Hal Leonard Guitar Tab Method - Book 2

LEONARI

I h e M a j o r S c a l e . . . . . 2 T h e F i r s t N o e l . . . . . 4 H i f f i n D . . . 5 S i x t e e n t h N o t e s . . . . 6 A r k a n s a s T r a v e l e r . . . 7 E x o t i c R o c k . . . B F r e e d o m R o c k . . . . . 8 E i n e k l e i n e N a c h t m u s i k . . . . . . 8 D o t t e d E i g h t h N o t e s . . . . 9 Tramp,Tramp,Tramp ...9 I h e C h r o m a t i c S c a l e . . . . . 1 0 T h e E n t e r t a i n e r . . . . . . 1 1 ln the Hall of the Mountain King . . ...12

E $ u d i o . . . . 1 2 S t . L o u i s B l u e s . . . . 1 3 B a r r e C h o d s . . . 1 4 0 l a s s i c R o c k . . . . 1 1 S w i n g i n ' . . . 1 8 A l t e r n a t i v e R o c k . . . . . 1 8 S l o w R o c k . . . 1 8 M i n o r G r o o v e . . . . . .. 1 8 l a z z y . . . . 1 9 B o s s a N o v a . . . . 1 9 H a d B o c k . . . 1 9 B a n e E x a m . . . 1 9 T r a v i s P i c k i n g . . . 2 0 Sometimes lFeel Like a Motheiless Child . ...21

Freightlrain ....22 D r o p D T u n i n g . . . 2 3 P o p / B o c k . . . 2 3 G r u n g e . . . . 2 3 F o l k / R o c k . . . . 2 3 Movable Scales . ....24 M i s s M c l e o d ' s R e e l . . . . . . .. . . . 2 5 God Re$ Ye Merry Gentlemen . . . .26

F i f t h P o s i t i o n . . . 2 8 D e e p R i v e r . . . 2 8 B o u r e e . . . . . 2 8 l|eavy Hock ....29 J a z i n ' t h e B l u e s . . . . 2 9 T h e K e y o f F . . . . . . .3 0 S l o o p J o h n B . . . . . . 3 0

$Lj

xT&m

nwxHYLr

ffim

B00|(

3

ffiY

W*LL

$eilWg*

eru{}

ffiffiilffi

Kffiil$i

C o m p o u n d l l m e . . . . . 3 1 l S a w T h r e e S h i p s . . . . 3 1 S l o w B l u e s . . . 3 1 A f t i c u l a t i o n . . . , . 3 2 T h e S l i d e . . . . 3 2 B o u n c y B l u e s . . . 3 2 P o w e r C h o r d S l i d e s . . . . . 3 2 T h e H a m m e r - 0 n . . . . . . 3 3 Folk Pattern .. . .33 R o c k ' n ' H a m m e r . . . 3 3 A c o u s t i c B o c k . . . . . 3 3 B o o g i e B l u e s . . . . 3 3 T h e P u l l - 0 f f . . . 3 4 P o w e r P u l l . . . 3 4 B l u e s W a l u . . . . 3 4 B l u e g r a s s R u n . . . . . . .. . 3 4 T h e S t r i n g B e n d . . . . . . .. . . . 3 5 B o c k l i c k . . . 3 5 S w a m p y B l u e s . . . . 3 5 D o u b l e - S t o p B e n d . . . . . . 3 5 J a m S e s s i o n . . . 3 6 P o p / B o c k B a l l a d . . . . 3 6 F u n k . . . . . 3 6 S m o o t h J a z z . . . . . 3 6 L a t i n R o c k . . . 3 6 C o u n t r y . . . 3 7 J a z W a l t . . . 3 7 R e g g a e . . . . . 3 7 H a r d R o c k . . . .3 7 B l u e s . . . . 3 7 J a z R o c k . . . 3 7 G r a n d F i n a l e . . . 3 8 R e f e r e n c e S e c t i o n . . . 4 0 C i r c l e o f F i f t h s . . . . . 4 0 Three-Note Chod Foms . .... . .40

M i s c e l l a n e o u s C h o r d s . . . . 4 1 0 h o r d 0 o n s t r u c t i o n . . . . . . 4 2 G e a r . . . . . 4 6 Definitions for Special Guitar Notation . . . .47

I - r s B N o - h 3 q - o l ' q 1 t - 1

V f H A L . L e o r u e R D '

L - a c o R p o R A - r t o N 7 7 7 7 W . B L U E M O U N D R D . P O . B O X I 3 A I 9 M I L W A U K E E . W I 5 3 2 I 3 C o p y r l g h t @ 1 9 7 7 , 1 9 8 0 , 2 0 0 2 b y H A L L E O N A R D C O R P O R A T I O N International Copyright Secured All Rights Reserved

F o r a l l w o r k s c o n t a i n e d h e r e i n :

U n a u t h o r i z e d c o p y i n g , a r r a n g i n g , a d a p t i n g , r e c o r d i n g o r p u b l i c p e r l o r m a n c e i s a n i n f r i n g e m e n t o f c o p y r i g h t . In{ringers are liable under the law.

Koopnorou 4 ToL242 Mf,,Fic2t2857

THE

MAJOR

SCALE

A s c a l e i s a s e r i e s o f n o t e s a r r a n g e d i n a s p e c i f i c o r d e r . P e r h a p s t h e m o s t c o m m o n s c a l e i s th e m a j o r s c a l e . l t is u s e d a s t h e b a s i s f o r c o u n t l e s s m e l o d i e s , r i f f s , s o l o s , a n d c h o r d p r o g r e s s i o n s

Scales are constructed using a combination of whole steps and half steps. (Remember: on the guitar, a half step is the distance of one fret; a whole step is two frets.) All major scales are built from the following step pattern

WHOLE

_ WHOLE

_ HALF

_ WHOLE

_ WHOLE

_ WHOLE

_ HALF

T h i s s e r i e s o f w h o l e a n d h a l f s t e p s g i v e s t h e m a j o r s c a l e i t s c h a r a c t e r i s t i c s o u n d .

C MAJOR

SCALE

To build a C major scale, start with the note C and follow the step pattern from above.

1 2 3 4 5 6 7 8 ( 1 )

The first (and eighth) degree of a major scale is called the keynote or tonic. This is the "home" tone on which most melodies end P r a c t r c e t h e C m a j o r s c a l e a s c e n d i n g a n d d e s c e n d i n g i n fi r s t p o s i t i o n .

1

, : r - l c h o r d p r o g r e s s i o n s a r e a l s o d e r i v e d f r o m s c a l e s . A p i e c e o f m u s i c b a s e d o n th e C m a j o r s c a l e i s in th e k e y o f C . ::'every _{k e y , t h e r e a r e s e v e n c o r r e s p o n d i n g c h o r d s - o n e b u i l t o n e a c h n o t e o f th e m a j o r s c a l e .}

D m E m

i i i

r v

v

'tote: _{Triads (three-note chords) use every other note of a scale ('1-3-5,2-4-6, etc.). Roman numerals are used to label a chord's location r,rthin a kev}

:". ng a closer look at each of the seven chords, notice that major triads are built 0n the first, lourth, and fifth notes of the , - m i n o r t r i a d s a r e b u i l t o n t h e s e c o n d , t h i r d , a n d s i x t h n o t e s o f th e s c a l e ; a n d a d i m i n i s h e d t r i a d i s b u i l t 0 n t h e s e v e n t h n o t e - = scale. T h e s e v e n c h o r d s a r e c o m m o n t o th e k e v o f C b e c a u s e a l l s e v e n c o n t a i n 0 n l v t h e n o t e s o f th e C m a i o r s c a l e ( n o " r s or flats). l t is im p o r t a n t t o m e m o r i z e t h i s s e q u e n c e o f c h o r d t y p e s , a s it a p p l i e s t o a l l m a j o r s c a l e s . f o l l o w i n g e x a m p l e s a r e i n th e k e y o f C . P r a c t i c e p l a y i n g t h e c h o r d s ; t h e n t r y im p r o v i s i n g u s i n g t h e C m a j o r s c a l e . W h e n n n i n g t o im p r o v i s e , p l a y t h e s c a l e a s c e n d i n g a n d d e s c e n d i n g a n d n o t i c e h o w t h e n o t e s w o r k o v e r t h e c h o r d s . T h e n , m i x u p n o t e s . l t h e l p s t o e m p h a s i z e t h e c h o r d t o n e s .

OTUNTNGNoTES

-RACK 1

o

TRACK 2 play B times

a

TRACK 3 n l n r r R f i r n a c

a

TSACK 4 n l a t t R f i r n a < | J ' u ) | v

G MAJOR

SCALE

To build a G major scale, start with the note G and apply the major-scale step pattern. The F is sharped to complete the pattern w h o l e w n o r e h a r { w h o l e w h o l p w h o l e h a l f

The triads built on the notes in the G maior scale are:

rf,oim

I V V v i v i i "

Practice the G major scale in first position. Remember: the key signature for G major is one sharp (F{) B 3 A 2 G 1 N o w p l a y a w e l l - k n o w n m e l o d y u s i n g n o t e s a n d c h o r d f r o m t h e G m a j o r s c a l e .

s

TBACK 5

: ',IAJOR

SCALE

- 1 D major scale, start with the note D and apply the major-scale step pattern.

, . ' a d s b u i l t o n th e n o t e s i n th e D m a i o r s c a l e a r e : D E m

r#m

c#oim

t i i i i i t v v vi vii' r - a c t i c e _{t h e D m a j o r s c a l e a s c e n d i n g a n d d e s c e n d i n g i n fi r s t p o s i t i o n . R e m e m b e r : t h e k e y s i g n a t u r e f o r D m a j o r i s tw o s h a r p s} : : and C # ) . F# 3 E 2

RIFF

IN

D

The major scale step pattern can be applied to any root note to create any major scale. lf you start on E, you will have an E major scale. lf you start on F, you will have an F major scale. lf you start on F{, you will have an Ff major scale, and so on.

SIXTEENTH

NOTES

The sixteenth note has a solid oval head with a stem and either two flags or two beams. lt lasts half as long as the eighth note

:

c )

) ) . ) o ) = a a . a = a

The following chart shows the relationship of sixteenth notes to allthe rhythmic values you have learned. '1 _{Whole Note o} = 2 Half _{Notes )} = 4 Quarter _{Notes )} = B Eighth Notes = 16 Sixteenth Notes a

_-J-J-.,]

a a a a

_!l-

a a a a a a a a a a a S i n c e t h e r e a r e f o u r s i x t e e n t h n o t e s i n o n e q u a r t e r n o t e b e a t , c o u n t t h e m b y a d d i n g t h e s y l l a b l e s " e " a n d " a " ( p r o n o u n c e d " u h " ) . T h e c o u n t i n g w o u l d b e :

? . ? . ? . . ? a ? . ? ? . ? .

t t t l t t t t t l l t - - - -- - -

-1 e & a 2 e & a 3 e & a 4 e & a

Practice the following sixteenth note exercises. Begin playing them slowly and accurately, then increase the tempo. Tap your foot on each beat of the measure.

) ) )

a

1 1

& a 2 ( e ) &

, t - V - ( V )

v l a 3

- V

: Te there are two beats per measure and the quarter note gets one beat.

ARKANSAS

TRAVELER

Y - v -

-Fiddle Tune

c

- V - V

EXOTIC

ROCK

1 3

TBACK 9

FREEDOM

ROCK

1 4

EINE

KLEINE

NACHTMUSIK

(A Little

Night

Music)

* (e the other dotted notes you've played, the dot after an ei0hth note increases the value ol the note by one-half.

S rrce the dotted eighth receives only a part of a beat _{in t , \, or I time,} a sixteenth is added to it to complete the beat^

=

)

+

'lz Beal '/, Beat rlr Be?t 'l' _{1 Beat}

in easy way to learn a dotted eighth is to think of it as three tied sixteenth notes. This will help you play the rhythm m0re accu-"atelv. _{Practice the followino exercise until vou can olav the subdivision of the beat easilv.}

N

a t Beat

+

,

7

a

THE

CHROMATIC

SCALE

T h e c h r o m a t i c s c a l e i s m a d e u p e n t i r e l y o f h a l f - s t e p s ; t h e r e f o r e , i t w i l l u s e e v e r y a v a i l a b l e f r e t o n t h e f r e t b o a r d . l f y o u p l a : = , = -fret on a given string from the open note to the twelfth fret, you will be playing a one-octave chromatic scale.

W h e n p l a y i n g t h e n e x t e x a m p l e , h o l d d o w n y o u r f i n g e r s a s y o u a s c e n d o n e a c h s t r i n g . N o t i c e t h a t s h a r p s a r e u s e d f o t ' : - = ascending scale while f lats are used for the descent.

T h e d i a g r a m a t th e r i g h t s h o w s a l l o f th e n o t e s r v i t h i n t h e f i r s t t w e l v e f r e t s o f th e g u i t a r f i n g e r b o a r d . P r a c t i c i n g t h e c h r o m a t i c e x e r c i s e s b e l o w e a c h d a y w i l l g r e a t l y i n c r e a s e y o u r f i n g e r d e x t e r i t y a n d a c c u r a c y .

E

A

D

G B

F Af/Bb Dfi/E' GilA' C F

FilGu B E A CillDbFVG,

3rdFret G C F A{8, D G

GVA6 CTID6 FfrIG', B DVE', GVA,

s t h F r e t A D G C E A

ATiB' DTIE6 Gfi/A' Gf/DT F AfrIBV

TthFret B E A D FVG.,

E

C F A1IBO DqE' G C

l o t h F r e t D G C F A D

DrlEb GilA, CrlDb FrlG6 AUB",

10

: n T i m e C r s a n o t h e r w a y o f w r i t i n g _{N . A n o t h e r w a y o f} w r i t i n g _{! t i m e ( t w o b e a t s p e r m e a s u r e a n d t h e h a l f} n o t e

THE

ENTERIAINER

SmnJrplin

Fss$*wxT

Play the

Q

TRACK I3

n e x t p i e c e t w i c e a n d g r a d u a l l y s p e e d u p .

IN

THE

HALL

OF

THE

MOUNTAIN

KING

22

ESTUDIO

TRACK I4

ST.

LOUIS

BLUES

WI Handy

I hate to see

-Feel- in' to - mor - row the eve - nin' sunlike - | feel

go down. -to - day.

row _ t h e e v e - n i n 'I r k e - | sun go feel to - dav.down. Hate to see Feel to - mor ;t',li: ,r Cause my ba - by l'll pack my trunk r1.., _iI:

he done left this town.

-make my get - a - way. - St. Lou-is

wom-an with her p o w - d e r - a n d f o r

d i a - m o n d

store - bought pulls that man 'roundthe man I love

| | 2.,"" ."." rr,\.ij,

by her

would not gone noa - pron strings. where. -

-;1,.:i ;,. 'Twantfor Got the Lou - is i;::: r"l:il B l u e s iitii i:l:i' just as ;:, li' b l u e a s _ l _ !l:. l!,lr That -j , , . {:

a heart like rocK cast - in sea

-I i r : :

BARRE

CHORDS

Barre chords are chords in which two or more strings are depressed using the same finger. Most barre chords cover f ive or six s t r i n g s a n d c o n t a i n n o o p e n s t r i n g s . T h e f i n g e r i n g s h a p e s a r e m o v a b l e a n d c a n b e s h i f t e d u p o r d o w n t h e n e c k t o d i f f e r e n t p o s i t i o n s t o p r o d u c e o t h e r c h o r d s o f th e s a m e q u a l i t y .

E.TYPE

BARRE

CHORD

One of the most useful movable barre chords is the one based on the open E chord. The root note of this E shape is o n th e s i x t h s t r i n g . T h e r e f o r e , t h i s s h a p e w i l l b e u s e d t o play major chords up and down the sixth string.

Follow these steps to form the E-type barre chord. 1 . P l a y a n o p e n E c h o r d , b u t u s e y o u r 2 n d , 3 r d ,

a n d 4 t h f i n o e r s .

2 . S l i d e t h i s c h o r d s h a p e u p o n e f r e t , a n d a d d y o u r 1 s t f in g e r a c r o s s t h e l s t f r e t , f o r m i n g a b a r r e .

Strum all six strings to play your first barre chord. Make sure each string rings out clearly. Strike each note one at a time to test for clarity.

This particular barre chord is F major because its root is F on the sixth string. You can apply this same shape to any root note a l o n g t h e s i x t h s t r i n g : E B G D A E 7th Fret

Now try the following barre chord exercise to get used to the feet of the movable shape.

F a l I t a o

|f|ft

l a a | l r F f ,+ {Jllf} 2 fr [-T-R-I r o l o a q o n r a q q r r r a l ? ? l | | 1 3 4 2 1 1 G ,-{Jllf{3 tr fT-R-| " ^ r ^ ^ ^ ^ l ? ? l t l l E f E d - v P l v J J u r E _{1 3 4 2 1 1} -.fr. rerease pressure

3nce you are familiar with the basic feel and movement of the E-type major barre chord, it is easy to adapt this shape to form r i n o r , s e v e n t h , a n d m i n o r s e v e n t h b a r r e c h o r d s .

f y o u s u b t r a c t y o u r 2 n d f in g e r f r o m t h e m a j o r b a r r e c h o r d , y o u h a v e a m i n o r b a r r e c h o r d . l f y o u s u b t r a c t y o u r 4 t h f i n g e r f r o m :ie malor barre chord, you have a seventh barre chord. lf you subtract your 2nd and 4th fingers from the major barre chord, . . o u h a v e a m i n o r s e v e n t h b a r r e c h o r d . S t u d y t h e p h o t o s a n d d i a g r a m s b e l o w .

Fm

F7

Fm7

Try using these new barre chords in the examples below.

B m 5TTT5a7 rr fi-flTr I t t I | l G {Jllf}3 fr fT-R-| t ? ? | l 1 3 4 2 1 1 {TTTT} s tr IT-RTI t ? ? | l A {fJlff s fr

rI-R-|

t a a | | l A z-r ,'fr\ ,'fr\ G m 7 {Jfff}3 fr t-t-t-l-t-t rfi-T-rl

c

{TTTII s tr

n|-|t

t e a | | l 1 3 4 2 1 1 C m 7 {Tfffas fr ITT]TI t ? | t l 1 3 1 1 1 1 A m {Jlff}5 fr

rT-nTt

t ? ? | l 1 3 4 1 1 1 G m 7 {Jfffi3fr

T-mt

t ? | i l ' 1 _{3 1 1 1 1} F e I t t t

rT-nTt

I t t l t l G 7 {TfTf}3 rr. t-l-tfl f{Tfl 1 3 1 2 1 1

taving difficulty at first in playing barre chords is normal. Here are some tips to help you:

. Instead of holding your first finger totally flat, rotate it a little 0nt0 its side nearest the thumb. . Place your left thumb directly behind the first-finger barre for additional support.

IRACK 2I

S o m e s o n g s c o n t a i n b o t h b a r r e c h o r d s a n d o p e n c h o r d s .

A m G F E

- ^ ^

ilms fr {TTTI}3 f. {TTTTI rT.-{T1

rrr rrrr f|-trn fa{T]-] Lt|_r_r Lt|_l_.i nTTTt tlTfn

1 3 4 1 1 1 1 3 4 2 i 1 i s n z t t 2 3 1

The next song introduces a new A-type barre chord: is common to Latin jazz.

IRACK 22

JAZZY

F a t t t a o TTT'T'] l.# t ? ? | l E

ffif

|_-sTn n-n-n

the major seventh chord. Also featured is a syncopated strum pattern that

A m G A m {TTTII5 fr

rTI]]

t ? ? | l 1 3 4 1 1 1

3 8

3 9

BOSSA

NOVA

Cmai7 ITTTT] 3 fr

r-ft-ilt

| ? t ? l 1 3 2 4 1 D m 7 \ - ^ - , l l l l l 1 5 r r .

r-T-[Tt

| ? | l Db7 fTTm4 fr.

fT-mt

| | ? t ? l 1 3 1 4 1 G 7 .TTTI' m-TTl l-rlrn 1 3 1 2 1 1 C majT faTTTl3 fr

n||l

| ? t ? l 1 3 2 4 1 FTTT} 5 i, T.fli.t | ? | l 3 tr. N o w t r y m i x i n g b a r r e c h o r d s w i t h s i n g l e n o t e s .

HARD

ROCK

C majT IHACK 23

ru

TRACK 24 F#m B A G F#m A E G a l a ^ l l l a l l a l l l Q Q o r l t a a i l t l | l a | | | | | t a a | l - - ; z - - i a a 2 i j A {TTTIi 5 fr.

rfRT

t ? ? r l 1 3 4 2 1 1 A B

BABRE

EXAM

c c c ^ ^ - , A ^ ^

rTET'l {TTTI+3 fr.{fllf}5 fr {TTT512 fr.{TTTL5 fraTTT-a7 fr.

rfifit tl-tiTt [T-R-I ITIT _{rTt-il nr.]-l}

l l l l l l r ? ? r r t e e | t t t | | t t | t l 2 3 1 1 3 4 2 1 1 1 3 4 2 1 1 1 3 4 1 1 1 1 3 4 2 1 1 1 3 4 2 1 1 {Tl-IIi 2 f r.{TTTTl 5 f r {Jllf} 7 {r

|Tm m-iTt rfnTt

t ? ? | t t e ? | t t t t | | l 1 3 4 1 1 1 1 3 4 2 1 1 1 3 4 2 1 1

t1

^ l-JTTTl3 fr. l...l....|+ | | l,+.1 | D ITT|R5 ff [-FFN E [aTfR7 fr t-t-FFIt

MOVABLE

SCALES

You already know how to play scales in first position. To become a skillful soloist and proficient _all-around guitarist, you must learn to play scales anywhere on the fingerboard.

The concept of movable scales is similar to that of power chords and barre chords. For each scale you will learn two movable patterns, one with its tonic on the sixth string and another with its tonic on the fifth string. By using these tonics as a point of reference, yOu can move the scales up and down the neck to accommodate any key. Simpiy matih one of the tonics to its respective note on the fingerboard, and the rest of the pattern follows accordingly.

THE

MAJOR

SCALE

Study the following movable major scale patterns. Tonics are indicated with an ooen circre.

Tonic

on

Fifth

String

Tonic

on

Sixth

String

A Major

Scale

JSe alternate picking aS ygu practice the following major scale exerglses'

G

Major

Scale

Pattem

THE

MINOR

SCAI.E

S t u d y t h e f o l l o w i n g m o v a b l e m i n o r s c a l e p a t t e r n s .

Tonic

on

Fifth

String

Tonic

on

Sixth

Stilng

A Minor

Scale

Pattern

a

TRACK 3I

GOD

REST

YE

MERRY

GENTLEMEN

THE

MINOR

PENTATONIC

SCALE

Study the following movable minor pentatonic scale patterns.

Tonic

on

Sixth

String

Tonic

on

Fifth

Stdng

G Minor

Pentatonic

Riff

C Minor

Pentatonic

Lick

THE

MAJOR

PENTATONIC

SCALE

Study the following movable major pentatonic scale patterns

Tonic

on

Sixth

String

Tonic

on

Fifth

String

IJiJlfJ1:S:I:ouXf

_{J:3 ffi:JliJ;lf}

_{iXill,il:fli,o:fi';}

"0 ricks

in

a hisher

position

on

the

neck

Finsers

1

, 2,

3,

and

4 ptav

Notice that some notes can be played in an alternate position _{on the} fretboard. shift your first finger down to fret notes that need to be played on the fourth fret and stretch your fourth finger to fret notes that need to be played on the ninth fiet.

Gf/Ab Cfi/DL

C Major

Scale

ArtBb DilEb G#/Ar cr/or F A*lB', _Fifth

Position Fingering

F E A D F f / G r i 9 F A7B, DlE, G C

Cf/Db Ff,lGb B _{Gf/Ar C#/Dr} - This note can also be played

at the third string, fourth frer.

s

TflACK 32

DEEP

RIVEB

_{African-American Spiritual}

G 7

59

BOUREE

"5. IBACK 33 SLOWFAST J S Bach

HEAVY

ROCK

JAZZIN'THE

BLUES

THE

KEY

OF

F

The key signature for F has one flat. All Bs should be played one half step lower.

P l a y t h e m e l o d y t o " S l o o p J o h n 8 . " in fi f t h y o u l e a r n e d 0 n p a g e s 1 4 - 1 9 . y o u m a v a l s o

F Major

Scale,

First

Position

p o s r t r o n , t h e n f i g u r e o u t h o w t o p l a y t h e c h o r d s t o th e s o n g u s i n g t h e b a r r e f o r m s wish to tlr playing the Travis picking accompaniment from pag eizo-zz.

SLOOP

JOHN

B.

m

IBACK 36 Iaribbean

F 7 _{B b}

c r *

Refer to the "Circle of Fifths" 0n page 40 for more on kevs. 30

COMPOUND

TIME

U n t i l n o w y o u h a v e p l a y e d t i m e s i g n a t u r e s i n w h i c h t h e q u a r t e r n o t e r e c e i v e d o n e b e a t ( e g , tr, ?t, t). The r h y t h m i c p u l s e o f t h e s e t i m e s i g n a t u r e s i s d i v i s i b l e b y t w o - f o u r s i x t e e n t h n o t e s e q u a l t w o e i g h t h n o t e s , t w o e i g h t h n o t e s e q u a l o n e q u a r t e r n o t e , e t c . T h i s i s c a l l e d s i m p l e t i m e . A t i m e s i g n a t u r e i n w h i c h t h e r h y t h m i c p u l s e i s d i v i s i b l e b y t h r e e i s c a l l e d c o m p o u n d t i m e . T h e m o s t c o m m o n e x a m p l e s o f c o m p o u n d t i m e _{a r e $ and t$.} n

P nnnf tn I time the bottom number tells you that the eighth note gets one beat and the top number tells you that there

U I rrrrL are six beats in one measure. All note and rest values are proportionate to the eighth note.

\ e a ' o r t Eighth = 1 Beat p l a y i n g " l S a w T h r e e S h i p s " i n fi f t h p o s i t i o n . B e s u r e t o fo l l o l v t h e c o u n t c a r e f u l l y . I

t

)

a . o r a . D o t t e d Q u a r t e r = 3 B e a t s

. or I

Q u a d e r = 2 Beats

I SAW

THREE

SHIPS

P ractice

s

TRACK 37

t 6 i

' a ' . , _{r o}

K lUtt ]lr E,,'rr signature is based on the same principte as $ time In

ls? _{there are twelve beats per measure and}

^ rne eronth note gets one beat.

\J G 7

s

TRACK 38

SLOWBLUES

c 7

65

It a l ) -t 1 1 1 0 1 2 1 - 2 3 - 4 - 5 - 6 7 - B - 9 - 1 0 - 1 1 - 1 2 1 - 2 3 - 4 - 5 - 6 7 - B I - 1 0 - 1 1 - 1 2

c 7

B m 7 BbmT A m 7

ARTICULATION

Articulation refers to how you play and connect notes on the guitar. lf pitches and rhythms are what you play, articulation is hOw you play slides, hammer-ons, pull-ofls, _{and bends all beiong to a special category of articulations}

cuitro legato. Legato techniques allow you t0 "slur" two or more notes together to create a smooth, flowing sound and help give your music flavor and expression.

THE

SI.IDE

The slide is played by following these steps: . Depress the string _{with the}

left-hand finger.

. Pick the string with the right hand . Maintain pressure _{as you move}

your left-hand finger up or down the fretboard to the second position snown. (The second note is nor p i c k e d . )

s

TRACK 39

BOUNCY

BLUES

A r - e

ru

TRACK 4O

POWEB

CHOBD

S|.IDES

C#5 D5 cls D5 a

THE

HAMMER-ON

The hammer-on is named for the action of the left-hand f ingers on the fretboard. To play the hammer-on follow these steps:

. Depress the string with the left-hand finger. . Pick t h e s t r i n g w i t h t h e r i g h t h a n d .

. Maintain pressure as you quickly press down onto the fret of the second (higher) note on the same string, using the initial attack to carry the tone.

s

IRACK 41

FOLK

PATIERN

s

IRACK 42

R()CK'N'

HAMMER

ACOUSTIC

ROCK

l e t r i n g t h r o u g h o u t

ru

IRACK 44

BOOGIE

BLUES

THE

PU|-L.OFF

The pull-off is the opposite of the hammer-on. To play the pull-off follow these steps.

. Depress the string with the left-hand finger. . Pick t h e s t r i n g w i t h t h e r i g h t h a n d

. Maintain p r e s s u r e a s y o u p u l l t h e l e f t - h a n d finger toward the palm of your hand to s o u n d t h e n o t e b e h i n d i t o n t h e s a m e s t r i n g . using the initial attack to carrv the rone.

e

TRACK 45

POWER

PULI

- o n s , _{p u l l - o f f s , a n d s l i d e s a r e a l l u s e d i n th e n e x t e x a m p l e}

ru

THACK 46

B|.UES

WALTZ

BLUEGRASS

RUN

Hammer n r alr TBACK 47 SLOWFAST 34

s

TRACK 48

THE

STRING

BEND

The string bend produces the vocal-like sound of blues, rock, and pop guitar. To bend a string follow these steps: . Depress t h e s t r i n g w i t h t h e l e f t - h a n d 3 r d f in g e r . . Maintain p r e s s u r e a s y o u p u s h t h e s t r i n g u p w a r d o r p u l l i t d o w n w a r d . . Use y o u r f i r s t a n d s e c o n d f i n g e r s f o r a d d i t i o n a l s u p p o r t B e n d s a r e i n d i c a t e d i n m u s i c b y a p o i n t e d s l u r i n s t a n d a r d _{- ,} n o t a t i o n a n d a n a r r o w i n t a b l a t u r e . e e n o l n g ; t r i n g t ; ; i t i 7 5 b e s t o n s t e e l - s t r i n g g u i t a r s a n d i s d o n e m o s t e a s t l y o n th e first three strings.

To the riqht are some characteristic bends:

ROCK

LICK

T h e n e x t e x a m p l e c o n t a i n s a b e n d a n d r e l e a s e . M a i n t a i n p r e s s u r e a s y 0 u l o w e r t h e b e n d b a c k t o it s o r i g i n a l p i t c h .

SWAMPY

BLUES

b e n d i n g t w o s t r i n g s a t th e s a m e t i m e

DOUBLE-STOP

BEND

Now try * TRACK 5O TRACK 49

JAM

SESSION

N o w i t is ti m e t o u s e t h e c h o r d s a n d s c a l e s y o u k n o w t o m a k e s o m e o f y 0 u r o w n m u s i c . T h i s s e c t i o n p r o v i d e s t e n c h o r d p r o -g r e s s i o n s f o u n d i n v a r i o u s m u s i c s t y l e s . Y o u c a n e i t h e r f o l l o w t h e c h o r d s y m b o l s a n d s t r u m a l o n g , o r u s e t h e s u g g e s t e d s c a l e s t o p r a c t i c e i m p r o v i s i n g . L i s t e n t o th e r e c o r d i n g a n d c o p y t h e s o l o l i c k s ; t h e n t r y c r e a t i n g y 0 u r q w n _{s o l o s . l f y o u d o n ' t h a v e t h e} recording, take turns playing rhythm and leads with friends or record y0ur gwn _{rhythm tracks and play lead overthem.} Each of the jam tracks begins with Greg Koch playing solos over the f irst two times through. Use these as a model for what you c a n p l a y o n t h e r e m a i n i n g s i x t i m e s t h r o u g h .

$

IRACK 5I

POP/ROCK

BALLAD

S u g g e s t e d s c a l e s : G m a j o r a n d G m a j o r p e n t a t o n i c G D C play B times

79

s

IRACK 52

FUNK

S u g g e s t e d s c a l e . A m i n o r p e n t a t o n i c A 7 D 7 play I trmes

80

s

THACK 53 G 7 ptay a ilmesC m a j T

SMOOTH

JAZZ

S u g g e s t e d s c a l e s : C m a j o r a n d C m a j o r p e n t a t o n i c G majT F majT D m 7

8 1

s

IRACK 54

LATIN

ROCK

S u g g e s t e d s c a l e s : D m i n o r a n d D m i n o r p e n t a t o n i c D m 7 A T D m 7 B'7 A 7 D m 7 play B times 36

s

TRACK 55

COUNTRY

Suggested scale: G major pentatonic

G D _{play B trmes}

3

ru

IRACK 56 Suggested scale: C major

CmajT

JAZZWALIZ

D m 7 C maiT p t a y a i l m e s G 7

t4

s

TRACK 57

REGGAE

S u g g e s t e d s c a l e . D m a i o r p e n t a t o n i c B m n l e t t R f i m a c

i 5

HARD

ROCK

S u g g e s t e d s c a l e s . E m i n o r a n d E m i n o r p e n t a t o n i c E m

Suggested scale: F minor pentatonic F D E m

6

s

IRACK 59

BLUES

n l a t t R l i r n a q l \ t t u l v

17

B'7

c 7

F#m7 EmaiT plav B ttmes

s

TRACK 6O

JATZ

ROCK

Suggested scale: E major

EmaiT F#m7

play B trmes

afi)

_L'za IRACK 61 SLOWi FAST

89

A m / - \ , 38

REFEBENCE

_SECTION

CIRCLE

OF

FIFTHS

The circle of filths is a useful tool if you want to know what chords are c'mm'n within a key. Major keys rine the outside of the circle; their relative minors line the inslde.

Right now, the box is highlighting _{chords that belong to both C} major and its relative A minor. To find the chords for another key, just _{mentally rotate the box.}

Ff,

(cb)

THREE.NOTE

CHORD

FORMS

These _{in each} movable _voicing; three-note _{it tells you} shapes _{what chord} are easy _y0u to play and commonly used in pop, funk, and reggae styles. pay attention to the root are playing

KEY

t ' C B b m ( E b m 1 G a m

;-

Dnm /

pb

Major

B

G

D

A

Minor

5th Fret 7th Fret G$/Ab c F A CillDb FfrlGb AillBv D G B DfrIEv GilAu A CtlDr F AtlBs D FfrlGu B E G#lA6 CiltDb

x x x

40

I

root

I

root _root

I

1

rool _root

I

I

root 12th Fret

MISCELLANEOUS

CHORDS

3 e l o w a r e s o m e l e s s c 0 m m 0 n o p e n c h o r d s w h r c h y o u h a v e n o t l e a r n e d u p t o th i s p o i n t .

CmajT

o o o

c7

c6

l n s u s c h o r d s , y o u r e p l a c e t h e t h i r d o f a c h o r d w i t h t h e f o u r t h a s in s u s 4 s e c o n d , a s in s u s 2 . T h e r e s u l t i n g s o u n d i s in c o m p l e t e o r u n r e s o l v e d b u t n o r m i n o r . ( p r o n o u n c e d " s u s s - f o u r " ) o r s o m e t i m e s w i t h t h e creates an interesttng sound that is neither malor

Dsus2

Asus4

x x o o x o x o o o x o o

A n a d d c h o r d i s s i m p l y a b a s i c c h o r d ( s u c h a s a m a j o r c h o r d ) t o w h i c h y o u a d d a n e x t r a n o t e . l f y o u t a k e a C c h o r d a n d a d d a D note to it, for example, you have a Cadd2 chord (with notes C-D-E-G). This chord is different from Csus2' which has no tr

Dsus4

x x o

Asus2

Esus4

Aadd9

Fadd2

x x o

Cadd9

x o o

Eadd9

Dm/A

x o o

Em(add9)

o o o o

Faddg/A

x o

Slash chords are colorful, interesting chords that add spice and flavor to all styles of mustc. A slash chord is' simply, a chord with a slash (/) in its name, as in G/-B (pronounced "G over B"). To the left of the slash is the chord itself; to the right of the slash is the bass note for that chord.

c/G

o

D/F#

o o

G/B

o o o

CHORD

CONSTRUCTION

All chords are constructed using intervals. An interval is the distance between any two notes. Though there are many types of intervals, there are only five categories. major, minor, perfect, augmented, and diminished. Interestingly, the major scale con-tains only major and perfect intervals:

Scale _{dcgree: 1}

P5

€> Root

T h e m a j o r s c a l e a l s o h a p p e n s t o b e a g r e a t s t a r t i n g p o i n t f r o m w h i c h t o c o n s t r u c t chords. For example, if we start at the root (C) and add the interval of a major third (E) and a perfect fifth (G), we have constructed a C malor chord.

I n o r d e r t o c o n s t r u c t a c h o r d o t h e r t h a n a m a j o r c h o r d a t le a s t o n e o f th e m a j o r o r perfect intervals needs to be altered. For example take the C major chord you just c o n s t r u c t e d , a n d l o w e r t h e t h i r d d e g r e e ( E ) o n e h a l f s t e p . w e n o w h a v e a C m i n o r c h o r d : c - r b - e B y l o w e r i n g t h e m a j o r t h i r d b y o n e h a l f s t e p , w e c r e a t e a n e w i n t e r -v a l c a l l e d a m i n o r t h i r d . w e c a n f u r t h e r a l t e r t h e c h o r d b y fl a t t i n g t h e p e r f e c t f i f t h ( G ) . T h e c h o r d i s n o w a C d i m : C - E b - G t I h e G t re p r e s e n t s a d i m i n i s h e d f i f t h i n t e r v a l . T h i s l e a d s u s t o a b a s i c r u l e o f th u m b t o h e l p r e m e m b e r i n t e r v a l a l t e r a t i o n s : A m a j o r i n t e r v a l l o w e r e d o n e h a l f s t e p i s a m i n o r i n t e r v a l C minor A p e r f e c t i n t e r v a l l o w e r e d o n e h a l f s t e p i s a d i m i n i s h e d i n t e r v a l .

A perfect interval raised one half step is an augmented interval.

Half steps and whole steps are the building blocks of intervals; they determine an interval's quality-major, minor, etc. 0n the guitar, a half step is just the dlstance from one fret to the next. A whole step is equal to two half steps, or two frets.

N o t i c e t h a t w e a s s i g n e d a n u m e r i c a l v a l u e t o e a c h n o t e i n th e m a j o r s c a l e , a s w e l l a s l a b e l i n g t h e i n t e r v a l s . T h e s e n u m e r i c a l v a l -ues, termed scale degrees, allow us to "generically" construct chords, regardless of key. For example, a major chord consists of the root (1), major third (3), and perfect f ifth (5). Substitute any major scale for the C major scale above, select scale degrees 1 , 3 , a n d 5 , a n d y o u w i l l h a v e a m a j o r c h o r d f o r t h e s c a l e v o u s e l e c t e d . e aug-5 42 C major C d i m i n i s h c d Scale degree: D major scale Interval: Root M2 D rnajor chord

- . chan b e l o w i s a c o n s t r u c t i o n s u m m a r y o f 4 4 c h o r d t y p e s ( b a s e d o n th e k e y o f C o n l y ) u s i n g t h e s c a l e d e g r e e m e l h 0 0

CHllBD TYPE CH|IRD NAMT

rnalor

tifth (power chord) suspended fourth suspended second added ninth sirth

sirth, added ninth major seventh rnajor ninth

major seventh, shatp eleventh rnalor thirteenth C.E-G C-G c-l'-G C-D-G C-E-G-D C-E-G-A C-E-G.A-D C-E-G.B C-T-G-B-D c-E-G-B-r'f, C-E-G-B-D.A C c5 Csus4 Csus2 Cadd9 C6 C6/L) CmaiT Cmai9 C n a i T f 1 1 C m a i 1 3 minor

minor, added ninth minor sixth minor, flat sixth

minor sirth, added ninth minor seventh

ninor seventh, flat fifth minor, major seventh minor ninth

minor ninth, flat fifth minor ninth, maior seventh minor eleventh

minor thirteenth dominant seventh seventh, suspended fourth seventh, flat fifth

ninth

ninth, suspended fourth ninth, flat fifth

seventh, flat ninth seventh, sharp ninth

seventh, flat fifth, sharp ninth eleventh

seventh, sharp eleventh thirteenth

thirteenth, suspended fourth augmented

seventh, sharp fifth ninth, sharp fifth

seventh, sharp fifth, flat ninth seventh, sharp fifth, sharp ninth diminished diminished seventh t-3-5-b7 t-4-5-b7 t-3-r5-b7 r-3-5-b7 -L) t-4-5-b7 -9 r-3-r5-r7 -L) t-J-5-b7 -r9 r-3-5-b7-i9

| 3-r5-r7-il9

r-5-bi -9-11 1-3-5-b7-f I I t-3-5-b7-9-r3 t-4-5-b7 -L)-r3 l-3-f,5 r-3-#5-b7 t-3-il5-r7-e l - 3 - f 5 - t 7 - t 9 I 3 f5-t7-fi9

r-b3-r5

1-b3-b5-bb7 c-F,b-(; C-Er-G-t) C - l r - ( l - \ C-L-r -(i- \r ( . - E b - G - \ - D C - E r - t i - B r C - E z - ( i r - B : C - E r - G - B C - E z - G - B r - l ) C - E b - G z - B r - I ) C-Eb-G-B T) C - E b - G - B e - D - [ C-Eb -G-8, -D-F--\ C-E-G-Br C-F-G-Bn c-E-ct-Bt C-E.G-Bb-D c-r'-G-Bb,D C-E G'-tsb D C-E-G-B'-Db c-E-c-Bt-Df c-E-Gt-Bt-Dil C-G-Bb.D-F' c-E-c-Bb-Ff C-E-G-Bb-D-A C-F-G-Bb-D-A c-E-Gfl c-E-G#-Bt c-E-cf-Bt-D c-E-c{-Bt-Dt c-E-Gf-Bb-Dil c-Et-ct c-Eb-Gt-Bbb Cm Crn(add9) Cm6 C m b 6 Cm6/9 Cm7 C m 7 b 5 Cm(mai7) cm9 C m 9 h 5 Cm9(maj7) C m l l C m 1 3 C7 C7sus4 c7b5 C9 C9sus4 c9b5 c 7 b 9 c7f,9 c7b5 (f9) c l l c 7 # l I c l 3 C I 3sus+ Caug CaugT Cau99 Caugrb9 Caug;f9 Cdint

Cdirn-Triads

The most basic chords are called triads. A triad is a chord that is made up of only three notes. For example, a simple G major chord is atriad consisting of the notes G, B, and D. There are severaltypes of triads, including major, minor, diminished, augmented, and suspended. All of these chords are constructed by simply altering the relationships between the root note and the intervals.

G diminished

Sevenths

To create more interesting harmony, y0u can take the familiar triad and add another interval: the seventh. Seventh chords are c o m p r i s e d o f fo u r n o t e s : t h e t h r e e n o t e s o f th e t r i a d p l u s a m a j o r o r m i n o r s e v e n t h i n t e r v a l . F o r e x a m p l e , i f y o u u s e t h e G m a j o r triad (G-B-D) and add a major seventh interval (Ff), the GmajT chord is formed. Likewise, if you subsiltute the minor seventh i n t e r v a l ( F ) f o r t h e F f , y o u h a v e a n e w s e v e n t h c h o r d . t h e G 7 T h i s i s a l s o k n o w n a s a d o m i n a n t s e v e n t h c h o r d , p o p u l a r l y _{u s e d} i n b l u e s a n d i a z z m u s i c . A s w i t h t h e t r i a d s , s e v e n t h c h o r d s c o m e i n m a n y t y p e s , i n c l u d i n g m a j o r , m i n o r , d i m i n i s h e d , a u g m e n t -e d , s u s p e n d e d , a n d o t h e r s .

Extended

chords

Extended chords are those that include notes beyond the seventh scale degree. These chords have a rich, complex harmony t h a t i s v e r y c o m m 0 n i n i a z z m u s i c . T h e s e i n c l u d e n i n t h s . e l e v e n t h s , a n d t h i r t e e n t h c h o r d s . F o r e x a m p l e , i f y o u t a k e a G m a j T chord and add a major ninth interval (A), you_get a Gmal9 chord (G-B-D-Ff-A). You can then add an additional interval, a major thlrteenth (E), to form a Gmaj13 chord (G-B-D-Ff-A-E). Note that the interval of a major eleventh is omitted. This is because fhe m a j o r e l e v e n t h s o n i c a l l y c o n f l i c t s w i t h t h e m a j o r t h i r d i n t e r v a l . c r e a t i n g a d i s s o n a n c e .

Gmu19 Gmaj l -l

e

M 9 M 1 3

Bythe way, you may have noticed thatthese last_two chords. Gmajg and Gmaj13, contain five and six notes, respectively; how-ever, y0ll only have four fingers in the left hand! Since the use of a barre chord or open-string chord is not always possible, you often need to choose the four notes of the chord that are most important to play. Below are two examples to demonstrate these c h o r d " t r i m m i n g s . "

Gmaj9 (four notes.) Gmaj 13 €>

Gmaj l3 (four notes) €>

Generally speaking, the root, third, and seventh are the most crucial notes to include in an extended chord, along with the upper-most extension (ninth, thirteenth, etc.).

44

Inversions

& Voicings

T h i s b r i n g s u s t o o u r l a s t t o p i c . T h o u g h a ty p i c a l c h o r d m i g h t c o n s i s t o f o n l y t h r e e o r fo u r n o t e s - a C tr i a d , f o r e x a m p r e , c o n -sists of just a root, third, and fifth; a G7 chord consists of a root, third, fifth, and seventh-these notes do not necessarily have to appear in that same order, from bottom to top, in the actual chords you play. Inversions are produced when y0u rearrange t h e n o t e s o f a c h o r d :

root position

Study the construction of the chords below.

A major

scale:

A-B-C#-[)-E-Ff-Gf

A

A

m

x o x o

D major

scale:

D-E-F#-G-A-B-Cf

D

D

m

x x o x x o 1 s t inversion 2 n d i n v e r s i o n 2nd 3rd inversion inversion

Practically speaking, on the guitar, notes of a chord are often inverted (rearranged), doubled (used more than once), and even omitted to create different voicings. Each voicing is unique and yet similar-kind of like different shades of the same color.

--*-__---> E G 3rd 5th {} ( _ l s t D A 4 D F , ( 1 1 5 1 3 ) D A D F ( 1 5 1 b 3 ) D A D F I ( 1 5 1 3 ) A E A C E ( 1 5 1 ' 3 5 ) A E A C I E ( 1 5 1 3 5 )

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F o l l o w i n g a r e s o m e b a s i c g u i d e l i n e s t o c o n s i d e r w h e n c h o o s i n g e l e c t r i c g u i t a r e q u i p m e n t .

Guitars

T h e r e a r e t h r e e g e n e r a l t y p e s o f e l e c t r i c g u i t a r s : s o l i d b o d y , h o l l o w b o d y , a n d s e m i - h o l l o w b o d y . T h e s o l i d b o d y g u i t a r i s a s s o c i -a t e d m o s t w i t h r o c k , b l u e s , c o u n t r y , a n d s o u l . T h e m o s t p o p u l a r m o d e l s i n c l u d e t h e F e n d e r S i r a t o c a s t e r , G i b s o n L e s p a u l , p a u l Reed Smith, Fender Telecaster, Gibson SG, and lbanez RG. The solidbody guitar is typically heavier than others. lts density per-mits more sustain and makes it better suited for high-volume playing. The hollowbody guitar is the choice of most jazz'gui-t a r i s jazz'gui-t s . l t is d i s t i n g u i s h e d b y it s a r c h e d t o p a n d b a c k , f - s h a p e d s o u n d h o l e s , a n d d e e p s i d e s . T h e m o s t p o p u l a r m o d e l s i n c l u d e t h e G i b s o n E S - l 7 5 , G i b s o n L - 5 , G i b s o n S u p e r 4 0 0 , E p i p h o n e E m p e r o r , H e r i t a g e E a g l e , G u i l d M a n h a t t a n , a n d v a r i o u s m a k e s b y D ' A n g e l i c o , D ' A q u i s t o , a n d B e n e d e t t o . T h e t o n e o f th e h o l l o w b o d y g u i t a r i s m o r e i u b d u e d t h a n t h a t o f th e s o l i d b o d y , a n d i t i b a s i c d e s i g n m a k e s i t b e t t e r s u i t e d f o r lo w t o m i d v o l u m e p l a y i n g . T h e s e m i - h o l l o w b o d y g u i t a r h a s a th i n , s e m i - h o l i o w b o d y w i t h a s o l i d w o o d e n s t r i p i n th e c e n t e r . T h e m o s t p o p u l a r m o d e l s i n c l u d e t h e G i b s o n f S - 9 S 5 , G i b s o n E S - 3 4 5 , G u i l d S t a r f i r e l V , H e r i t a g e H - 5 3 5 , a n d E p i p h o n e S h e r a t o n . l t i s m o s t c o m m o n l y u s e d b y b l u e s , j a z z - r o c k , a n d r o c k g u i t a r i s t s , _{a n d i s k n o w n f o r} p r o v i d i n g t h e b e s t o f b o t h w o r l d s i n te r m s o f to n e : m o r e c r i s p t h a n a h o l l o w b o d y a n d m o r e m e l l o w t h a n a s o l i d b o d y . The playability of various electric guitars is subjective. In trying to decide 0n a pr0spective guitar, considerthe neck radius, scale l e n g t h , n e c k m a t e r i a l ( r o s e w o o d , m a p l e , e b o n y ) , s t r i n g g a u g e , a n d f r e t s i z e .

Amps

There are two general types of amps: tube and solid-state. Tube amps are so-named because they are powered by and get their t o n a l c h a r a c t e r i s t i c s f r o m v a c u u m t u b e s T h e y p r o d u c e a w a r m , s m o o t h c l e a n t o n e a n d , w h e n t h e v o l u m e i s tu r n e d u p , a n a t -ural distortion. They are favored by most blues. _lazz. country, and roots-rock guitarists. Solid-state amps use transistors for p o w e r a n d t o n e ' T h e y a r e t y p i c a l l y m o r e r e l i a b l e a n d v e r s a t i l e t h a n t u b e a m p s a n d h a v e c o m e a lo n g w a y i n re c e n t y e a r s i n te r m s o f b e i n g a b l e t o p r o d u c e a w a r m t o n e . I n th e l a t e 1 9 9 0 s . d i g i t a l m o d e l i n g t e c h n o l o g y h a s e n a b l e d s o l i d - s t a t e a m p s t o a c c e s s a n a s s o r t m e n t o f c l a s s i c t u b e a m p t o n e s a n d a m y r i a d o f e f f e c t s S o l i d - s t a t e a m p s a r e p r e f e r r e d b y m o s t m o d e r n r o c k g u i t a r i s t s , b u t a r e a l s o w i d e l y u s e d f o r p l a y i n g a l l m u s i c a l s t y l e s

Effects

Effects are devices that plug in between your guitar and amp and enable you to alter your signal in a variety of ways. They are a v a i l a b l e a s in d i v i d u a l u n i t s , c a l l e d f o o t p e d a l s , o r a s a n a l l - r n - o n e b o x , c a l l e d a m u l f i - e f f e c G p r o c e s s o r . F o l l o w i n g i s a 1 s t o f the most popular effects.

Distortion Chorus S i m u l a t e s t h e s o u n d o f a g u i t a r s i g n a l d r i v e n t o o h a r d f o r t h e a m p ; t h e e f f e c t c a n p r o d u c e a n y t h i n g f r o m a b r i g h t , f u z z y t o n e t o a th i c k , d i r t y t o n e . S i m u l a t e s t h e s o u n d o f tw o g u i t a r s p l a y i n g _{a t o n c e ; t h e e f f e c t c a n} p r o d u c e a n y t h i n g f r o m a l u s h , c h i m i n g s o u n d t o a w a r b l e d , f l u t t e r i n g s o u n d .

Delay or Echo Simulates the repetition of sound; the effect can add depth to your tone by producing anything f rom a s h o r t , " s l a p b a c k " d e l a y t o a lo n g e r , a m b i e n t l o o p i n g s o u n d .

Reverb Simulates the natural echo produced in various ro0ms; the effect can produce anything from a w a s h y , d i s t a n t - s o u n d i n g a m b i a n c e t o a li v e , a i r y s o u n d .

Wah'Wah Pedal Produces a sweeping, vocal-like tone by rocking the treble back and forth.

Pickups

T h e r e a r e t w o g e n e r a l t y p e s o f p i c k u p s : h u m b u c k i n g ( d o u b l e - c o i l ) a n d s i n g l e - c o i l . H u m b u c k i n g p i c k u p s p r o d u c e a d a r k , mellow sound when playing with a clean tone and a thick, heavy tone when playing with a distorted ione. 'slngle-coil pickups produce a glassy, percussive sound when playing with a clean tone and an aggressive, biting tone when- playing with a distorted tone.

DEFINITIONS

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VIBRATo: The string is vrbrated b.v rap d '/ b e n d i n g a n d r e l e a s i n g t h e n o t e \ ' / th t h e f r e t t i n g h a n d . L E G A T O S L I D E : S t r i k e t h e f i r s t n o t e a n d t h e n s l i d e t h e s a m e f r e t - h a n d f i n g e r u p 0 r d o w n t 0 th e s e c o n d n o t e . T h e s e c o n d n 0 t e i s n o t s t r u c k . N A T U R A L H A R M 0 N I C : S t r i k e t h e n o l e w h i l e t h e fr e l - h a n d l t g h t l v l 0 u c h e s t h e s t r i n g d i r e c t l y o v e r t h e J r e t i n d i c a t e d . M U F F L E D S T R I N G S : A p e r c u s s i v e s o u n d r s p r o d u c e d b y la y l n g t h e f r e t h a n d a c r o s s t h e s t r i n g ( s ) w i t h o u t d e p r e s s i n g . a n d s t r i k i n g W H o L E - S T E P B E N D : S t r i k e t h e n o t e a n d b e n d u o o n e s l e p . P R E - B E N D : B e n d t h e n o t e a s in d r c a t e d t h e n s t r i k e i t . W I D E V I B R A T o : T h e p i t c h l s v a r i e d t 0 a g r e a t e r d e g r e e b y v i b r a t i n g w i t h t h e f r e t t i n g n a n 0 S H I F T S L I D E : S a m e a s le g a t o s l r d e , e x c e p l t h e s e c o n d n o t e i s s t r u c k . P I N C H H A R M o N I C : T h e n o t e i s fr e t t e d n o r m a l l y a n d a h a r m 0 n i c i s p r o d u c e d b y a d d i n g t h e e d g e 0 f th e t h u m b 0 r th e t i p o l t h e in d e x f i n g e r o f th e p i c k h a n d t 0 t h e n o r m a l p i c k a t t a c k . P A L M M U T I N G : T h e n o t e i s p a r t i a l l y m u t e d b y th e p i c k h a n d l i g h t l y t 0 u c h i n g t h e s t r i n g ( s ) j u s t b e t o r e t h e b r i d g e . G R A C E N o T E B E N D : S t r i k e i h e n o t e a n d i m m e d i a t e l y b e n d u P a s in d i c a t e d . P R E - B E N D A N D R E L E A S E : B e n d t h e n o t e a s in d i c a t e d . S t r i k e i t a n d r e l e a s e t h e b e n d b a c k t o t h e o r i g i n a l n o t e . H A M M E R - 0 N : S : ' ( r t n ! l r s t 0 ' . r e r r n o t e r / t h 0 n . ' - ) . ' ' . ^ a ' s c L n o l " e n 0 h e r n o t e i 0 n th " . s . - = , r : ' - j , : F a i O t i ! " r q e f il j ' f r e t t i n g t , : - : - : : : i ' ! T R I L L : V e r y r a p i d l y a te r n a l : : : : : : - ' n o l e s i n d r c a t e d b y c o " t - .' o n a n d p u l l i n g o l l . S L I G H T ( M I C R O T 0 N E ) B E N 0 : S t r i k e t -n o t e a n d b e n d u o 1 / 4 s t e P U N I S O N B E N D : S t r i k e t h e t w o n o t e s s i m u l t a n e o u s l y a n d b e n d t h e l o w e r n o t p L 0 t o th e p i t c h o f th e h i g h e r . P U L L - 0 F F : P l a c e b o t h f i n g e r s o n th e n o t e s t o b e s o u n d e d . S t r i k e t h e l i r s t n o t e a n d \ / i t h 0 u t p i c k i n g . p u l l t h e { i n g e r o J J t 0 s o u n d t h e s e c o n d { l o w e r ) n o t e . T A P P I N G : H a m m e r ( ' t a p " ) t h e f r e l in d i c a t e c \ ' / i t h t h e p i c k - h a n d i n d e x 0 r m i d d l e f i n g e r a n d p u l l o f f to t h e n o t e f r e t t e d b y th e f r e t h a n d P I C K S C R A P E : T h e e d g e o f th e Pick l s r u b b e d d o w n ( 0 r u p ) t h e s t r i n g , p r o d u c i n g a s c r a t c h y s o u n d . 4 , D ' i o t J

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