you tune your open fith string, Play the depressed sixth string and the fifth string with your thumb. When the two sounds match, you are in tune «+ Press the fifth string at the Sth fret and tune the open fourth string to it. Follow the same procedure that you did on the fifth and sixth strings + Press the fourth string at the Sth fret and tune the open third string to it + To tune the second string, press the third string at the 4th fret and tune the open second string to it. + Press the second string at the Sth fret and tune the first string to it. e tesig 3 € anésting : — ; ; aussie D = S) ‘4th string a‘ = C6 sng et I t ‘) sisting ha sitet This is called relative tuning because the strings are tuned relative to one another.PLAYING POSITION There are several ways to hold the guitar comfortably. On the left is a typical seated position, and on the right is the standing position. Make sure you practice sitting and standing. Observe the following general guidelines in forming your playing posture: + Position your body, arms, and legs in such a way that you avoid tension. + Ifyou feel tension creeping into your playing, you probably need to reassess your position. + Tilt the neck upwards—never down, * Keep the body of the guitar as vertical as possible. Avoid slanting the top of the guitar so tha: you can see better. Balance your weight evenly from left to right. Sit straight (but not rigid) Left-hand fingers are numbered 1 through 4 (Pianists: Note thatthe thumb is not number 1.) Place the thumb in back of the neck roughly ‘opposite the 2nd finger. Avoid gripping the neck like a baseball bat with the palm touching the back of the neck. These photos show the position for holding a pick and the right-hand position in relation- ship to the strings. Strive for finger efficiency and relaxation in your playingMUSICAL SYMBOLS Music is written in notes on a staff. The staff has five lines and four spaces between the lines. Where a note is written on the staff determines its pitch (highness or lowness). At the beginning of the staff is a clef sign. Guitar music is written in the treble clet. TREBLE STAFF CLEF Each line and space of the staff has a letter name. The lines are, (from bottom to top) E - G - B - D - F, which you can remem- ber as Every Guitarist Begins Doing Fine. The spaces are, (from bottom to top) F - A- C- E, which spells “Face.” E G B D F F A c E ‘The staff is divided into several parts by bar lines. The space between two bar lines is called a measure (also known as a “bar"). To end a piece of music a double bar is placed on the staff. [——MEAsuRE— BAR LINES BAR LINE BAR LINE DOUBLE BAR Each measure contains a group of beats. Beats are the steady pulse of music. You respond to the pulse or beat when you tap your foot ‘The two numbers placed next to the clef sign are the time signature. The top number tells you how many beats are in one measure. | TIME FOUR BEATS PER MEASLRE SIGNATURE == QUARTER NOTE () GETS ONE BEAT The bottom number of the time signature tells ‘you what kind of note will receive one beat. Notes indicate the length (number of counts) of musical sound. . J , NOTES WHOLE NOTE = 4 beats HALF NOTE = 2 beats QUARTER NOTE = 1 beat When different kinds of notes are placed on different lines or spaces, you will know the pitch of the note and how long to play the sound,NOTES ON THE FIRST STRING — on 7 T oren z o open % “ tot FRET g 2 ‘rd FRET {SANGER SraFINoen oe E F G This sign (n) tells you to strike the string with a downward motion of the pick. n o int q nm Hold down Tet finger — cour, 1-2-3-4 1-2-3-4 1 1-2-3-4 1-2-3-4 el 1-2 39-4 1-2 3-4 1-2 8-4 1-2 8-4 1-2-3-4 mom omAt first practice the exercises slowly and steadily. When you can play them well at a slow speed, gradually increase the ‘tempo (speed). ee 4 feared: Touch only the tips of the fingers on the strings. 5 Keep the left hand fingers arched over the strings. 6 ‘Some songs are longer than one line. When you reach the end of the first line of music, continue on to the second line without stopping. Gray letters above the staff indicate chords to be played by your teacher. Measure numbers are given at the beginning of each new line of music. 7 SS GO ONTO THE NEXT LINE SPANISH THEMENOTES ON THE SECOND STRING ‘OPEN é ‘OPEN # ‘st FRET 4 > ‘rd FRET ‘1st FINGER, ‘rd FINGER. o oe B c D Hold down tst finger -—— cour, 1-2-3-4 1-2-3-4 1 1-2 3-4 1-2 3-4 1-2 3-4 1-2 3-4 1-2-3-4 1234 1234 123 4 #123 4 «41-2-3-4Always practice the exercises slowly and steadily at first. After you can play them well at a slower tempo, gradually increase the speed. If some of your notes are fuzzy or unclear, move your left-hand finger slightly until you get 2 clear sound. 12 MOVING FROM STRING TO STRING You have learned six notes now, three on the first string and three on the second string. In the following exercises you will be moving from string to string. As you are playing one note, look ahead to the next and get your fingers in position 14 Strnc: @) FINGER: open ist 3rd open ist 3rd pCDV QE> : CUBA ocd! pew ec vFGFDe pcwPractice these songs played on strings 1 and 2. Always begin slowly and then gradually increase the tempo. Gray chord sym- bolgrare used throughout the book to indicate that the chords should be played by the instructor. ODETO JOY Sextus EFG&@rentee peED I PPP ep eee eeNOTES ON THE THIRD STRING G A ——— ® HH HH 4 I OPEN OPEN ‘2nd FRET 2nd FINGER, G A Keep the fingers arched over the strings at all times so they will be in position to finger the next note. Here are all the notes we've learned so far. ©®®© [| [ee ® ©@ Go Ae BS CDE F=-G Play through these notes up and down. Then play just the. low G and the high G, and notice how similar they sound. The distance between two different notes with the same letter name is called an octave. "& The following songs use notes on strings 1, 2, and 3, P C ROCKIN’ ROBIN, = = = has YANKEE DOODLE Indio! E & Bic ¢ é 0 EE nc @& 4 4 é SURF ROCK aooc AAA &ooc AQ EA duet is a song that has two parts that can be played together. Practice both parts of the following duet. Ask your instructor or a friend to play the duet with you. AU CLAIR DE LA LUNE France Gz cE @ : E 5 c nun 6 & Xo) aia st Regular practice is essential. Practicing a half hour each day is better than practicing two hours avery four days. Find a regular time of the day that works for you.AURA LEE Peas Ab & 8 ocd & EeEFE VAD 1" ells Some music has three beats per measure instead of four. Thi dicated by the t Bercrihatice ——_ THREE BEATS PER MEASURE four. This is indicated by the top number of the ti signature. The bottom number (4) tells you that the oe er 4) uarter note gots one beat ES OTE EEN A dot after a note increases its value by one-half. In } J ie a | time a dotted half note ( J.) gets three beats. S : beats 1 beat —-S beats AAAan A con, 1 2 3 1-2 8 1 2 8 1-2-3 1 2-3 1-2-3 HE'S A JOLLY GOOD FELLOW tld cNOTES ON THE FOURTH STRING D E F TTT 4 oa & = rd FRET 3rd FINGER, Practice each exercise carefully. Remember to keep your fingers arched over the strings. 7 1-2 9-4 Hold 2na finger down -- 6Laan ESS ‘Music doesn't always begin on beat one. When you begin after beat one, the notes before the first full measure are called pickup notes. Following are two examples of pickup notes. Count the missing beats out loud before you begin playing, o-6—6 (4234 1234 (1.23 4 1-2 3-4 When a song begins with pickup notes, the last measure will be short the exact number of beats used as pickups. 0 WORRIED MAN BLUES Tei PickUP SY 4 L A y py wA G UY 1 It takes a wor-ried man to sing a wor-ried song. It com: 4 1 7 rare 7 16j 17 ES, A y & 2 “takes a wor-ried man to sing a wor-ried song. It f) Fy / aw 2 » > WY Br | BRA aaa ° : I ; takes a wor-tied — man to sing a wor-ried song. I'm wor - ried A ay ’ O Ato - & D A now, yes. now, but | won't be wor-ried long. cour; 3 4 133 PLAYING CHORDS A chord is sounded when more than two notes or strings are played at the same time. To begin you will be playing chords on three strings with only one finger depressed. Disregard the light gray finger numbers on strings 4, 5, and 6 until you can eas- ily play the one-finger versions of the chords below. The C Chord x oO Oo 1 @ Study the illustrations for the chords above. An “o" above a string indicates that the string should be played “open” (not depressed by a finger). An "x" above a string indicates that the string should nat be strummed. Refer to the hand positions in the photos below for additional visual guidance. Depress the strings indicated with the tips of your fingers. Arch your fingers to avoid touching strings that are to be played open. Strum over the strings with a downward motion. All strings should sound as one, not separately. Practice the following exercise strumming once for each slash mark. Keep a steady beat, and change ctord fingerings quickly. Cc G7 c G7 c aman Now apply this strum to the song below. TOM DOOLEY estouNext, let’s try two more chards: G and 07. Notice that the G chord can be played two different ways. The G Chord The 6 Chord The D7 Chord (atamative fingering) oo00 oo°o x xO 1 q 0) [®@|@ - 1 I 1 T Strum once for each slash mark below. G D7 6 Review the fingering for the C chord and then practice Exercise 36 until you can play it well. Whenever you ere moving between the C chord and the D7 chord, keep the first finger down G c D7 G PAY ME MY MONEY DOWN eae las Pay me, oh pay —me, pay me = my — mon - ey down. G Pay me or go. to-_ alll, pay me my — mon - ey down. 18The following exercises use the four chords you have learned so far. The chords are arranged in saquences called chord progressions. G D7 c D7 38 40 UNCOOL TCO Ct ‘As you are playing one chord, look ahead to the next and get your fingers in position. Then, switch chords using a minimum of hand motion. Trade off strumming the chords and playing the melody with your teacher or a friend. 12-BAR ROCK You can also play the G, C, and D7 chords with ‘Worried Man Blues” on page 16. 9TIES A curved line which connects two notas of the same pitch is called a tie. The first note is struck and held for the value of both notes. The second note should not be played again. Look atthe following example of tied notes. A mon flash] A Meeieee one 4 ret ‘S BEATS 2 BEATS Practice trading off on melody and chords in these pieces AMAZING GRACE Til A - maz - ing grace, how — sweet _— the sound that D7 G ° oC @ 2 2 oe 5 1-2-3 -1-2 saved a wretch like me. 1 once was lost, but c G D7 G now am found; was blind, but now ! see. RIFFINWHEN THE SAINTS GO MARCHING IN vt (1) 2 3 4 4-8-8-4-1 2 9 4 1-2-8-4-12 3 4 Oh when the saints go march-ing in___________ oh when the D7 G a saints go march - ing in—__________ Lord, | want to c G D7 G 10 1 2-3-4-14-2-3 4 1-2-3-4-4 be in that num-ber when the saints go march-ing in. eee WILL THE CIRCLE BE UNBROKEN Cony Goel Will the cir - cle—______ be_un - bro - ken, c G by and by, Lord, by and by? "There's. a bet - ter home a - wait - ing in the ” sky, Lord, in the sky. a; NOTES ON THE FIFTH STRING @ | HH Ie 4 i ‘OPEN oven and FRET ora Ret ena FINGER Sed PINGER —— a oe A B c BRE BLUES BASSPractice these familiar melodies until you feel comfortable playing them. Remember to look ahead zs you play so you can prepare for the next notes. JOSHUA FOUGHT THE BATTLE OF JERICHO Sir Am E7 Am GREENSLEEVES ted c Dm AT DmNOTES ON THE SIXTH STRING mo | be ote OPEN 3rd FRET IStFINGER 3rd FINGER, md| 7 4] Eb! After you play these exercises, write the letter names below each note. Hold tet finger down... === === 2-2 -nnt00-woP c Am GIVE MY REGARDS TO BROADWAY Ge A oh c Fm G7 Dm BASS ROCKGe aT LU MSeSy [ei The distance between music tones is measured by half steps and whole steps. On your guitar the distance between one fret and the next fret is a half step. The distance from one fret to the third fret in either direction is called a rae Whole _} step whole step os —® 1 F-SHARP ( F#) Fes When a sharp ( #) is placed in front of a note, the note is raised a half step and played one fret higher. A sharp placed before a note affects all notes on the same line or space that fol- ow in that measure, Following are the three Fés that appear on the fretboard to the right: 1st STRING is 2nd FRET athstaInG 742 4th FRET 6th STRING 2nd FRET Practice each of these finger exercises many times. Se DANNY BOY (LONDONDERRY AIR) ead G cKEY SIGNATURES Instead of writing a sharp sign before every F in a song, one sharp is placed at the beginning of tre line. This is called a key signature and indicates that every Fin the song should be played as F8. In “Shenandoah” there will be an arrow above each Fito remind you to play FA. SHENANDOAH SeaStany G L 59 Oh Shen - an - doah I long to see you. A way you roll-ing iv - e,__ Oh_Shen-an - doah__ G o7 G + — | long to see you. A - + way we're bound a - Em G 07 6G way a-cross the wide = Miss - ou - fi, SPY RIFF aLENE Musical rests are moments of silence in music. Each type of note has a matching rest which has the same name and receives, the same number of counts Whole Half Quarter 4 or Al ao J re t 4 beats 2 beats 1 beat A rest often requires that you stop the sound of your guitar strings with your right hhand as is shown in the photo to the right. This process is called dampening the strings. Use the edge of your right palm to touch the strings, and work for little unnecessary movement. AAs you play the following exercises that contain both notes and rests, count aloud using numbers for the notes and say the word, “rest,” for each beat of silence. cour. 1 2 3 Rest 1 Rest 3 Rest Rest 2 3 4 1 - 2 Rest Rest The letter R is used in place of the word “rest.” 12RR R23 4 RARARR 1AR 3B 4 1-2-3 R DEEP BLUE aRED RIVER VALLEY toto sg Come and sit by my side if you ~— love me. G D7 Do not has - ten to bid me a - dieu. But re - mem - ber the Red Riv-er — Val- ley, D7 G and the cow - boy who loved you so true. TWANG In } a complete measure of rest (3 counts) is written as a whole rest (= ). ROCK ‘N’ RESTEO 1 Quarter 2 Eighth Note ‘Notes An eighth note is half the length of a quarter note 5 and receives half @ beat in j or } meter One eighth note is written with a flag. Consecutive eighth notes are connected with a beam d or or To count eighth notes, divide the beat into two, and use “and” between the beats. Count the measure to | ‘the right aloud while tapping your foot on the beat. 1 & 2 & 3 & 4 & Eighth notes are played with a downstroke (PF) of the pick on the beat and an upstroke (\/) on the “and.” This is called alternate picking Playing the following exercise using alternate picking for all eighth notes and strictly downstrokes for all quarter notes. Practice slowly and steadily at first; then gradually increase the speed, 1&8 283 4 1& 2&8 3-4 1&2 3 & 4 1° 2 38 48& 18 28 3 8& 48& #41 283-4 30A double bar with two dots ( |) is a repeat sign, and it tells you to play the music a second time. SEA SHANTY c Dm mmV¥nm my om noma" Dm Am Dm Repeat Sion FRERE JACQUES fae Fré-re Jac-ques, Fré-re Jac- ques, dor - mez vous? Dor - mez vous? Are you sleep - ing? Are you sleep- ing? Broth- er John, Broth - er John, me VmaVee 5 Son-nez les ma-tin-es, son-nez les ma-tin-es, din, din, don; din, din, don. Morn-ing bells are ring-ing, morn-ing bells are ring-ing, ding, dong, ding; ding, dong, ding. SNAKE CHARMER Try playing “Snake Charmer” again, this time on the higher strings. Begin an actave higher with the A note on the second fret of the third string, and use your ear as a guide. onTHE STAR-SPANGLED BANNER tei c G Am E Am D7 OG G7 c G F Cc Am D7 G c F A7 Dm c G7 c Am c G7 CcMORE STRUMMING The alternating down-up stroke pattern you have already played on eighth notes can also be applied to strumming. As you prac- tice the following exercise, keep you wrist relaxed and flexible. The down-up motion will be much faster and easier if you use motion of the wrist only, rather than of the entire arm. This wrist motion feels a little like shaking water off the hand. BASIC DOWN-UP STRUM c m Vom Vom Vm YV 73 STRUM VARIATIONS A variation of the basic down-up strum misses the upstroke or “and” of the first beat. Remember to keep the down-up motion going and miss the strings on the “and” of beat one. G c moms m Vom Vom V 74 = This variation misses two upstrokes. Continue to strum but miss the strings on the “and” of beats one and three. G c ross OVO oss OV 75THE Em CHORD Em | | I~ Lacie The E minor chord is one of the easiest chords on the guitar. Arch your fingers and play on the tips to avoid touching the other open strings. E anv mV HEY, HO, NOBODY HOME tat Hey, ho, no - bod - y home. Meat, nor drink, nor mon-ey have | none, yet will | be mer - sy. (y) SHALOM CHAVERIM ise Em (Peace, My Friend) Sha - lom, cha-ve-rim! Sha - lom, cha-ve-rim! Sha - lom, sha - lom! Le - hit-ra - ot, le - hit-ra - ot. Sha - fom, sha - tomCHORD PAIRS ‘As you move between different chords, if one or more fingers remain on the same note, allow them to stay pressed as you switch chords. In the following progression there is a common finger between the G and Em chords and a common finger between the C and D7 chords. 6 Em 000 ° oo0 ey @@ Practice the following chord progressions until you can play them steadily and without any hesitation between chord changes. Try to move your fingers to a new chord as a unit instead of “letting your fingers do the walking” one at a time. G Em D7 You can vary the strumming by alternating between a bass note (usually the lowest note of a chord and the name of the chord) and the remainder of the chord. This style of accompaniment is referred to as the bass note strum, or “boom chick” rhythm. G Strum top four strings Strum top four strings [7 Strum top three strings 4 L Bass Strum Bass Strum G G7 c D7 EiTHE D CHORD THIS TRAIN Ai ein This train is_-—bound for glo- ry, this train. D “This train is bound for glo - ry, this train G G7 c G D a This train is bound for glo-ry, if you want to ride it you must be ho-ly. G D G 3 This train is bound for glo - ry, this _ train. 3BOOGIE BASS A VmVeaVey ‘The next example uses a variation on the bass note strum technique. This time, strike the bass note and then strum the remain- der of the chord twice.Practice these strums before playing “Simple Gifts.” On “Simple Gifts” you can play the melody (Part 1), the harmony line (Part 2), or the chordal accompaniment. SIMPLE GIFTS Shaker Sma G Em GC-SHARP (Ct) ct CH 2nd STRING 2nd FRET 2nd FINGER ROCKIN’ BLUESTHE A7 CHORD DOWN IN THE VALLEY Telia Down in the val : ley, val - ley so az Hoar the wind blow, dear, hear the wind eee Sastre! nes } tara your head ° —e ver, hear the wind blow. atMINUET IN G 1s m0 aRepeat to| ‘top of page| BTIME IS ON MY SIDE Je ann Sime is on my ade.—_____ Vos it is. a i osssstsssnstsssapAlsanantsansissansaHssAnaResin—R00 is on my side. —___________ Yes_ it is. { Now you al - ways say You're — search - in’ for good times. that you wan - na be hos) But just wait and see. You come run - nin’ back.You come run - nin’ back. You'd come run - nin’ back to Time, time, time is on my side. _____________ Yes__ it is. Time, time, time is on my side.________ Yes it is. Time's on my _ side.GRAND FINALECHORD CHART In this chart you will find the chords learned in this book as well as several other common chords you may see in music you are playing, xo Am o Roun ° PG AIL — ae Loe OO O29 D1 TT x 8) x c. o x 7 oO 1 O 1 ® 2) Te oat & x x on xx oJ WENO 1 Oe ® Te 3 a °o Em. oO Ee Bictrelists ® 1 iad OO et TI uae 08> o fh = a te © Olt $ oe eee TBOOK 1 Book 1 provides beginning instruction which includes tuning, playing position, musical symbols, nates in frst postion, the C, G, G7, D, 07, AZ, and Em chords, rhythms through eighth notes, strumming and picking, 100 great songs, riffs, and examples. Includes «chord chart and well-known songs: Ode to Joy * Rockin’ Robin + Greensleeves + Give My Regards to ‘THEA LEONARD GUITAR METHOD is designed for anyone jest lernng to play acouste or electic utac I is besed on years of teaching guitar students fal ages, end it als elects some ofthe ost guar teaching ideas trom aroun the worl This comprehensive method includes: Lessing sequence caretuly paced with clear instruction, ‘bonular songs wich increase the incentive to earn 10 play, versaity ~ canbe used as se-instuction ‘or with 9 taacher;autio accompaniments so thet students have fun and sound greet wile prectcng. BOOK 2 Book 2 continues the instruction star- ed in Book 1 and covers: Am, Om, A, €, F and B7 chords; power chords; finger-styl guitar, syncope~ tions, dotted rhythms, end triple bss runs; pentatonic scales 92 great songs, riffs and examples; notes in first and second position, and more! 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