Rhythm Guitar Playing Book 1

RMfuffi

Geltar

FfuGmg

Book

1

Th

E/",1^/

qrilu

An

invaluable

aid

in preparing for the Registry

of

Cuitar Tutors

electric

guitar exams.

Prrl;"r^:",a,r^r

qr/^/"

l.o,

qril.

2

An

innovative

and helpful book for

all

modern

guitar

players

who

want

to

improve

their

rhythm guitar

playing.

Rrury

Registry of Guitar Tutors

Rkm'runru

qurryAnPunYtw@

BOOKONif,

gV

A CIP record

for

this

publication

is available from

the British Library

ISBN: 1-898466-{4-9

Published

in Great

Britain

by

Registry

Publications

Ltd.

Registry House,

Churchill

Mews, Dennett

Rd,

Croydon, Surrey

CRO3JH

Printed and

bound

in Great

Britain

by Gemini press.

WARNING

PHOTOCOPYING OF

ANY

PART OF

THIS BOOK

IS

ILLEGAL

Breach

of

copyright,

by

photocopying

_{or any other}

means, rnay

esult

in

botr

a

claim

for civil

damages

and

criminal

prosecution.

@opyright

2002

by Registry

Publications

Ltd.

ALL WORLDWIDE

RIGHTS RESERVED

f,ORflWO8D

Ttre

negistry

Of

Guitar Tutors,

in

association

with

the

London

College

Of

Music,

first

began

to

offer

grade examinations

in

electric guitar playing

in

1993.

Since

that

time

the

examinations have proved to be

highly

popular

with

students and teachers alike. However,

the

RGT

has

repeatedly

had

requests

for

additional

course

materiat

to

accompany the

Rhythm

Guitar Playing

section

of

the examinations.

This

series

of

three books

by

Chaz

Hart,

one

of

the

RGT's

senior

electric guitar

_{examiners, has been especially designed to}

fulfil

that

need.

Each

book provides

a

wide

range

of

_{musical examples that clearly demonstrate the type}

_of

chord progressions

that

will

appear

in

each grade

of

the

examinations.

In

addition,

Chaz

has

thoughtfully

provided

Playing

Tips

with

each

piece.

These

give

advice on

the

most

common problematic

areas

and

offer

suggestions on

how to

gain those extra elusive marks.

Because

of

Chaz's

wide

experience

as a

teacher and examiner,

these

comments

are

always

insightful

and

poignant.

0\erall

the

series provides a structured and progressive

way

of

approaching

the

study

of

rhythm

guitar

playing

and

will

undoubtedly

provide

_a

valuable

study method

for

atl

students

of

guitar

-

whether intending

to

take

the

examination

or

not.

In

addition,

the

series serves as

an excellent teaching resource

which

guitar

teachers can use

to

compliment

their teaching progranrme.

4^\{t"*u

Tony Skinner

RruYr'+Enru

@ulryA&

punYuwe

tsooK

n

flto*

my

experience

as

a

teacher

and

electric

guitar

examiner,

I've

found that

one

of

the main

difticulties

that

guitar

players have

is

not

having

enough

chord

charts

to

practise

in

a

full

range

of

keys.

This

book

aims

to

alleviate that

difficulty.

All

of

the chord charts have

been

officially

approved

by The

Registry

_of

Guinr

Tutors

for

use

in

their

electric

guitar

examinations,

which

are

organised

in

association

with

the

London

College of

Music.

Wi,rr

each piece

I

have

tried to

include

a

few tips

that may help

head

off

potential

difficulties.

Please

look

back

over

these as

you

progress

further

through

the

grades, because

the tips

will

help

with

more

than

one

piece.

You

can never have

too

much

material

to

read,

so

I

suggest

that

to

further

supplement this

book

you

obtain

any

of

the

'busker-style'

books

n.hich

have a song

on

one

or two

pages

maximum. This

enables

you

to

plal'" the chords

without

having

to

flick

pages.

Don't worry

if

some

of

the chords

are outside

your

brief for

the

grade.

If

you

don't

know

the

chord,

play

one that

is

as

near

as

you

can

to

it:

if

it

reads GmajT

_-

play

G,

until

you

learn the

full

chord

and

carry on. The important

thing

is:

DON'T

STOP!

@hK/,

Introduction

Note values

To play any rhythm, it's useful to know the different musical signs and symbols that are universally used. This

will

help you to play through any time signature, and more importantly, to eventually make up your own rhythms.

The

following

notes and their rhythmic equivalent are shown together

with

the direction of the strum that you need:

CROTCHET

(QUARTER

NOTE) In a X time bar you would normally

find

four of these,

with

one beat on

each.

All

the stums would be down. These are shown: D, D, D, D.

MINIM

(HALF

NOTE)

In a X time bar you would play two

of

these. The strums would both be down, but

with

a gap of one beat between each strum.

QUAVER (EIGHTH

NOTE) In a X bar you could play eight

of

these. The strums would be down and up strokes, and are usually shown as:

Down/up,down/up down/up

down/

up

or:D/U,

DN

_,DN,DN

SEMTBREVE

(WHOLE

NOTE) In a X bar you would only

find

one

of

these lasting the whole bar.

Try

to let the chord ring on

for

the whole

four

beats.

Crotchet Count 1

)

I

Quaver

StrumDlU

D/U DIU

D/U

Strum

Patterns

The

following

strum patterns are probably the most commonly used rhythms. Start by practicing chords that you know over these pattems.

Try to keep a strong beat,

and

accent (play louder) the

first

beat in every bar.

Count

_{1" 2 3 (4)}

sim...

Strum

D, D,

D,

(let ring) sim.... Pattern (b)

Count

1

2and

3

4

Strum

D,

D

lU D,

D. Pa,ttern (c) Pattern (a) 't i/ v v

Count

L Z

3and

4

Strum

D, D,

D

lU

D.

Pattem (d)

Count

I

Zand

3and

4

Strum

D,Dru

DN

D.

Note: In the Registry

of

Guitar Tutors examinations the rhythm pattern that you play

will

not

be notated.It is up to you to have practised a repertoire

of

useful rhythmic pattems from whir you can select an appropriate one for the style of the piece.

Preliminary

Grade

As outlined in the Registry of Guitar Tutors examination handbook, all the pieces

for

this grade are

in

X time, so to begin

with

play four beats to the bar (four down strums)

whilst

you

pr*ti..

slowly

through this

first

piece.

Try

to keep going at the chord changes.

As soon as you can, look at the tempo and style markings at the beginning of each piece.

1.

Tin .

Note that the double dots at the end of the 6th bar mean: "Repeat

r'

rl"

from

the

beginning",

if

there are no previous double dots.

Moderate

tempo

a a ***x***********x********'**{<**{.*t<{.*{.*******d<*******************'F{€{<***

2.

With

a

swing

Tip:

The double

dot

signs are shown at the beginning of the 5th bar and,

3.

Tip:

If change the chords you

find

that you in

just cant

time, practise keep the strumming on

four

strums the going

_ftrst

whilst three beatsyou of the bar and then change the chord during the 4th beat.

Not too slow

I

* * * * * * * * * * * * * * * * * * * {. * t {. * * * {< * * * * * * * * :* t * * r( d.

'F ,k * * * {< * * * * + * * * * * * * * * * * * {<

4.

n-t.

If you _feel more confident, as you start the chords

_for

the second time on

f lp:

the repeat,

_ftt

in an extra strum so that the

rhythm

starts to

build.

Make sure that you keep a good strong accent on the

_ftrst

beat of each bar.

5.

Moderate

Tenderly

Ti

,t.

Use

a

_'medium'or

'light'gauge

pick

initially,

as this

will

lt'

travel easier than

a

heavy' gauge

pick

across the strings.

a

*****************x***********t<*******x********{<*{<r<*{<******************rc{<

6.

rFi,^

_.

Try moving only

your

third

_finger

when changing

_from

r ll|'

_{Am to C chord. Watch out}

_for

_{the repeat signs!}

tll

I

7.

i*.

Think of your

_favourite

rhythm and blues piece whilst

'Y'you

strum this, and

try

to reproduce that rhythm here.

.

When you

play,

keep the

pick tip

as straight as you can

lp'.(at

a

right

angle to the strings) so that up strokes are as easy as down strokes.

In

a

blues style

Not too

fast

****d<******,k{<*********'k*'k'k**************<*'kd.*****{.*tc****************

8.

arTl t aa, I a 10

9.

Mournfully

Ti

,r.

When

playing

the Dm chord, try using

your

4th

_finger,

p.

instead of

your

3rd, to hold the note on the second string.

nr.

If you are tending to

hit

too many bass notes, making the

I

lp'.

chords sound muddy, try aiming

_for

one

string

LESS than you need to

play

the chord.

********>k*********x************x*****************'k***********************

10.

In

a

blues style

/-lltl _{rll r} /l -^-HTIT a atl tt., a _a t 1t

Grade

One

Timing

O.K., now we are starting on Grade One and the time signature (the numbers at the beginning of each

chord chart) is

still

X.

fnis

means that you can count four beats in each bar of music and that each beat

would be worth a % (crotchet).

With

your strumming, you could play four down beats across the strings - but this doesnt stop you strumming the strings on the way back up as

well!

So, some basic X timings could be:

D ow n - Down- Down- Down _I Up

D.D.

DIU

D

Practise this on one string of a chord, using down and up strokes, then gradually strum more strings.

D-DIU

D-

D

DIU

D-D

-D

'*******************************t<*****d.****d<d<*d<d<d<****************{<*r<********r.**

Dynamics

fhis

involves a simple, yet effective, technique, and is one of the most

OVERLOOKED

sections of the examination - which means that

it

is a good place for you to pick up extra marks!

There are 3 main symbols that you need to know

for

this grade, and these are shown below

with

their meanings.

Try

and play along

following

the dynamic markings.

P

blay

softty)

(Gradually

play

louder)

(Gradually softer)

Ti

n.

Play the repeat, with a

variation

in

your

p

o _{strumming, but keep the same tempo of course!}

1.

Uptempo

blues style

ar _a

l?

I

*)k'l'**************x**{<**********:k***x***!k!k*******{€********4<**d<****:k*****jtc

Ti

n.Tr!

to

play

the dynamics. Look back to the introductory page

P'on

Grade One if you need a refresher.

2.

Slowly

p

a a I

p

1,3

3.

Moderate tempo

4.

Slow

blues style

Tip:

_{:;::;!f;':,::;",r"::;}

righ'l number

of

n:ro*^

Make sure that your _fingers are as close to the _frets

f lp

Z

_as

_{possible, as ihis}

_oroia"

_{unwanted fretbuzz.}

p

********************************d({<'F****{<{<**{<****t<+********;k'&*'k***************

p

ara II a ll--T 'III

t_

1.4

i

5.

Up

tempo

6.

Slowly

Tip:

strum.

You can If you use either use a a

pick,

pick

don't hold (plectrum) or your

it

too tightly, flngers as thisto

will

lead to muscular tension in your hand.

Tip:::ir,i:,T,,:,::::;:l::"1;:":#'!;i":i:!'lhegui'lar

X****{<*{<*{<t<******{<****,k********************{.**:k*******{<X't€*'F'F***************'k*** a

-,

p

)' l5

ripz1,?lf

_!l:"xi'::f

_{:;;:,r#I#bandrorennger'}

7.

With

movement

B.

Fast

*{<>F{<*cr.*********************+******************('k*********************,&{<*{.{<*d.*****

Tip:ff

_{rn::;*,iX:',:;{:!;y,/::r":;,',!:;i:;#,,needed}

p

I

-t.

l6

9.

Up

tempo

Ti

p'.

Strive even if, to at

play

_first,

the this results FIRST chord in ctipping of each the bar in previous time

-

chord. on the 4th beat.

ALWAYS look through the sequence before playing.

Tip:

This way

you'll

r", ihirh

chords are

ciming

up,

oia

you can take note of any dynamics and repeat marl<s.

* * {< ,k * * * * * x * * * * t * * * * ,k _{* * * * * * * *} x * * * * * * * {< * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * :t * * *

10.

In

a

ballad

style

p

I l--

_-

_t' a 17

Grade

Two

Timing

At

this grade, there is introduced an additional time signature

of

l.

tftis

means count three beats to each

bar-

instead of the normal four.

Try

counting

1,23ll23letc.,

_{saying the}

_first

_{beat louder.} The counting

of

_i

time may seem less

familiar

as there are fewer contemporary pieces written in this time signature, but one that springs to mind is

Mull

of

Kintyre

by Paul

McCartney.

The count

for

this would be: 1 Zand 3

_|

L 2 and _{3 l,} (Down, down/up Down), and is shown on the second line of music below.

* * * * * * x * * * * * * t * * * rF

'F * * :* * * * * x * * * {< {< t< r< * t< * * * * * * * >F 'k * * * * * * * * * * * * * * * * * * * * * * * * * * t< * * * * t {c :* :F _{* *}

Repeat

Markings

At

Grade Two, as

well

as _{understanding the standard 'repeat dots'(described}

_in

_{Grade One), you have}

to be able to

follow

'1st and 2nd time ending'markings.

Try

and

follow

the chord sequence below, which should be played as

follows:

Play the three bars

of

C, then the bar

of

G. Then iepeat from the

leginning

but

dont

play the G under

no '1'(this

should be played the

first

time only), instead go on to the 2nd time

ending'which

starts

with

the

Am

bar, and carry on

until

the end of

thl

sequence.

n

! a

Y

t ?

New Chords,& Tips

on

practising

them

1

-

tn _{this grade we have many new chords including the 'small barre'shapes. This is where you place} and hold your

first

finger across more than one string. This causes the problem of holding the

finger

straight and bending all the others, because the brain has been conditioned to use

itt

ttt"

fingers in

the

same way. So...dont use too much force to hold down the barre, but practise changing from a _{non-barre chord many times to re-educate the brain messages. Even}

_if

_{the sound}

of the barre chord has fret-buzz

_-keep

practising!

-

Place the fretting finger across two strings and slide from the 1st to the 9th fret, holding the

finger

down, so that you create a glissando effect. (Slide

quickly

at

first)

When you can do this and

hear all the notes on each fret, try this exercise holding down three

stringi.

-

If

_{you experience any cramp or tightness in your left hand - STOP}

_PLAYING

_{and relax your hand}

loosely by your side, and shake

lightly for thirty

seconds.

-

Now we're ready to practise chords

with

a small barre holding two strings. Start

with

the Am7 chord and practise changing to Dm7, repeat up to ten times:

5 -

No*

try

this next sequence

with

the F chord, which is an extension of the Dm7 chord:

6 -

No*

practice the Dmaj7 chord

with

a small barre across three strings on

the

2nd fret,instead 123 fingers that you would have used for Grade One:

-

Now

try

the F#m chord, which is an extension of the new version Drnaj? chord: Repeat all of these sequences up to ten times.

a _a

I

a I

Two

chords

in

a

bar

In this next sequence you

will

notice that some bars contain two chords. These are known as 'split' bars. Each split bar chord has a dot after

it

which indicates another

beat.

To begin with, just use

downstrokes in the bars

with

two chords and try varying the strum in the single chord bars. Below is an introductory

piece

to get you into the

two

in a bar'changing routine.

* * * * d< * * * * * * * * * * * * * * * * * :k * d< * * * * * {. {< * * * * * * * * d< >t< d< * * * * d< *

'1. * * x * * :k * * :e * * * * :& r. * * {. t * * * d< * * * * * * * *

Variations

in

strumming

In this next example experiment by varying the strum that you use during your playing of the repeated section. For example, the

first

time you could

play:1,2&3y',

(Down, down/up down, down),

for

each

of the

first

four bars, and then: 1,2&3&4,(Down, down/up down/up down), during the repeat of these

four bars.

.r t

H

Dynamics

The dynamics

for

_{this grade are shown below,}

_with

_{their meanings in brackets.}

The sequence has been written

with

straightforward chord changes to allow you to practise one technique, without getting bogged down

with

any other!

The letters p and

f,

stand for piano - forte respectively, and this is how the piano got its name. The soft - loud instument!

?

(play

softly)

tt -^^ f---f I rI I I _t H^^^,

f

@rav

loudly)

?

(softly)

(get softer gradually)

***************************'F****{<****************x*****X***************:1.{<*:k:t't:*:k*

More

strum

patterns

On page 6 there are some strum patterns, but here are some new ones. These could be used on the repeat bars, or

all

the way through,

for

a completely different feel. Again, easy chords have been selected to give you a chance to practise this new technique.

I

have written the _{count undemeath the strikes. Note that the beats in brackets are NOT played, but} just _counted.

_T.y

_{to keep all the main beats as DOWN strums, and all the 'and'beats as UP strums.}

Em7

(get louder gradually)

2

and (3) and 4 3 and (4) and

nr._^

_^

Don't

forget that, any chords

_from

the previous two

f lp'.

grodu

,i,

olro

be i-ncluded

in

these

,iqunrrur.

1.

Moderate

tempo

p

r I

8{<rrrF**d<X<{<rF{<{<16lF*******r,<*{<***t<t<t<{<{<{<rrrr{<*rr*********'.<*X<****{<tr******rr**X<*rF****rFrrrF*{<{<{<**

Tip

_{I nizf:;:;'"YW}

touder)

thefirst

2.

With

a

bounce feel

n

p

/ a^!' a

I tlt

3.

Uptempo

Tip:

Try to keep the wrist loose and relaxed.

Ti

Di

_I

on Note how the _{ftrst fret. Always}

for sll

of these lookout chords

_for

the relationships like

first

finger

stays this to make chord changes easier.

p

;r !F ,F _{* * * * * * * * * * *} ,F _{* * * * * * * * * {. *. * * * * {c} 't * * * :F * * * * * * *< r< *c * * * 'F * * >R * * * * * * * d< * * * * {. * * * * * * * d. * * * * * * *

4.

With

animation

I rr--- - -: r I a 23

* i< d. * * * * * {< {. * * t * {€ * * * {. {< * t< rc * t< {< {< {. {. * {c * * *< >1. * * * * * * * * * {< * * * * * * * * * t * * * {< * * {. * * * * * * * t * * * {< * * * * *

Tip:

Try to keep

the

_{first finger}

completely

_flat

against the

fingerboard

when

playing

the F#m chord.

Dont

worry

if

all

the notes don't come out clearly at

_first.

Tip:

particular

Only strike chord, e.g. the strings

with

that you C7, omit need the 6th

for

eachstring.

6.

In

a

blues style

Slowly

I

p

a r-, l?t I 24

7.

With

movement

Ti

pr';:;X':

Try not

to

- this

'overgrip'with

witt ontv take strength awav the left hand thumb

_from

at the back the

_fretting

of

Tip:

Never 'rush'your bar sequence at a slower speed than a sequence

practice; if

need be,

play

the

split

with one chord in a bar.

{<***********************,k********************{<****{.***€***'k***d<************;***{c**

B.

Moderate tempo

n

9.

Not too

fast

in.

AM

interest to

your

rhythm

playing

by varying

rP'

_{the slrum in the repeat section.}

Ti

p'.

Don't necessar!,

forget

_So to back practise to page the dynamics; 20

_for

a refresher

if

before starting this sequence.

,F * * * * * 'F * * :* * * * * d. * '1. * * * * * * * * * * * t * {. d< t< * * * * * * *+k * * r( * * * * {. 4. 'k {. 'r ". {< * * * * * * * * * * * ||c {. * * * * * * * * {. * *

10.

With

a

beat

! M^L^' t r_^_ _-:r t

-n

_{a , at-,} I t tt t

p

26

Glossary

_{of musical}

_terms

Accent Crotchet Dynamics Frets Fretbuzz

Minim

Plectrum/Pick Quaver Semibreve Sim. Split-bar Syncopation Tempo Time signature beginning

of

all

Play louder on a particular beat.

A

note that lasts

for

one beat in a bar

of

X time.

AIso known as a 'quarter note'. Changes in volume.

Metal strips which divide up the fingerboard. The buzzing sound that occurs

if

you don't press the strings

firmly

and close to the frets

with

the tips of your fingers.

A

note that lasts for two beats

in

a bar

of

X

tim".

Also known as a half note.

A

triangular object (usually) made of plastic, that is used to strike the strings.

A

note that lasts

for

Vza beat in a bar

of

t

time.

Also

known a s an eighth note.

A

note that lasts for four beats in a bar of time. Keep playing in a similar fashion.

Where two _{or more chords occur}

_in

a single bar. Featuring the

off

beat as a main accented part. Overall speed.

The numbers which occur at the

written music that inform you of the number

of

beats per bar.

Chord

Summary

xx

o

ooo

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is an experienced and versatile guitarist. He has enjoyed a 20 year career as

a successful session musician; recording

many popular television themes, and has

also released three instrumental guitar albums under his own name.

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Chaz has worked with a wide variety of rock and pop bands and has had record contracts

with _{major labels. Since gaining his teaching} diploma from the Royal Academy of Music,

Chaz has developed

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highly successful teaching practice in Surrey.

-Chaz has been actively involved with the

London College of Music and Registry of

Cuitar Tutors' guitar examinations for many years and is a senior examiner in

electric guitar playing.

lilill

614 46 .6 ISBN I-898,

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