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org
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Chapter 13

Introduction

Introduction to the Guitar

The guitar is a very popular stringed musical instrument. This part of You’ve Got Music is
mainly concerned with standard six-stringed acoustic or electric guitars; twelve string guitars
are also applicable in most cases. An understanding of basic music theory, already covered in
part one, would yield a deeper understanding of the lessons taught here.

Different Types of Guitars

Acoustic guitars
Acoustic guitars are used in a variety of genres. Because of the long history of the acoustic guitar,
there are many different kinds; some kinds are rarely considered guitars, such as the ukulele. The
guitar is the most popular instrument in today's society. The body of the guitar is large and hollow,
allowing the sounds to resonate and providing a natural means of amplification. The sound of the
acoustic guitar is characterized partly by a weak sustain, meaning notes will fade after being struck.
However, some master-built classical guitars ("concert guitars") feature very good sustain and
excellent overall performance.

Acoustic guitars are often used in performance. When the performance is in a personal setting or in an
amphitheater an acoustic guitar can often be heard with no amplification. In most other performance
scenarios amplification is required for the audience to be able to hear the guitar well. An acoustic
guitar can be amplified by placing an amplified microphone near (possibly within several inches) the
soundhole of the guitar or by installing an electric pickup in the guitar. An acoustic guitar with an
installed electric pickup is not considered an electric guitar.

When we refer to acoustic guitars, we usually think of the 'flat top' guitar, with a distinctive
soundhole. They are usually bigger than classical guitars (described below), and feature a somewhat
thinner neck and metal (steel) strings. They come in a variety of sizes, from the smaller 'parlour' and
'concert' sizes, to the larger 'dreadnought' and 'jumbo' sizes with the most typical being the
'dreadnought'. They have a distinctive warm (although sometimes metallic) sound and can be
strummed for playing rhythm in a wide range of popular music genres, including country, pop and
rock, or played 'fingerstyle' for country blues, ragtime and folk. A plectrum or 'pick' can be used, for
instance in the bluegrass 'flatpicking' style.

Unlike the electric guitar, the traditional acoustic guitar is not dependent on any external device for
amplification. The shape and resonance of the guitar itself creates acoustic amplification. However,
the unamplified guitar is not a loud instrument; that is, it cannot "compete" with other instruments
commonly found in bands and orchestras, in terms of sheer audible volume. Many acoustic guitars are
available today with built-in electronics to enable amplification.
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Electric guitars
The electric guitar is the workhorse of rock music, but has its uses in other genres such as blues, jazz
and pop music. While an acoustic guitar can be played an electric guitar without amplification for the
purposes of practicing, but it will be much quieter than an acoustic guitar, and electric guitars are
never played this way in performances.) The sound of an amplified electric guitar is very different
from that of an acoustic guitar, even when no effects or distortion are used - the pickups and amplifier
define the guitar's sound to a large extent. Like the acoustic guitar, the electric guitar has a poor
sustain. However, amplification and especially overdrive will increase the apparent sustain, and
feedback can allow a note to be sustained indefinitely, even for several minutes. Many people who
play the electric guitar wish to use the distortion and other effects.

Technically speaking an electric guitar is any guitar with an electromagnetic pickup to amplify the
sound created by the vibration of the strings. Electric guitars come in a variety of shapes and sizes
which are not always limited to the acoustical qualities of the shapes and thus can be more
comfortable to play. Electric guitars are typically easier to play since the strings usually are much
thinner (the strings do not have to resonate as much as with an acoustic), and are closer to the neck,
requiring less force to press them down. The multitudes of variations amongst these guitars allow
them to have a vast variety of different tones. The two most popular basic shapes of electric guitar are
the Stratocaster style and the Les Paul style. Most electric guitars that are solid body create very little
sound on their own and therefore require an amplifier for all performance purposes.

Semi-acoustic Guitars
Semi-acoustic guitars (also knows as semi-hollowbody or hollowbody electric guitars) are an electric
guitar with magnetic pickups and a hollow or semi-hollow body (as opposed to a solid body electric
guitar). They are not the same thing as an acoustic electric guitar (or what the Europeans call an
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electro acoustic guitar). Acoustic electric guitars are just an acoustic guitar which has been equipped
with a pickup (usually a piezo transducer under the saddle) so that it can be amplified.

Solid Body guitars

The typical electric guitar is a solid body guitar. They are called solid body because they are made
from one solid piece of wood (or several pieces of wood glued together) and have no soundhole or
obvious body cavities. With no apparent soundhole to project the sound they make very little sound
on their own and therefore require an amplifier for all performance purposes. It has to have an
amplifier not like other guitars. With out it, it would not be loud and make an odd sound.

Archtop Guitars
An archtop guitar is typically a hollow body acoustic or electric guitar which uses steel strings and has
an arched top which creates unique resonance. The hollow body archtop is a guitar whose form is
much like that of a mandolin or violin family instrument in that the body of the guitar is hollow.
Archtop guitars may be acoustic or electric and can look very similar, the only certainly
distinguishing feature being an electromagnetic pickup. Some solid body electric guitars are also
considered archtop guitars based strictly on their body shape which includes an arched top although
usually 'Archtop guitar' refers to the hollow body form. Archtop guitars have been particularly
popular in jazz music, usually using thicker strings than acoustic guitars (the thicker strings add tone).
These are often louder than a typical dreadnought acoustic guitar. The electric hollow body archtop
guitar has a distinct sound among electric guitars.
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Twelve string guitars

The twelve string guitar is usually an acoustic instrument, but electric twelve string guitars exist,
usually in the form of a double-neck guitar. Twelve string guitars produce a more ringing tone,
however, they are a bit harder to play and maintain than the standard guitar and are usually confined
to niche roles, and are usually used strictly for rhythm. They are played in the same fashion as a six
string guitar, as the strings are paired together. Playing them is more difficult than a six string guitar
however, because the additional strings require more pressure to depress. It is also more difficult to
bend notes tunefully. They are usually more expensive than your average acoustic or electric, and tend
to wear out faster due to the additional strain on the neck.

Steel guitars
The steel guitar is distinctive in being played horizontally, either across the players knees or on its
own legs. There are two main varieties of the instrument, which is played using the metal slide, or
'steel', from which the guitar takes its name. The steel is held in the left hand, when used by a right-
handed player. The two main variations are the lap steel guitar, which typically has six strings, and the
pedal steel guitar, which can have more - and sometimes two or even three separate sets, each tuned
differently. Pedals and knee levers are used to alter the tuning on particular strings whilst playing
which, along with the sliding action of the steel, gives the pedal steel its distinctive voice, most often
heard in country music and western swing.
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Resonator Guitars
Often mistakenly referred to as 'steel' guitars (some models have metal bodies), the acoustic resonator
guitar is distinctive in not having a regular soundhole, but a large - usually circular - plate which
conceals the resonator cone. The cone closely resembles an audio loudspeaker, though made from
spun aluminium. The bridge of the guitar is connected either to the centre of the cone or to the edge
(by an aluminium 'spider'), and the strings' vibrations are thus amplified and projected outwards
through the perforated plate on the guitar's top. The most common resonator guitars have a single
cone, although the original model (the tri-cone) has three. Resonators possess a loud, bright voice,
making them easily heard in a large room or in the open air. They are popular with blues musicians,
and country players. They can be played in the conventional style, or with a metal or glass slide.

Parts of a Guitar

Both acoustic and electric guitars share many parts in common. For instance, they all have a body,
neck, fretboard, and headstock.

Acoustic
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Electric
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Holding the Guitar

Sitting down: Sit up straight on a chair, with your feet on the ground. Place the waist of your guitar on
the right leg, keeping the guitar completely vertical across its width. Rest your right upper arm on the
side of the guitar so that it is comfortable. Your arm should bend with your thumb resting on the sixth
string parallel to it. Your hand should cover the soundhole. On an electric, imagine a soundhole and
keep your hand where the soundhole would be. Take your fingers of your left hand and rest it on the
strings around the fifth fret. Place your right thumb behind the fingers directly behind the neck. Your
shoulders should be relaxed. Now, lean forward slightly and relax.
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Using the Fretboard

Depress the guitar string firmly to the fretboard, close to the metal fret. If the string is not depressed
enough, the string will strike the frets when vibrating and the note played will have a "buzzing"
sound. If the string is depressed too hard, not only will the pitch of the note be higher than desired, but
also you will use a lot of strength and get tired easily. You'll have to practice to get the right amount
of pressure.

Tuning a Guitar
There are many different ways to tune a guitar, but the most common is called standard tuning, or E
tuning. In standard tuning the strings should be tuned to the notes EADGBe. This means that the
thickest string should play the low E note, and then the next thinner should play an A and so on,
finishing with the thinnest playing a high E. When the guitar is tuned, strumming all the strings at
once produces a chord.

Standard tuning is often represented visually like in the diagram below. Note that the upper case E
represents the thickest string, and the lower case e represents the thinnest string, which means that the
lowest string on the diagram is the highest string on the guitar. This is meant to represent how the
guitar looks when a player looks down on it.

e|-----------------------|
B|-----------------------|
G|-----------------------|
D|-----------------------|
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A|-----------------------|
E|-----------------------|

To adjust the pitch of a string, you twist the tuning peg. To adjust to a higher pitch the string must be
tightened, and to lower the pitch the string must be loosened. When doing this, it is important to make
sure you are turning the correct peg for the string you are trying to tune. It is both confusing and
embarrassing when you turn the wrong peg, often because you have to start all over again.

Until you have developed your musical ability, it may be difficult to know exactly what a particular
note should sound like. Any guitar or music store will sell tuning aids, such as tuning forks, pitch
pipes and electric tuners. When properly used, these allow you to precisely tune each string to the
appropriate pitch. Almost every guitar player owns some sort of tuning aid, and new players are
encouraged to purchase one.

On the guitar neck, fingering each fret raises the pitch of the note a half-tone. In an octave, there are
twelve half-tones, which means that if you play any note, the note 12 frets above that is twice as high
in pitch. Any two notes are related by a certain number of half tones, which is called an interval. The
interval between the low E string and the A string is called a fourth, which means that the two notes
are separated by five half-tones or frets. This relationship of a fourth is the same for any string and the
one below it, except for the G and B strings. The note G is separated by only four half-tones or frets,
which makes this interval a third.

Tuning by ear

Regular Tuning
Tuning by ear (also known as the fifth fret method) involves getting a single string at the correct pitch,
and then using that as a reference point to tune the other strings. Because of this, a tuning aid is useful
to ensure that the first string is properly tuned. It is best to use the A as the reference string, because it
lies in the middle of the root notes of the most commonly played chords. A perfectly tuned A string
resonates at a frequency of 440 Hz.

To tune by ear, begin by hitting the A string, and then the low E string. Pick the notes hard, and let the
sound ring out, since the louder it is, the easier it is to hear the difference between notes. Turn the
tuning peg up or down to bring the notes into unison When the notes are close together, you should be
able to hear a very fine oscillation between them. This should get slower when the notes are closer
together, and should disappear entirely when they are in tune. Your ability to hear this oscillation is a
skill that develops over time, and you should not become quickly discouraged if it is at first difficult.
Once the two notes have been brought into unison continue onto the next string.

On the diagram below, each string has a number indicates the fret you play to tune the string above it.

e|-------------------0---|
B|---------------0---5---|
G|-----------0---4-------|
D|-------0---5-----------|
A|---0---5---------------|
E|---5-------------------|

Also, when tuning it is always a good idea to tune the string upwards to it's proper pitch. By just
tuning down to a pitch, you introduce slack into the string very low, and then back up to the correct
pitch.

A good way to tell whether the string is perfectly in tune is to see if the other string resonates to it. For
example, if you wanted to make sure the A string is in tune with the E, pluck the fifth fret of the E
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string (hard) and mute it. If the strings are tuned perfectly, the A string should be ringing even after
the E string is muted, with little appreciable change in volume.

Harmonic tuning
Another, more advanced method of tuning is called harmonic tuning. In this method of tuning, you
use the harmonic tones of the strings to produce high pitch sounds, and then use these to tune.
Because the notes are of a higher pitch, they are easier to tune because even minor changes in pitch
are more easily noticeable. Rather than actually touching the string to a fret, simply touch the string
directly above the fret. Then, pluck the string and quickly remove your finger. This should produce a
high pitched ringing tone, known as a harmonic.

The easiest places on the string to produce a harmonic are on the 3rd, 5th, 7th, 9th and 12th fret. More
information on why is available in the harmonics chapter of this book. Because of the interval
between the G and B strings is a third, to tune the string harmonically you must use the low E string.

The diagram below shows the frets one must his to create the necessary harmonics for standard
tuning.

e|----------------------7*---|
B|------------------0---5*---|
G|-------------7*------------| * = Play a harmonic at this fret
D|--------7*---5*------------|
A|---7*---5*-----------------|
E|---5*-------------7*-------|

It is also be noted that this method will not provide perfect equal temperament tuning. It is extremely
similar, but a picky guitar player may prefer the previous technique.
If there is a substantial difference in pitch when tuning via regular or harmonic, the intonation on your
guitar is off. The easiest way to tell is to perfectly tune your 12th fret harmonic with a tuner, and then
fret at the twelfth. If the 12th fret is not in tune, while the harmonic is, your intonation needs
adjustment.

Tuning Forks
A tuning fork is a piece of U-shapes piece of metal that, when struck, emits a particular tone. Tuning
forks are good because, unless bent, they will always emit the same note. The most common tuning
forks resonate at either an A, which at the frequency of 440 hertz, or C. Using a tuning fork is
generally recommended for more advanced players.
To use a tuning fork, gently striking the it against the heel of your hand and it will vibrate. Then, set
the base of the fork against the body of the guitar. The sound of the fork will then be amplified
through the guitar, and you can use it to tune your strings. It is important not to strike the fork against
a hard surface, as this may bend the fork out of tune.
If you are using an A tuning fork, then you should tune first to the harmonic on A string. However,
you can also use the 5th fret on the low E string, the 7th fret of the D string, the 2nd fret on the G
string, or the 5th fret on the high E string. All of these frets produce an A, although some are in a
higher octave.

Pitchpipes
A pitchpipe is much like a tuning fork, in that it only plays one note and that note is used for tuning.
To use a pitchpipe, you blow through the end like a whistle. You can also purchase electronic
pitchpipes, which emit notes through a speaker. Some electronic tuners also have this feature.

Keyboard
Using a keyboard can help as it has all the necessary keys and never goes out of tune. Strike the string
and hit the key at the same time to receive the appropriate tension. It is preferable to own a pedal for
the keyboard for this approach.
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Chapter 14

Writing and Reading Music for the Guitar

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Guitar Music Notation

There are different ways music for the guitar can be written. These include the guitar
tablature, the standard (staff) notation and charts or graphical representations. It is important
for the guitarist to learn both tablature and standard notation. Each has its advantages, and
each conveys information the other does not. For this reason, many guitar songbooks feature
both standard notation and tablature; some even feature a "tab-staff" variant, where rhythm
notation is combined with tablature.

Notes on the Fretboard

Tablature
Tablature is a way of expressing music on paper. A page of tablature tells you what notes to play to
make the song happen. Instead of describing the notes that are played, tablature describes how they
are played: which strings and which frets.

Let’s look at another piece of tablature:

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(Notice that the standard notation is included here, just in case you’re interested in how it matches
with the tablature).. Each of the long lines going from left to right represents a guitar string. The top
line is the high E string (the thinnest string), the next line down is the B string, and so on. The
numbers represent frets that you play, not the fingers you use.

The first group of notes is played one at a time. The second group of notes shows the notes stacked on
top of each other, which means you play them at the same time. This group of notes played together is
called a chord. The first group of notes is called an arpeggio. Think of arpeggios as a busted up chord.
The numbers tell you which frets to press. A “0” means you play the string open, or unfretted.
Some tablature, or “tab” for short, also tells you which fingers to use. Keep an eye out for finger
indicators in the tabs shown in this book. Knowing which fingers to use is important to prevent
confusion.

Guitar Finger Labeling

Left Hand Fingers

In the left hand, the fingers are numbered progressively from 1 to 4:

1 (1st finger) = index finger

2 (2nd finger) = middle finger
3 (3rd finger) = ring finger
4 (4th finger) = pinky finger

Classical guitarists do not play with the thumb in the left hand, so it does not have a number.

Right Hand Fingers

In the right hand, the fingers are lettered. Each letter is an a abbreviation for the spanish name of each
finger:

p (pulgar) = thumb
i (indice) = index finger
m (medio) = middle finger
a (anillo) = ring finger
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Classical guitarists do not use the pinky in the right hand, so it does not have a letter.

Note: In non-classical styles, it is common to label the right hand same way the left is labeled,
that is, with numbers. See the image below:

Finger Exercises
These finger exercises are designed to build coordination between your right and left hand. Proper
picking and fingering hand coordination is vital to good controlled guitar playing.

Directions: Play each finger pattern on each string. Start on the first string, then the second, third,
etc... Although a little difficult at first, these exercises quickly build the motor skill control needed to
play the guitar effectively. Practice with an even, steady rhythm. The goal is control, not speed.
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Chord Blocks
I’m sure you will remember that a chord is the sound you hear when two or more tones are played
simultaneously. CHORD BLOCKS are diagrams that tell you how a chord is to be played. They
include information about which frets are to be played by which fingers and which strings are to be
played or not.
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The C and G7 Chords

The first two chords to be learned are the C and G7. Form and play each chord. The numbers
tell you which fingers to use. The C chord uses only 5 strings, so be careful not to play the
sixth string. The G7 uses all six strings.

Chord Exercises
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The Standard Notation (Staff Notation)

Music for the guitar is written on the treble staff. Each string corresponds to the lines and spaces of
the staff as shown below:

The Notes on the E or First String

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First String Exercises

Instructions: Write above each note the letter name of the note. Play each exercise using the correct
finger for each note.
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More First String Exercises

Instructions: These exercises do not have the tablature included. Try to read the music and
play slowly. Write in the notes if needed. Play each exercise. Remember to use the correct
finger for each note.

The Notes on the B or Second String

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Second String Exercises

Instructions: Write above each note the letter name of the note. Play each exercise using the correct
finger for each note. Practice slowly. Remember to give each note the proper number of beats.
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More Second String Exercises

Instructions: Try to read the music and play slowly in an even rhythm. Write in the notes if needed.
Play through each exercise until there is no hesitation between notes.

First and Second String Exercises

Instructions: Play each exercise slowly in an even, steady rhythm. Be careful to use the correct finger
for each note.
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More First and Second String Exercises

Instructions: Try to read the music and play slowly in an even rhythm. Write in the notes if needed.
Play through each exercise until there is no hesitation between notes.
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Ode to Joy
Ludwig van Beethoven
(1770-1827)

Play the notes then practice strumming the correct chord for each beat. If a measure does not have a chord
change over it then continue to play the previous chord until the chord changes.
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Jingle Bells
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The Notes on the G or Third String

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Third String Exercises

Instructions: Play each exercise using the correct finger for each note. Write in the notes if
needed.
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The Notes on the D or Fourth String

Fourth String Exercises

Instructions: Play each exercise using the correct finger for each note. Write in the notes if needed.
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Yankee Doodle

When The Saints

Go Marchin’ In
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Aura Lee
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The Notes on the A or Fifth String

The Notes on the E or Sixth String

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Fifth and Sixth String Exercises

Instructions: Play each exercise using the correct finger for each note. Write in the notes if needed.
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Chapter 15

Playing Chords

Common open Position Chords

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Here are chords for the keys C, E, A, G, D and F. I recommend learning these after you learn the I-
vi-IV-V-I song earlier in the book. If you don’t, learning these chords by themselves may not make
much sense to you.
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Basic Open Chord Exercises - 1

Learning the C, G7, Am, E, & Dm chords

Basic Open Chord Exercises - 2

Learning the G, D7, Em, & B7 chords
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Basic Open Chord Exercises – 3

Learning the D, C7, A, A7 & E7 chords
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Chapter 16

Playing Styles & Advance Chords

More Chords
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Barre Chords on the 6th String

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Sixth String Barre Chord Exercises

Learning the moveable F, F7, Fm, Fm7 & Fsus

Barre Chords on the 5th String

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7th CHORDS
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Strumming Exercises
Good Strumming Technique
· Hold your pick firmly.
· Keep your wrist loose.
· Strum the accurate number of strings on the down stroke but on the up stroke just hit a few
of the strings.
· Strum smooth, even strums with no hesitations.

THE SECRET TO GREAT STRUMMING - KEEP YOUR HAND GOING!

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Fingerstyle Guitar
Keys to Good Fingerstyle Technique
· Have a relaxed fingering hand.
· Bring your thumb slightly forward.
· Make sure each finger has freedom of movement.
· Go SLOW. Speed will come as you gain control.

Fingerstyle Technique Exercises: Finger Pattern 1

Directions: Play each exercise slowly in an even, steady rhythm using finger pattern 1. Slowly
increase your speed only after you have control of your fingers.
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Fingerstyle Technique Exercises: Finger Pattern 2

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Fingerstyle Technique Exercises: Finger Pattern 3

Merle Travis Fingerstyle Technique

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Giuliani Studies for Classical Guitar (Mauro Giuliani (1781-1828)

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Canon in D
(Pachelbel’s Canon)
Johann Pachelbel
(1653-1706)
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Advanced Jazz Chords

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Pentatonic Scales - The Foundation of Soloing

A PENTATONIC SCALE is a five note scale derived from the major scale. It uses the first, second,
third, fifth, and sixth steps of the major scale.

Relative Major & Minor Roots

There is a special relationship between the first and sixth step of the major scale which is
called RELATIVE. The first step of the major scale is called the RELATIVE MAJOR.

The sixth step is called the RELATIVE MINOR. To find the relative minor when given the
relative major you would go up from the relative major six steps in the major scale. You
could also go down two steps from the relative major to find the relative minor. After you
find the relative major or minor root, you can then build the appropriate major or minor scale.
Relative major and minor scales share the same KEY SIGNATURE.
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The Five Pentatonic Forms

Since there are five notes in a pentatonic scale, there are five different forms that we can use
to play the scale if we start on each different note. These are the five forms of a C major
pentatonic scale or an A minor pentatonic scale. The diamond shows the major root and the
open circle shows the minor root. On guitar, these five forms connect together like
overlapping puzzle pieces as shown in the lower example.

Common Pentatonic Patterns

Directions: These examples are given in pentatonic form #1. Practice each pattern. Begin slowly,
then gradually increase speed. Try playing these patterns in different keys and places on the neck. Use
all pentatonic forms.
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Chord Substitution Examples

For Major Chords: To spice up any MAJOR chord, you can substitute a TWO chord.
For example, if the chord progression is a C to an F chord, then play a C2 to an F2.
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For Minor Chords: To spice up any MINOR chord, you can substitute a MINOR 11TH
chord. For example, if the chord progression includes a Dm, then play a Dm11 in its place.
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Playing the Blues

A BLUES SCALE is derived from the major scale. Some notes are added and some notes are
adjusted. To form a blues scale, you add the flatted third and the flatted fifth. Also, adjust the
seventh step of the major scale down a half step to form a flatted seventh. The flatted third,
fifth, and seventh would be called the BLUES NOTES.
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Pentatonic Forms with Blues Notes

Based on an A minor pentatonic.
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The Blues Chord Progression

The BLUES CHORD PROGRESSION consists of 12 measures which have a specific pattern of
chords in the key. These chords are represented by Roman numerals.

Jammin the Blues (Swing Jazz)

Johnny's E Blues
(Solo using the E minor pentatonic scale with the added blues note)
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Guitar Techniques and Styles

The more guitar techniques you have mastered the more weaponry you have at your fingertips to set
yourself apart as a guitarist to be reckoned with.

I'll give you a couple of examples. Ever heard of a guy named Jimi Hendrix? Eddie Van Halen?
Doyle Dykes? Dimebag Darrell?

What do these guys have in common? - certainly not the type of music that they play.

They have spent their time, paid their dues to master the guitar methods they need (or needed) to play
their music, and it is not ordinary at all.

They reached the level called extraordinary. Virtuoso.

These are masters of their craft.

Now one person’s music is not for everyone. But the point is, in the area of music that they play each
one is a master.

So which guitar techniques do you need to master?

It depends not only on the type of music you want to or need to play but also what type of guitar you
are playing.

Electric guitar technique are sometimes different than a acoustic guitar.

Same thing with the type of music you are playing. Each type takes the mastery of specific
techniques.

Each technique produces a different sound which is the essence of the type of music produced from
the technique.
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So here's a short explanation of some of the more common guitar techniques and the type of music
each one could be applied to.

Sliding to Notes
SLIDING involves approaching a note from above or beneath, usually from a half step or whole step.

Bends
BENDS involve playing a note and then bending the string, either a half or whole step, to another
pitch. Always bend to a specific pitch. Normally, you would use your third or fourth finger (pinky) to
bend with the other fingers helping.

Major Scale Bending Exercise

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Hammer-ons
A HAMMER-ON is a technique with which you pick the first note, then by hitting your
fretting finger hard on the fretboard you get the second note to sound without picking it.

Pull-offs
A PULL-OFF is a technique where you pick the first note then pull off your fretting finger so that the
remaining fretted note sounds without picking it.

Tapping
TAPPING is a technique combining hammer-ons and pull-offs. It also incorporates reaching over
with your picking hand to hammer on a note on the fretboard.

Other Guitar Techniques

Alternate Picking technique-

Alternate picking is a up down picking motion on the strings to increase your speed and smoothness.
Alternate picking exercises are worth including as a regular part of your guitar practice routine.

Finger Picking or fingerstyle -

When I think of finger picking I think of country music. Each note is played by a individual finger.
Alternating bass can be combined with the melody.

Combined with left hand techniques, finger style is one of the most impressive techniques you can
master.
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Sweep picking technique -

Sweep picking is using a either straight up or down motion across all the notes in the arpeggio or
pattern that you are playing. This can be combined with legato techniques such as hammer ons and
pull offs.

Sweep picking along with all the other guitar techniques can be mixed up and used together.
Whatever works to make your music.

Hybrid Picking -

Hybrid picking is using not only a regular pick but using the free fingers of the right hand to pick
individual strings. This can be used on all kinds of music and just depends on the creativity and skill
of the guitarist.

Pinch harmonics

Pinch harmonics are cool. You can make your guitar sing or squeal like a other worldly machine.

Pinch harmonics are produced when a string is barely touched with the edge of a finger or thumb after
it has been struck with a pick or fingernail.

What happens is that the base note is muted somewhat and the overtones are what you hear.

This works best on as a electric guitar technique with a good tube amp that has the gain cranked.
Lotsa to work with.The gain ups the overtones and this produces the effect you are looking for.

Natural harmonics

Natural harmonics are a really classy acoustic guitar technique.

These are easy to learn they are produced by barely touching a open string that has just been struck
with a finger or pick. This kills the original core note and sounds the overtones in a bell like chime.
Doyle Dykes is a master of this technique.

Palm muting techniques -

Palm muting is a very important method of laying your picking hand lightly across the strings to mute
or partially mute some or all of the strings. This makes your guitar more of a percussion instrument.
Used in all styles either as a acoustic or electric guitar technique.

Power Chords
POWER CHORDS are chords that only use the root and 5th steps of the major scale. The chord
symbol is abbreviated to the root and the number 5 (ie. C5, F5). They are played using two or three
strings. The examples shown include three strings. To play the two string version, just omit the
highest pitch played with your fourth finger.
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Power Chord Exercises

Power Chord Rock

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Power Riffs
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Advanced Strumming
Sixteenth Notes: sixteenth notes are the smallest subdivision of notes found in guitar strumming
patterns. There are FOUR sixteenth notes for every beat.

Sixteenth Note Strumming Exercises

Strumming with Accents Exercises

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More Strumming Exercises

Rolling Along (Simple Acoustic Feel)

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Swinging
A standard jazz form consists of playing the melody all the way through one time, then going back through the song soloing
over the chord changes, then playing the melody through all the way one last time.
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Three Note on a String Scales

THREE NOTE ON A STRING SCALES are a way of playing major scales on a guitar that help you
learn the notes on the entire neck of your guitar and also help you with developing speed, triplet
technique, and soloing.
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Pop Ballad Groove

This song uses a FIRST and SECOND ENDING. First and Second Endings are a way to repeat a
section of music with slightly different endings. The first time through, you play the music, take the
first ending and repeat back to the beginning. The second time through, you play the music again, skip
over the first ending, take the second ending, and then continue on through the song.
This song also has a KEY CHANGE in the fourth line. Notice the key signature difference at the
beginning of the fourth line.
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Chord Melody
A CHORD MELODY involves playing a melody in chords with the melody as the highest tone in the
chord and all the other notes voiced beneath the melody note.

Ways to Jazz up Chord Progressions

Add Color Tones
A COLOR TONE is a tone added to the basic chord to create a more complex chord. Usually these
added tones come directly from the major scale, but sometimes they can be major scale tones that
have been altered such as a sharpen 9th. Remember that there are only seven notes in a major scale
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and then they repeat, so if you are referring to a ninth, this is actually the second scale step. The
eleventh is the same as the fourth and the thirteenth is the sixth.

Adding the ii-V Progression

Using the harmonized major scale, we learned that the chord built off of the second degree of a major
scale is a minor triad. In C, the two (ii) chord would be a D minor. Also, the chord built off of the fifth
major scale degree is a major chord. In C, the five chord (V) would be a G major. This combination of
a two minor chord to a five major chord is one of the most common chord progressions in jazz. To get
to any chord in a jazzy way you can approach it using the two minor and five major in the key of the
chord you are going to.

Dress up the Dominant Seventh Chord

The fifth chord in the harmonized major scale is called a DOMINANT SEVENTH chord. The
dominant seventh chord is abbreviated with the root and a 7 (ie C7, F7 or G7). This chord is almost
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always preceding the one chord. In C, a G7 goes to a C chord. A dominant seventh chord can be
jazzed up by adding color tones to it.

Altered Chords
ALTERED CHORDS are chords with chord tones that have been adjusted a half step up or down. The
note that is to be adjusted is inside a parenthesis. Any alteration only applies to the note that is inside
the parenthesis.
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Inversions and Alternate Bass Chords

INVERSIONS are chords that use another one of the chord tones instead of the root as the lowest note
of the chord. Inversions are notated with a slash. The note underneath the slash is the bass note. For
example a G/B would indicate a G chord with the B as the lowest or bass note.
ALTERNATE BASS CHORDS are chords that have a non-chord tone as the lowest or bass note. For
example a F/G would indicate an F chord with a G note as the lowest or bass note.
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Final Exercises

Exercises 1

Exercise 2

Exercise 3
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Exercise 4

Exercise 5 (Slow Blues Rock)

Practice playing the chord melody as written and practice soloing over the chord changes.
There are two sections to this song. The first section (A) will be repeated four times and then
the second section (B) will be repeated twice.
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Soloing
Where Do I Start?

Be certain of the Key: Determine what key you are in. This will tell you what major scale
you could use to begin making a melody from. Then pick and choose notes from the major
scale in that key.

Let the chord tones guide you: Ultimately, the chords and the chord tones they represent are
the guide for what notes are going to sound right at any particular point in time.

Adjust to the style of the song: Rock soloing incorporates lots of bends and pentatonic
scales. Jazz soloing incorporates lots of color tones. Bluegrass soloing uses lots of sequential
sixteenth notes. Blues soloing uses pentatonic scales with blues notes.

Use finger patterns as a simple starting point.: Once you have the key, you can begin
incorporating some of the many finger patterns we have studied in the proper key into your
solo (pentatonic scales, scales with blues notes, three note on a string scales, etc.) Be careful,
though... Finger patterns alone do not make for a very interesting solo.
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Creativity involves lots of trial and error: All of this trial and error improves your ear to
better decide which notes work and which notes do not. Be patient with yourself. Everyone
sounds bad at first, but slowly you start making better musical choices and more creative
melodies.

What makes up a good solo?

Always remember that In soloing, there are no wrong notes, just poor choices. Let the
following guide you:
1) Melody - You want to create something that is memorable.
2) Balance - All the pieces of the solo need to fit together.
3) Say Something - Avoid just musically mumbling. Find a musical idea and develop it.
Take a few notes or a phrase and build something around it.