Hal Leonard Guitar Method. Book 1

FOREWORD Since the first edition of this method was published in 1977, I have talked with thousands of guitar teachers about how the method worked for them. This feedback has been essential in building supplements to the method and a catalog with real integrity. When 1 decided to revise Book 1, [ sent out a survey to a panel of leading guitar teachers, who answered a series of questions and marked up the book. In your hands is the fruit of our labors, and a further reason why the Hal Leonard Guitar Method (published. in 8 languages) will gain wider acceptance by teachers and students. Thanks to Kirk Likes, Larry Beekman, Jim Skinger, Harold Hooper, Jim Cooney, John Campbell, George Widiger, Mike Alwin, John Dragonetti, Tony CoUova, Gary Wolk and Debi Kossoris.

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YOUR GUITAR This book is designed for use with any type of guitar - acoustic steel··string, nylon-string classic or electric. Any of these guitars can be adapted to use in a wide variety of styles of music.

Steel-string

Nylon-string

Bridge

Electric Toggle Switch Volume Controls

Pickups

Tone Controls 6

TLTNIN G CD

(Indicates Audio Track Number)

Tuning to a Piano When you are tuning your guitar, you will adjust the pitch (highness or lowness of sound) of each string by turnlng the corresponding tuning key. Tightening a string raises the pilch and loosening it lowers the pitch. The strings are numbered 1 through 6 beginning with the thinnest string, the one closest to your knee. Tune each string in sequence beginning with the sixth string, by playine the correct key on the piano (see diagram) and slowly turning the tuning key untll the sound of the string matches the sound of the piano .

1- E 2- 8

3- G 4- 0

5- A G- E

TUNING KEYS

~ ., Tuning with an Electronic Guitar Tuner An electronic tuner "reads" the pitch of a sound and tells you whether or not the pitch is correct. Until your ear is well trained in hearing pitches, this can be a much more accurate way to tune. There are many different types of tuners available, and each one will corne with more detailed instructions for its usc.

Keyboard middle C I

E

A

D

6th string

5th string

41h string

G

B

E

3rd

2nd

lsi string

string string

Relative Tuning To check or correct your tuning when no pitch source is available, follow these steps: • Assume that the sixth string is tuned correctly to E. • P ress the sixth string at the 5th fret. This is the pitch A to which you tune your open fifth string. Play the depressed sixth string and the fifth string with your thumb. When the two sounds match, you are in tu ne. • Press the fifth string at the 5th fret and tune the open fourth string to it. Follow the same procedure that you did on the fifth and sixth strings. • Press the fourth string at the 5th fret and tune the open third string to it. • To tune the second string, press the third string at the 4th fret and tune the open second string to it. • Press the second string at the 5th fret and tune the first str"ng to it.

PLAYING POSITION There are several ways to hold the guitar comfortably. On the left is a typical seated positioJl, and on the right is the standing position. Observe the following general guidelines in forming your playing posture: • Position your body, arms and legs in such a way that you avoid tension. • If you feel tension creeping into your playing, you probably need to reassess your position .

• Tilt the neck upwards- never down . • Keep the body of the guitar as vertical as possible. Avoid slanting the top of the guitar so that you can see better. Balance your weight evenly from left to right. Sit straight (but not rigid).

Left·hand fingers are numbered 1 through 4. (Pianists: Note that the thumb is not number 1.) Place the thumb in back of the neck roughly opposite the 2nd finger as shown below. Avoid gripping the neck like a baseball bat with the palm touching the back of th e neck.

These photos show the position for holding a pick and the right hand position in relationship to the strings. Strive for finger efficiency and relaxation in your playing.

MUSICAL SYMBOLS Music is written in notes on a staff. The staff has five lines and four spaces between the lines. Where a note is written on the staff determines its pitch (highness or lowness). At the beginning of the staff is a clef sign. Guitar music is written in the treble def.

Each line and space of the staff has a letter name: The lines are, (from bottom to top) E - G - B - 0 - F (which you can remember as Every Guitarist Begins Doing Fine): The spaces are which spells "Face, " from bottom to top, F - A - C -

e,

-

$

LINES

0 E

0 G

0

0

0

B

SPACES

F

0

$

()

II

n

(J

F

A

C

E

The staff is divided into several parts by bar lines. The space between two bar lines is called a measure. To end a piece of music a double bar is placed on the staff.

BAR LINES

I_

MEASURE

BAR LINE

II

-I

BAR LINE

DOUBLE BAR

Each measure contains a group of beats. Beats are the steady pulse of music. You respond to the pulse or beat when you tap you r foot. The twO numbers placed next to the clef sign are the time signature. The top numbe r tells you how many beats are In one meas ure

TIME SIGNATURE

$ jI -

-

t

FOUR BEATS PER MEASURE QUARTER NOTE

(J)

GETS

ONE BEAT

The bottom number of the time signature tells you what kind of note will receive one beat.

Notes indicate the length (number of counts) of musical sound.

o NOTES

WHOLE NOTE ", 4 beats

HALF NOTE"" 2 beals

QUARTER NOTE ., 1 beat

When different kinds of notes are placed on different lines or spaces, you will know the pitch of the note and how long to play the sound.

NOTES ON THE FIRST STRING F

E STRINGS 6

5

4

3

2

6

5

G

STRINGS .; ;} 2

STRINGS 6

3

4

2

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(f)

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2

5

OPEN

a

,

1st FRET 1st FINGER

E

F

3

0

G

This sign (r1) tells y ou to strike the string with a downward motion of the pick.

ii 1~~~------------+-----------+-----------+-----------+----------Hold down 1 st finger.

COUNT:

1-2- 3- 4

1-2- 3-4

1-2- 3-4

1-2-3-4

1-2-3-4

1- 2

1- 2

3 - 4

1-2-3-4

2 3 - 4

1- 2

1- 2

ii

ii

ii

ii

1

2

3

4

3 - 4

3 - 4

3

0

1

2

3

4

1

2

3

4

1

2

3

-

4

....,

At first practice the exercises slowly and steadily. When you can play them well at a slow speed, gradually increase the tempo (speed).

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4

1

5

r1

r1

r1

E ~ ~ I~ ~ ~ ~ 2

3

I t E t FI

n

II

II

II

4

Touch only the tips of the fingers on the strings.

~ ~ ~ ~ ~ I~ t. ~ ~ ~ I ~ ~ ~

FI

Keep the left hand fingers arched over the strings.

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~ ~ EI~

~

IE

~ ~ ~ I~

~

II

Some songs are longer than one tine . When you reach the end oE the first line of music, continue on to the second line without stopping. Grey letters above the staff indicate chords to be played by your teacher. Measure numbers are given at the beginning of each new line of music:.

G7

7' ~ "I F

1-

..-----~----- GO ON TO THE NEXT LINE - - - -- - -- - --

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NOTES ON THE SECOND STRING c

B STRINGS

6

s

4

STRINGS

2

3

D

1

6

5

4

STRINGS

3

2

1

6

5

4

3

2

1

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2

w

2

a:

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a:

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OPEN

9

B

,

1st FRET

II

1st FINGER

C

a:: u.

3

3rd FRET

9

(I

09

.... w

3rd FINGI

D

9

Hold down 1st f i n g e r . - - - - - - - - - - - .

COUNT:

10'

~

1-2-3-4

r r 1 - 2

3 - 4

1-2-3-4

I

~

F

1 - 2

3 - 4

1-2-3-4

1-2-3-4

I

r r Ir 1- 2

3 - 4

F

1 - 2

3 - 4

1- 2-3- 4

9 1- 2-3- 4

r r r rIr r r rI r r r r r r r riO I

1

2

234

1

234

1

234

1

234

1-2-3- 4

Always practice the exercises slowly and steadily at first. After you can p ay em well at a slower tempo, gradually increase the speed. If some of your notes are fuzzy or unclear, move your left hand finger slightly until you get a clear sound.

12

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13

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r r r rl rr r r r r I IT r I r r r FI F IT I r IT I r r r F I r r F rI F

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You have learned six notes now, three on the first :;lrin~ and three on the second string. In the following exercises you will be moving from string to string. As you are playi.ng one note, look ahead to the next and get your fingers in position.

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30

10

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STRING: FINGER:

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open

1st

open

3rd

3rd

1st

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II

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Moving From String To String

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Practice these songs played on strings 1 and 2. Always begin slowly and then gradually increase the tempo. Gray chord symbols are used throughout the book to indicate that the chords should be played by the instructor.

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The following p iece is a round for from 1 to 3 players. Each new player begins when the previolls player gets to th e asterisk (*). Play it twice through without stopping.

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NOTES ON THE THIRD STRING G

A

STRINGS 6

5

4

:3

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1

6

5

STRINGS 4 3 2

,

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2

2

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OPEN

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2nd FRET

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2nd FINGER

OPEN

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a:

3

3

t

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2

G

A

Keep the fingers arched over the strings at all times so they will be in position to finger the next note .

20' ! 21

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ROC K TRAX-1 The book/audio pak that teaches you: • Rhythm guitar • Lead guitar • Solo licks • Audio features complete rhythm section

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How to Improvise Rock for Beginners-

BOOK/CASSETTE HL00699i 67

BOOK/CD HL00697272

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The ollowing exerdses and pieces use notes on strings I, 2 and 3.

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STRING:

---"--;

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Play for accuracy; then gradually speed up. Use

dS

®.....-----

a finger warmup.

5

YANKEE DOODLE c

G7

c

F

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G7

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A duet IS a song that has two parts that can be played together. Practice both parts of the following duet. Ask your instructor or a friend to play the duet with you. If you have a tape recorder, you can record one of the parts and then playa duet with yourself. When you can play both parts, combine them in the optional solo below. Duet

Part 1

25 Part 2

16

G

THE BELLS

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Part 1

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AU CLAIR DE LA LUNE (j) c 07 G7

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EASY POP MELODIES You won't believe your ears! The audio sounds like the record.

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BOOK/CASSETTE H l OO(;991411

BOOK/CD HL00697272

The Easy Pop Melodies stereo audio puts you in the band with guitar, drums, bass and keyboards/synthesizer back-up on one channel and ttle guitar me'I'o dy on the other.

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AURA LEE c

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D7

c

D7

E7

6

Am

c

E

c

G7

07

II

Some music has three beats per measure instead o f four . This is indicated by the top number of the time signature. The bottom number (4) tells you that the quarter note gets one beat. A dot after a note increases its value by one-half. In ~ time a dotted half note (J J gets three beats.

123

COUNT:

G

1- 2

3

123

THREE flEA TS PER MEASURE QUARTER NOTE (. GETS ONE BEAT

~

J , · J.

2 beats

1 - 2 - 3

3 beats

1 beat

1

2 - 3

HE'S A JOLLY GOOD FELLOW D7 c G

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07

12

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3-STRING CHORDS A chord is sounded when more than one note or slring is played at the same time. To begin you will be playing chords on three strings with only one finger depressed. Strike strings 3, 2 and 1 with a downward motion. All three strings should sound as one, not separately.

C Chord tl

5

G Chord

STRINGS 4 3 2

6

CD

...w

If)

2

5

G7 Chord

STRINGS 4 3 2

6

.

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a:

...w

2

a: u.

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3

0

STRINGS 4 3 ;>

C/")

2

lI.

x x x

5

x x x

o

0

3

3

x x x

0

0

0

An (x) under a string indicates that the string should not be strummed .

An (0) under a string indicates that the string should be played "OPEN" (not depressed by a finger) .

Keep a steady beat, and change chord fingerings quickly.

c

c

G7

G

~

c

G7

c

The chords above arc partial chords. If you are ready to learn the full tum to the Chord Chart on page 51.

c

G

Ion of the

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GUITAR SOLOS You have been playing either the melody or the chord strums in the previous exercises. Now combine the chords and the melody. first, play through the melodies (the top notes only). When you feel you know the melodies well enough, strum each chord. Finally, combine the melody and the chords . Practice the exercise slowly and steadily and gradually increase the tempo as you progress .

G7

C

138 I~i

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c

..

G

MARIANNE @ G7

32 All

all

day,

night

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i

Mar

anne,

C

5

by

Down

the

sea

side

sift

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in'

sand.

G7

9

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ven

lit

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tie

chil

dren

love

Mar

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anne,

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Down

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COpyti ghlO 1966 HAL LEONARD PUBl lSHtN G CORPOR.ATlON International Copyright $.eCUf(.od All Rights R e~t.' rved

DOWN IN THE VALLEY

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35

NOTES O'N THE FOURTH STRING E

D STfllNGS f)

F

STRINGS

5-1321

6

5

4

3

STRINGS 2

1

6

(/)

2

'2

f

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w

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cr. L.L.

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cr

3

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3

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2

2

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f OPEN

4

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5

0

o

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2nd FRET

0

2nd FINGER

E

~

3rd FRET 3rd FINGER

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F

Practice each exercise carefully. Remember to keep YOllf fingers arched over the strings.

12J J IJ J I J J I J J J J I 1 - 2

*j

3 - 4

0

II

Hold 2nd finger down. ~----_

J J J J I J J J J I J J J JI

0

I

Pickup Notes Music doesn't always begin on beat one. When you begin after beat one, the notes before the first full measure are called pickup notes. the following illustrations show several examples of pickup notes. Count the missing beats out loud before you begin playing.

J J II (1

2

3)

4

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37 ",,",, ~ 'v La @J

3

1- 2

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When a song begins with pickup notes, the last measure will be short the exact number of beats used as pickups. Practice playing both the notes and then the chord strums as a duet with your teacher, a friend or a tape recorder.

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G7

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38 ._

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4

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COUNT:

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1

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2

THE D 7 CHORD The D7 chord is a triangular fonnation of the fingers. You can play the full version of this chord right away. Arch your fingers so that the tips touch only one string each. Strum strings 4 through 1 for D7. STRINGS

6

5

4

3

2

1

cD 2

3

2

3

x x Strum once for each slash mark below. G

39

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JIll'

.....

.......

JIll'

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JIll'

D7

G JIll'

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0

D7 ...........

..... .......

..... .......

..........

JIll'

JIll'

JIll'

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JIll'

D7

G

...........

..... .......

..... .......

...........

.....

.......

..... .......

JIll'

...........

JIll'

G ..... .......

...........

...........

II

...........

Review the fingering for the C chord and then practice Exercise 40 until YOIl can play it well. Whenever you are moving between the C chord and the D7 chord, keep the first finger down .

G

C

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........

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JIll'

I

.......

D7

........ ........

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Trade off strumming the chords and playing the melody with your teacher or a friend .

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W WI] ] W Wi] ] F rll (C) optional

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Ties A curved line which connects two notes of the same pitch is called a tie. The first note is struck and held for the value of both notes. The second note should not be played again. Look at the following illustration of tied notes.

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by HAL LEONARD I'lI8I.1SHI, G CORI'ORAltON

Inlern,ltio " ol Copyright

Sewrt d

All Righ15 Rescrved

Reme mber that the chord letters shown in grey are to be played by your teacher. You should play the melody only on this piece.

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STRINGS

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Practice these familiar melodies until you feel comfortable playing them . Remember to look ahead as you play 50 you can prepare for the next notes.

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NOTES ON THE SIXTH STRING STRINGS

6

5

G

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4

STliINGS

STRINGS

2

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6

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play these exercises, write the letter names below each note.

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3 Hold 1st finger d o w n . - - - - - - - - - -

JOHNNY HAS GONE FOR A SOLDIER

@ Ireland

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The interval between notes that have the same letter name and are eight notes apart is called an octave. The second half of Johnny Has Gone for a Soldier is written one octave higher than the first half.

Octaves-'~---r~~~----~----~------~~~--------~

BASS ROCK

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J II

Half and Whole Steps

6

The distance between music tones is measured by half-steps and whole-steps. On your guitar the distance between one fret and the next fret is one half·· step. The distance from one fret to the second fret in either direction is called a whole-step.

S

STRINGS 4 :\ 2

4..J Half

~~ f-Whole [

Step

t.

Step

2

2

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3F#s F-Sharp (F#)

6

When a sharp(#) is placed in frR-nt of a note, the note is raised one half-step and playep one fret higher. A sharp placed before a note affects an notes on the same line or space that fol\pw in that measure. FoIlow in gar e the t h r e e F if s t hat a p pea ron the fretboard to the right:

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STRINGS 4 3 2

2

3

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2_9 II 4#U II 1st string 2nd fret

5

4th string 4th fret

2F

4

II

6th string 2nd frE't

Practice each of these finger exercises many times. also

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LONDONDERRY AIR @ c

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G

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Key Signatures Instead of writing a sharp sign before every F in a song, one sharp is placed at the beginning of the line . This is called a key signature and indicates that every F in the song should be played as Fit In Shenandoah there will be an arrow above each F# to remind you to play F#. Shenandoah is written for 1, 2 or 3 guitar parts. Part 1 (the melody) will d emand that you count out the bed notes accurately. Use a metronome or tap your foot and count aloud at first. With your teacher, other friends, or a tape recorder, play part 2 and the chords.

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Rests Musical rests are moments of silence in music. Each type of note has a matching rest which has the same name and receives the same number of counts.

Whole

Half

Quarter

4 beats

2 beals

1 beat

A rest often requires that you stop the sound of your guitar strings with your right hand as is shown in the photo to the right. This process is called dampening the strings. Use the edge of your right hand to tOllch the strings, and work for a quiet economy of motion with little unnecessary movement. As you play the following exercises that contain both notes and r,ests, count aloud using number" for the notes and say the word, "Rest," for each beat of silence.

COUNT:

1

3

2

Rest

1

Rest

3

Rest Rest

3

2

4

1 -

2

Rest

4

1 - 2 - 3

The letter R is used in place of the word, "Rest."

1

2

3

4

R

2

4

3

1 -

R

4

2

R

R

R

R

R

1

2

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4

1

R

R

a complete measure of rest (3 counts) is written as a whole rest (__ ).

1 32

R

R

R

1

In

R

2

R

1

R

R

1 - 2 - 3

R

R

R

1 - 2

ROCK IN' REST @

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Count rests aloud:

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THE FULL C, G and G7 CHORDS When you began playing the C chord and the G7 chord, you used only three strings. You can play these chords on more strings ilnd the sound will be much full er. Study the illustrations below for the five -s tring C chord and the six-string G7 chord. Place each finger in the position shown and strum the chord several times .

G7CHORD

C CHORD

STRINGS

STRIN GS

6

5

4

3

6

2

5

4

3

2

(J)

(J)

2

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G7

c

G7

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A double bar with two dots a second time.

:11

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0

0

is a repeat sign, and it tells you to play the music

c

c

c

G7

G7

c

Earlier in the book you learned to playa three-string G chord. Now try the full sixstring G chord for a fuller sound. Study the illustrations for the correct finger position. The formation using fingers 2, 3, and 4 will seem more difficult at first, but it will be easier to move to the C chord or the G7 chord. If your hand is small, use the formation with fingers I, 2, and 3 or the G chord you learned earlier.

G CHORD

G CHORD

6

5

STRINGS 4 a 2

6

5

STRINGS 4 3 2

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When you can play exercises 67 and 68 clearly and evenly, re place the res another strummed chord.

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Practice trading off on melody and chords in these pieces.

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The Bass Note /Strum When you played chords before, you strummed one chord for each beat in the measure. You can vary the strumming by alternating between a bass note (usually the lowest note of a chord and the name of the chord) and the remainder of the chord.

, ~ J IJ I C

G

72

..... Ba5S Strum

Bass

Strum

Ba~s

Strum

Boss

Strum

D7

S

G

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Bass Strum

C

G

G

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G7

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When you can play the bass-strum patterns with a steady rhythm, use them to accompany the previous songs or other songs you already know.

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EIGHTH NOTES

An eighth note is half the length of a quarter note and ge ts 1/2 beat in ~ or ~

4

4

=

=

1 Quarter Note

IJ

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Eighth notes can be written in several different ways

2 Eighth Notes

or

n rrr

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Count aloud:

j j j II

1

234

rr rrrrr rII

Tap your foot on the beat.

1&2&3&4& (and)

Eighth notes are played with a down on the and (&).


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2

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4

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2

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75 &

Practice Exercise 76 with an alternating down and upstroke for all eighth notes and a down stroke fo r all quarter notes . It may help if you think that your pick is tied to your toe. Whe n you tap your foot on the beat, the pick goes down . When your foot goes up on " and," your pick goes up.

r-, V i1 V i1

&

1

2

&

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6

1

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2

3

V 2

1

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1

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V 4

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1

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Always practice slowly and steadily at first; then graduaUy increase the speed. 38

4

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11

...

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----

. ... -

----

-

•

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C

-- -

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.

-

...

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,.

Always check the key signature before you begin. All F's should be played F~ in BOOGIE BASS.

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BOOGIE BASS

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LI l. LI

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V i1 V i1 V n V

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1

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.-

.-

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r-

r-

r-

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•

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C

*,

G7

C

r r J J F J I I I r r r J r J.

THE E MINOR CHORD Em STRINGS 6

S

4

3

2

.'

en I-

2 3

2

W

a:

LL

3

o

0

0

0

You've played the chords you learned in a variety of ways- as the full chord or only partial chords . The E minor chord can be played the same way . Study and play the example which shows the full s ix -string chord and a three -s tri ng partial chord .

When you are playing the E minor chord in the alternating bass note-chord pattern, use the sixth string for the bass note and the partial threestring chord . Practice the example until you ca n play it easily and dearly.

,

n

i

u

j

8

II

8

u

(6th string)

;,

~

;,

n

;,

;,

;,

f 4 f 18 f 8 f .....

HEY, HO, NOBODY HOME ,_

82

~

Em

j

Hey,

CJ

IJ

ho,

no

J JJj man· ey

have

Em

83

,- j

~ I :J

Sha .

10m,

I

none,

J JJ

England

IJ

y home,

bod

Meat,

J

OJ

nor

drink,

r J r J I r J fj J J:11 Yet

will

mer

be

nor

II

o

ry

SHALOM CHA VERIM

nJ

*

cha - ve - rim!

~

JIJ Sha -

10m,

Isra

r· r r

. I cha - ve - nm.

FI

I

Sha - 10m,

sha

n I J. 10m!

Le

-

hit -

"Playas a round if you wish.

ra

-

ot,

Ie

-

mit·

ra

:11

.

ot,

Sha - 10m,

sha

-

10m.

.

:11

Whenever two chords have a common finger position (one or more fingers stay in the same pl you should keep the common finger on the string. In the following progression there 15 a commo ger between the G and Em chord and a common finger between the C and 07 chord. Practice the ample until you can play it steadily and without any hesitation between chord changes.

G

c

Em

D7

Practice trading off on the melody and chords on Molly Mo ~ one. When you can play the chords ly, try a bass note with two after-strums that you learned in exercise number 74.

MOLLY MALONE

G

G

G

07

c

Em

07

07

Em

G

c

Em

07

c

Em

Em

G

c

Em

G

07

07

G

MORE ADVANCED STRUMS The down- up stroke pattern you have already played on eighth notes can also be applied to strum s . As you practice strumming the following exercises, keep your wrist relaxed and flexible. The dow n-up motion wilt be much faster and easier if you use down-up motion of the wrist only rather than of the entire arm. This wrist motion feels a little like shaking water off the hand .

BASIC DOWN-UP STRUM

c 1\ ~

86 'j '\:V

L

~

r1

V r1

,..

,..

@)

~ ~ ,~

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V r1

,..

r

.r

2

&

&

r

J

I

r

1

1\

... J"""

L

V r1

3

V

...

r

-L

J

4

&

...

r

r

I

.1

.

r

r

r

""'--

,..

...

,.....

I""

r

r

J

-L

&

Em

....

,..

I""

,.....

,......

,......

,.......

L

.1":

L

J

@)

L

.1":

.1":

L

J

1.

J

.1":

.1":

•

•

STRUM VARIATIONS A variation of the basic down--up strum misses the upstroke or "and" of the first beat. Remember to keep the down-up motlOn eomg and mISS the strIngs on the and " of beat one. G C 1/

r1

1

Miss

r1

V

(&)

2

&

,- F

V

V

3

4

&

&

07

G

f F

r

F

rrr I

E

r f E ~ F:II

v

E::Ff 1

(&)

2

&

3

(&)

4

&

~

E --:II

On "Simple Gifts" you can play the melody (Part I), the harmony line (Part 2), or the chordal accompaniment. Practice these strums before playing "Simple Gifts."

ri

V

Em r1

2

&

3

G

1

07

n

n

V

V

il

V

&

4

&

v

G rl

V

V

i1

Em

.....

....,....-r---~

C

G i1

G

1

91

07

44

V

r1

SIMPLE GIFTS @ @ G

n

G

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BASS-MELODY SOLOS This style solo was developed on the Carter family recordings. The melody is played in the ba s and long notes (J J. or 0) are filled in with strums. Emphasize the bass melody notes and play lightly on the strums .

ROW, ROW, ROW YOUR BOAT

c*

Hold down C chord.

*You can hold your 1st finger down throughout the entire solo if you wish.

WORRIED MAN BLUES G

Hold down throughout G chord)

Takes

a

wor - ried

man _ __

sing

to

a

song, _ __ _

wor - ried

c

G

Takes

a

wor - ried

Takes

a

war - rjed

mCln _ _ __

man _ __

to

to

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sing

a

war - rjed

war - rjed

song,

I'm

song,

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G

13

now, ___ __ _ _ _ _ _ ____ Copyright@ 1906 HA L LEONARD PUBLISHING CORPOR ArI O N InWrnJl ionaJ Co pyr.gh l SeLu recJ All Righls. Reselved

46

but

won't

be

wor - rjed

long. _ _ __

-1

WHEN THE SAINTS GO MARCHING IN G

Oh when the

saints

go

be

In that

saints _

_

march -

_

_

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go march-ing

in _

_

in _ _ _ _ __

ing

num- ber

when the saints

go

_

_

Lord, I

march - Ing

_

_

oh when the

want

to

In.

CopyrighlO 199) b¥ HAL LEONARD PUBLISHING COf
When you feel that these solos are coming along well, you might wish to try a variation on the strums. Instead of a sjngte down stroke (?), playa down-up stroke (E..l) . Practice this exercise; then put the down-up stroke in the solos.

G

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ri

e~

V

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1

oj

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4~

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V

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1

J zJ :II

NEWNOTE-C# STRINGS

6

5

4

3

?

2

1

2

3

en Iw a= u.

,

c#

#n 2nd STRING 2nd FRET 2nd FINGER

... 7

MINUET IN G @ @ c

G

1

95 2

D7

07

G

D7

1

2 •

G

c

1

2

D7

1

2

(OI>y" ght e 1986 r iAl I. EONA,RD PUl)lISHING CORI'ORATIO N rnternaUQnai Copyright Secu rw All Righls Reserved

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GUITAR ENSEMBLE @ 3-part round After learning this Russian "Turnbo" round, you may wish to play it with two or three other guitarists. Each player begins when the previous player has reached line 3 at the asterisk. A more advanced play~r such as your teacher may play the chords (repeating them throughout). Play the round three times through with gradually accelerating speed. Em

*

50

87

Em

CHORD CHART In this chart you will find the chords learned in this book as well as severa] other common chords you may see in music you are playing.

6

5

STRINGS .. 3 2

A",

6

5

STRINGS 4 3 2

2 3

I-

1 2 3

a::

STHINGS 3

2

87

2

2

1

([

U.

I

0

6

STRINGS 5 4 3 2

c 2

a::

I

x

STRINGS 3

Om

2

s

4

3

5

4

3

a:

~

3

Em

6

5

6

5

0

a:

F

2

5

..

3

2

(j)

I--

2

([

o

3

STRINGS

6

s

4

3

E7

2

cb

(/)

I--

2

LU

a:

2

5

4

3

0

G

2

(j)

I--

w

2

a:

u.

LU

a:

0

0

0

STRINGS

6

5

4

3

G7

2

1~ 2

u.

3

3 0

0

W

a:

3

0

STHINGS 6

UJ

a:

u..

u.

u..

x

D7 1

STRINGS

6

(j)

l-

x

o

UJ

E

(f)

2

3

I--

o

0

LU

a:

u.

-

3

STRINGS 4 2 3

I--

0

2 3

UJ

u..

0

(j)

2

3

3 0

-

u.

cb

I--

2 3

1

I--

2

STRINGS 4 3 2

(/)

2

-

I

o

STRINGS 4 3 2

2

1

UJ

u..

5

a:

0

2

C7

(/)

I--

6

1

2

x

(/)

2

2

cV

I-UJ

0

STRINGS

6

w

a:

u..

STRINGS 6

3

0

I--

-

u.

3

(J)

2

0

0

(/)

UJ

u.

.

-

-

x

(/)

5

A7

3

o

x

I--

2

6

1

-

LU

I

x

2

3

o

..

3

I--

UJ

3

s

4

(/)

u..

~

6

5

1 (/)

2

0

6 I

cb x

STRINGS

A

3

....

(j)

-