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

TheFour-StringCChord

TIES

MOREBASS-CHORDACCOMPANIMENTS(cont’d.frompage42)

EIGHTHNOTES

SHARPS♯,FLATS♭ANDNATURALS♮THECHROMATICSCALE

TheFour-StringD7Chord

THEMAJORSCALE

KEYSIGNATURES

INTRODUCINGDOTTEDQUARTERNOTES

ADVANCEDTABLATURETECHNIQUES

TABLATURELICKS

DICTIONARYOFTABLATURETECHNIQUES

GUITARNOTECHART

MagicChordAccompanimentGuide

GuitarFingerboardChart

Avalon®AcousticGuitaronthecoverisaproductofFenderMusicalInstruments.PhotocourtesyofFender.FenderStratocaster®photographbyJ.JeffLeland.FenderStratocaster®courtesyofCarlCulpepper.

CoverDesign:TedEngelbartBookDesign:SusanHartman

Production:BruceMerrillGoldes/PaulWoodring

©CopyrightMCMXCIbyAlfredPublishingCo.,Inc.

Allrightsreserved.PrintedinUSA.

GETTINGSTARTED

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.

TYPESOFGUITARS

AcousticFlatTopGuitar

AcousticFlatTopguitarshavenarrownecksandsteelstrings.Theyareeitherstrummedwith a flat pick or playedwith one ormore finger picks.They are used in rock, blues,countryandfolkplaying.

Strings:SteelGauge:LightorMedium

ClassicalGuitar

Classical guitars have flat tops,wide necks, and nylon strings. They are always playedwiththefingers.

Strings:NylonGauge:Varied

TYPESOFGUITARS

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

ThinBodyElectricGuitar

Thinbodyelectricsaresemi-hollowguitarswithelectricalpickups.Thisgivestheguitarawarm,richsound.Theyaregoodforjazz,blues,rockandfusion.

Strings:SteelGauge:Medium

BuyingAGuitar

First, ask yourselfwhat kind ofmusic you like themost. Then choose themodel frompages3and4thatisrecommendedforthatstyle.Ifyouwishtoplayclassicalmusiconly,youshouldnotbeplayingfromthisbook,whichisintendedforplayersinterestedinrock,heavymetal,blues,country,jazz,folkandotherpopularstyles.

NeworUsed?

Oftenausedguitarcanbeaverygood investmentaswellasa satisfying instrument toplay.However, it is importantnot toattempt tobuyausedguitarwithout theadviceofsomeonewhoisveryknowledgeableabouttheinstrumentandwhomyoutrust.Ifyoubuyanewguitar,makesureyoupurchaseitatareliablemusicstore.Itisimportanttochooseaplace thathasbeen inbusinessa long timeand thathas thecapability toserviceyourinstrument.

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.

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.

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.

HowtoTuneYourGuitarWithoutUsingaCassetteorCD

Thesixstringsofyourguitarhavethesamepitchesasthesixnotesshownonthepianointhefollowingillustration:

TunethesixthstringtoEonthepiano.IfnopianoisavailableandyoudonothavetheTeachYourself recording,we recommendyoubuya tuning fork, tuningpipeorelectrictuner.Thefirsttwoareinexpensiveandveryhandy,andallthreeareavailablefromyourmusicdealer.

Press5thfretof6thstringtogetpitchof5thstring(A).

Press5thfretof5thstringtogetpitchof4thstring(D).

Press5thfretof4thstringtogetpitchof3rdstring(G).

Press4thfretof3rdstringtogetpitchof2ndstring(B).

Press5thfretof2ndstringtogetpitchof1ststring(E).

HOLDINGTHEGUITAR

▲Sitting

▲Sittingwithleftlegcrossedoverright

▲Sittingwithrightlegcrossedoverleft

▲Standing,withstrap

▲Standingwithfootonstool

▲Holdingthepick

▲Numberingtheleft-handfingers

TheLeft-HandPosition

Notethatthethumbfallsaboutoppositethejointofthesecondandthirdfingers.Keeptheelbowinandthefingerscurved.

▲Thelefthandpositionfromthefront

▲Thelefthandpositionfromtheback

TheRight-HandPosition

Thepickisheldfirmly,butwithoutsqueezingithardenoughtocausetensionintherightarm.Themotionisarelaxeddownwardsweepofthewrist,nottheentirearm.

▲Positionoftherightarm

▲Motionofthepick

PlacingtheFingeronaString

Whenyouplacealeft-handfingeronastring,makesureyoupressfirmlyandasclosetothefretwireasyoucanwithoutactuallybeingrightonit.Thiswillensureaclean,brighttone.

▲THIS

Fingerpressesthestringdownnearthefretwithoutactuallybeingonit.

▲NOTTHIS

Fingeristoofarfromfretwire:toneis“buzzy”andindefinite.

▲NOTTHIS

Fingerisontopoffretwire:toneismuffledandunclear.

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.

Clefs

During the evolution of music notation, the staff had from two to twenty lines, andsymbolswereinventedtolocateareferenceline,orpitch,bywhichallotherpitchesweredetermined.Thesesymbolswerecalledclefs.

MusicfortheguitariswrittenintheGortrebleclef.OriginallytheGothicletterGwasusedonafour-linestafftoestablishthepitchofG:

GETTINGACQUAINTEDWITHTABLATURE

Tablatureisagraphicmethodofshowinghowtoplaynotesandchordsontheguitar.Itusesasix-linestaff,eachlinerepresentingonestringoftheguitar.

Anumberplacedonalinemeanstoplaythatfretonthecorrespondingstring.Thus,

Numbersplacedoneontopoftheotherareplayedsimultaneously.

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.

NotesontheFirstStringE

Playingthefirststringopen(thenoteE):

CombiningthefingerednotesFandGwiththeopenstringE:

MeasuresandBarLines

Musicisalsodividedintoequalparts,calledMEASURES.Onemeasureisdividedfrom

anotherbyaBARLINE.

MixingItUp

Left-handfingers:Whenplayingfromthefirsttothethirdfret,keepthefirstfingerdown.OnlytheGwillsound,butwhenyougobacktotheF,yourfingerwillalreadybeinplace,makingthetransitionsoundsmoother.

MoreMixing

Left-handfingers:Placeasclosetothefretwiresaspossiblewithoutactuallytouchingthem.

SOUNDOFF:HOWTOCOUNTTIME

4KindsofNotes:

TimeSignatures

Each piece of music has two numbers at its beginning called a time signature. Thesenumberstellushowtocounttimeforthatparticularpiece.

Important:

Fillinthemissingtimesignaturesofthesongsalreadylearned.Eventhoughtablatureplayersdonotreadstandardmusicnotation,itisstillimportanttobecomefamiliarwiththeconceptoftimesignatures.

PLAYINGDIFFERENTKINDSOFNOTESANDTIMESIGNATURES

HalfNotes(twocounts)

DottedHalfNotes(threecounts)

WholeNotes(fourcounts)

MixedNotes(review)

NotesontheSecondStringB

Two-StringRock

BeautifulBrownEyes

GuitarRock

Merry-Go-Round

JingleBells

NotesontheThirdStringG

AuClairdelaLune

Three-StringRock

AuraLee

ElvisPresleyrecordedthisfolksonginamodernversioncalled“LoveMeTender.”

LargofromtheNewWorldSymphony

Usedown-strokesonlyuntilfurthernotice.

INTRODUCINGCHORDS

ACHORDisacombinationoftwoormoreharmoniousnotes.Allnotesexceptthewholenotehaveastemgoingupordown.

WhennotesaretobestrucktogetherasaCHORD,theyareconnectedbythesamestem.

MeettheChords

Two-notechordsontheopenBandEstrings.

Two-notechordsontheopenGandBstrings.

Three-notechordsontheopenG,BandEstrings.

TheThree-StringCChord

Thechordsyouplayedonpage22useonlycombinationsofopenstrings.ThenextchordiscalledtheCchord.Itusesonefingerplusthe1stand3rdopenstrings.

OdeToJoy(themefromthe9thsymphony)

INTRODUCINGTHEQUARTERREST

Thisstrange-lookingrestisusedinmusicnotationtomeanonebeatofsilence.Firstplaytheexercise,thentrytherocksong.

For a cleaner effect when an open-string note is followed by a rest, youmay stop thesoundofthestringsbytouchingthemlightlywiththe“heel”oftherighthand.

Rock‘n’Rhythm

TheThree-StringG7Chord

DownintheValley

MaryAnn

TheThree-StringGChord

Rockin’withGandC

NotesontheFourthStringD

ReubenReuben

OldMacDonaldHadaFarm

GWhiz

GoodnightLadies

Notallguitarsolosareplayedusingonlyoneformofthe3-notechordsalreadylearned.Thesesongsusevariouscombinationsof2-and3-notechords.

DaisyBell

TheFour-StringG&G7Chords

The three-noteGandG7chordsyouhave learnedcanbeexpanded to fuller and richersoundingfour-notechordssimplybyaddingtheopen4thstring.

Rockin’theChimes

Thenextsongusesthefour-noteGandG7chords.Sometimesthenotesareplayedoneatatime(calledanarpeggio)insteadofbeingplayedtogether(asachord).

LaughingTroll

NotesontheFifthStringA

PeterGray

BoogieStyle

Playthispiecefast!

IntroducingHighA

NoticethathighAisplayedonthe5thfret,butthe4thfingerisused.Slideyourhandupthefret-boardsothe4thfingercanreachthe5thfret.

Rockin’inDorianMode

INCOMPLETEMEASURES

Noteverypieceofmusicbeginsonthefirstbeat.Musicsometimesbeginswithanincompletemeasure,calledtheUPBEATorPICKUP.Iftheupbeatisonebeat,thelastmeasurewillsometimeshaveonlythreebeatsin4/4,ortwobeatsin¾tomakeupfortheextrabeatatthebeginning.

A-Tisket,A-Tasket

TheRiddleSong

NotesontheSixthStringE

THENATURALSCALE

SilverThreadsAmongtheGold

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

smootherandmoreprofessional.

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.

Can-Can

Duet

ThisfamousmelodyfromtheoperaOrpheusintheUnderworldshouldbelearnedtwodifferentways.First,playthesolopartaswritten.ThenfindafriendtoplaythesolopartorlistentoitonyourTeachYourselfrecordingwhileyouplayachordaccompanimentusingeitherpatternAorBonpage42.

DYNAMICS

Signs showing how SOFT or LOUD to play are called DYNAMICS. The principaldynamicsare:

EchoSong

Learnthesolopartonthenextsong.Ifyouwishtoplayitasaduet,useaccompanimentpatternCdescribedonpage42.

SIGNSOFSILENCE

Aneasywaytorememberthedifferencebetweenthehalfandwholerestistothinkofthewholerestasbeinglonger(orheavier)andsohangsbelowtheline.Thehalfrestisshorter(orlighter)andsositsontopoftheline.

GiveItARest

TheFour-StringCChord

WhentheSaintsGoMarchingIn

Remembertoplayaccentednoteslouderthanunaccentedones.

TIES

Tiesarecurved linesconnecting twoormoresuccessivenotesof thesamepitch.Whentwonotesaretied,thesecondoneisnotpicked;itstimevalueisaddedtothevalueofthefirstnote.Forexample:

TheSidewalksofNewYork

(EastSide,WestSide)

OHappyDay

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.

CielitoLindo

Usingthepatternsyouhavejustlearned,playchordaccompaniments(usingbassandalternatebassnotes)tothisfamousMexicanfolksong.ThemelodyisonyourTeachYourselfrecording.Thenlearnthemelodyasaguitarsolo.

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

HappyBirthday

Copyright © 1935 (renewed 1962) Summy-Birchard Music, a Division of Summy-Birchard,Inc.Allrightsreserved.Usedbypermission.

SpeedDrill

Speeddrillsareforthedevelopmentoftechniqueandshouldbepracticeddaily.Startallspeeddrillsslowlyandbesurethateachnoteisclearanddistinct.Oneachrepetitionincreasethetempoalittle.Werecommendyoupracticewithametronometomaintainaneventempo.

SHARPS♯,FLATS♭ANDNATURALS♮

Thedistancefromonefrettothenextfret,upordownisaHALFSTEP.

TWOhalfstepsmakeaWHOLESTEP.

▲SHARPSRAISEthenoteahalfstep.Playthenextfrethigher.

▲FLATSLOWERthenoteahalfstep.Ifthenoteisfingered,playnextfretlower.Ifthenoteisopen,playthe4thfretofthenextlowerstringexceptifthatstringisG(3rdstring),thenplaythe3rdfret.

▲NATURALSCANCELaprevioussharporflat.

THECHROMATICSCALE

The CHROMATIC SCALE is formed exclusively of HALF STEPS. Ascending, theCHROMATICSCALEusesSHARPS(♯),butdescending,usesFLATS(♭)

ChromaticRock

TheFour-StringD7Chord

Four-BeatBlues

Rockin’theBach

AdaptedfromafamousminuetbyJ.S.Bach

AmazingGrace

Learnthesolopartandtheaccompaniment.UsepatternD,EorFonpage50.

FrankieandJohnny

Learnthesolopartandtheaccompaniment.UsepatternAorBonpage42.

Pachelbel’sCanon

This17thcenturypiecehasbeenusedinmanycommercialsandasthemainthemeinthemovieOrdinaryPeople.

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:

CHECK:Arethenotesinalphabeticalorder?Didyougivethe7thnoteasharp?

WriteaMAJORSCALE,startingonF:

CHECK:Arethenotesinalphabeticalorder?Didyougivethe4thnoteaflat?

KEYSIGNATURES

TheKeyofCMajor:

ApiecebasedontheCMAJORSCALEisintheKEYOFCMAJOR.SincetherearenosharpsorflatsintheCscale,anysharpsorflatsoccurringinapieceinthekeyofCmajorarecalledaccidentals.

TheKeyofGMajor:

Apiecebasedon theGmajor scale is in thekeyofGmajor.SinceF is sharp in theGscale,everyFwillbesharpinthekeyofGmajor.InsteadofaddingasharpeverytimeanFappearsinapiece,thesharpisindicatedatthebeginning,inthekeysignature.Sharpsorflatsshowninthekeysignatureremaineffectivethroughoutthepiece.

TheKeyofFMajor:

ApiecebasedontheFmajorscaleisinthekeyofFmajor.

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.

LaBamba

INTRODUCINGDOTTEDQUARTERNOTES

Adotincreasesthelengthofanotebyone-half.

PreparatoryDrill

Theonlydifferencesinthefollowingtwomeasuresandthosedirectlyabovethemisthewaytheyarewritten.Theyshouldsoundthesame.

AuldLangSyne

RockabillyBassLine

HavaNagila

IsraeliFolkSong

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

BendExercise#2

PickBend&Release

Pickthefirst(lower)note,bendthestringuponehalfsteptosoundthesecond(higher)note,thenstraightenthestringtosoundtheoriginal(lower)noteagain.Pickonlythefirstnote.

PickBend&ReleaseExercise#I

PickBend&ReleaseExercise#2

½

BendandPickBend&ReleaseExercise#3

Hammer-On

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

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.

Pull-offExercise#2

Hammer-onandPull-offExercise#3

Slides

Pickthefirst(lower)note,thenslidethefretfingeruptosoundthesecond(higher)note.Thesecond(higher)noteisnotpicked.

SlideExercise#1

SlideExercise#2

Hammer-on,Pull-off&Slide

PalmMute

Thenoteispartiallymutedbytheright(pick)handlightlytouchingthestringorstrings

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

TABLATURELICKS

Alickisapatternorseriesofnoteswhichiscommonlyusedasabasisforsoloing.Onthenextfewpageswearegoingtointroduceyoutodifferentstylesofmusicthroughtheuseoflicks.Theselicksshouldhelpyouunderstandhowtablatureandthesenewtechniquescanaffectyourplayingandthesoundsyoucangetoutofyourguitar.

Rock

HeavyMedical

Blues

Country

Jazz

Jazz-Rock

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.

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

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.

GUITARNOTECHART

Thenumberintheblackcircleonthefingerboardindicatesthecorrectfingering.

MagicChordAccompanimentGuide

GuitarFingerboardChart

Frets1-12