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GUITAR
The ultimate beginner’s guide
to contemporary guitar
By Pete Downes
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GUITAR
This edition: November 2005
© 2005 Pete Downes & Wiser Productions
ALL RIGHTS RESERVED
Under the Copyright, Designs and Patents Act 1988
Wiser Productions Ltd.
Tel 020 8286 7042
email: [email protected]
Web: www.wiserproductions.co.uk
Introduction
What this book covers
This book covers everything a beginner should know, including posture, warm-up techniques, left
and right hand technique, first position scales and first position chords. In addition, we can have fun
with power chords and common rock scales. It includes tablature and standard notation. Symbols
used throughout are standard, and common to all good quality guitar music books and will allow
you to progress your studies using further material with the knowledge gained here.
Parts of a popular electric guitar
Headstock
String numbers and notes
E A D G BE
(Head)
6
5 4 3 2 1
Machine heads
(tuners)
Nut
Elephants
And
Donkeys
Grow
Big
Ears
Frets
Neck
This rhyme
will help you
remember the
string notes:
Fingerboard
6
5
4
3
2
1
Position markers
Body
Pick-ups
Fingerboard diagram close-up
Strings
Scratchplate
C Major
E A D G BE
6
5 4 3 2 1
G
Nut
Bridge
E
C
E
Fret
Bridge saddles
C
String
Tremolo arm
(when fitted)
Socket (for inserting
jack lead
Pete Downes: Start Right: Guitar
Volume/tone
controls
Fingers X
3
2
0
1
0
The above graphic
representing the
fingerboard will be used
to help you find chords
and notes.
1
Holding the guitar
There are two common approaches to holding a guitar. Our objectives here are to minimise stress,
keep body balanced, avoid fatigue and keep hands free to play (not support the guitar).
Classical sitting position
Three points of contact with guitar:
Left leg, right leg, chest. Very stable.
Contemporary sitting position
Two points of contact with guitar:
right leg, chest.
Whichever sitting position you choose, follow these points
• The chair should have no arms
• Sit on the front edge of the chair
• Ensure your feet are flat on the floor and your lap is level with the floor
• Sit with your back straight
• Keep your shoulders level
• The guitar should balance without being held by left hand. Right elbow should keep guitar in position
• For classical, elevate your left foot slightly on footstool or similar. Foot should be flat on this and heel
supported by the footstool to avoid shakes
• For contemporary, elevate your right foot if required on footstool or similar
• For classical position, your guitar head should be level with your shoulder
Standing
When standing, ensure the strap is adjusted to echo your sitting position as closely as possible (this
saves you having to practice everything twice!).
Use a good quality strap which distributes the weight of the guitar. Thicker straps are more effective
at this.
2
Pete Downes: Start Right: Guitar
Your hands
Left hand
Use your left hand (if right-handed) to press
notes onto a fret on the fingerboard. This
shortens the string length and produces a
higher note.
• Each fret = 1 semitone
Right hand
Choosing a plectrum
Before you finally decide which plectrum to use,
buy several different sizes and experiment with
all of them. One will be right for you. Don’t get
one that is too thin as it will dictate the tone you
get and will be thin sounding. A thicker pick
means you get the sound from your fingers and
wrist.
Holding a plectrum
• Place fingertip just behind the fret (to avoid
buzzes)
• Use the very tip of the finger (to avoid touching
other strings)
• Keep fingertip as vertical as possible to the
fingerboard (to avoid touching other strings)
• Press just enough to make note sound
(excessive pressure will force string out of tune
and tire your hand)
Place the plectrum on the curved index finger
as shown above. Place your thumb on top as
shown below.
Do not have too much plectrum sticking out
between thumb and finger. Usually between 2
and 5mm is enough.
There are some variations on the exact
positioning of the plectrum but this is the best
starting point.
Using a plectrum
• Keep your thumb in the centre of the back of
the neck as much as possible (allows your
fingers better reach)
• Fingernails of left hand must be short
When strumming or plucking a note, be sure
to use wrist movement not forearm. Imagine a
fly lands on your hand and you flick your wrist
to shake it off; that is the movement. Using
forearm only will reduce speed and accuracy.
Left hand symbols
Left fingers are given numbers in notation:
Index: 1
Middle: 2
Ring:
3
Little: 4
Pete Downes: Start Right: Guitar
≥≤
Plectrum symbols
= Downstroke (towards the floor)
= Upstroke (towards your face)
3
Tuning the guitar
Electric tuner
Tuning string by string
Nut
6
5
4
3
2
1
E
A
D
G
B
E
Fret 1
Fret 2
Probably the easiest and most accurate way
to tune your guitar. When choosing, things to
look for are:
Fret 3
Jack input:
for tuning electric guitars
Microphone:
for tuning acoustic guitars
Lights:
to aid tuning in the dark
Sound:
for tuning by ear to the pitch
Chromatic:
ideal for non-standard tunings
Pitch adjustment: tune to ‘out’ instruments
(eg: untuned pianos)
Fret 5
B
Fret 4
A
D
G
E
In the above diagram, the dotted lines show the
note where the string below is the same as the
string above.
Tune the 1st (E) string to the first E above
middle C on a piano.
Other tuning methods
Telephone
If you dial your own
number on your land
line (in the UK) you hear
the engaged tone. This is
a perfect G! You are not
charged for the call.
Pitch pipes
These are miniature
pipes, each one tuned to a
string on the guitar.
Tuning fork
This is a two prong metal
fork. When tapped on the
knee it produces a very
accurate note.
4
Place finger just behind the fifth fret of the 2nd
(B) string. Tune this to the open (unfingured)
1st string.
Place finger just behind the fourth fret of the 3rd
(G) string. Tune this to the open 2nd string.
Place finger just behind the fifth fret of the 4th
(D) string. Tune this to the open 3rd string.
Place finger just behind the fifth fret of the 5th
(A) string. Tune this to the open 4th string.
Place finger just behind the fifth fret of the 6th
(E) string. Tune this to the open 5th string.
Variation for telephone tuning
When tuning the G string to the telephone
engaged tone, Tune the G string first, then tune
the B string to the G by pressing G string at 4th
fret, Then the high E string to the B by pressing
the B string at the 5th fret. Tune lower strings (4,
5 and 6) as directed above.
Pete Downes: Start Right: Guitar
��
How to read tab
Before we start playing we need a bit of knowledge in order to understand this book. All symbols
and notation used will be standard, allowing you to use this knowledge with further study material.
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Reading Tab
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Tab (or tablature) is a great way to get started. It is a recognised standard and many books and
��guitar websites use it. The horizontal lines are the strings as you see them when playing the
guitar. The numbers are the frets. Vertical line is a bar.
5 4 3 2 1
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Tab and notation
In this book (and many others) standard notation is shown alongside tab version. As my objective is
to get you playing as quickly as possible, this book does not include detailed descriptions of notation.
Please get a dedicated guide such as The AB Guide to Music Theory.
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Horizontal lines = strings
Numbers = frets
0 = open string
Vertical lines = bars
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6
E A DG BE
Time ––––––––––––>
Count:
1
3
4
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2
3
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The above C major single octave scale
demonstrates how music will be displayed.
Count as shown (quarter notes, last note = half
note).
Fingering is shown in italics above the tab.
When playing in the first position, the finger
number and fret number are often the same
(as here).
Pete Downes: Start Right: Guitar
Open strings in notation & tab
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5
Warming up
Think like an athlete
About practicing
You may not think it but there are similarities
between musicians and athletes.
Warm your hands
• Both need warm muscles to perform
• Both need to stretch before performing
• Both need training (practice)
Use the stretching routine (left) or similar.
Stretch muscles
Stand or sit correctly
See page 2.
Stretching routine
Begin with warm up study
I’ve found this stretching method based on a
yoga technique very effective:
• Place hands together as if praying
• Spread fingers
• Push elbows up to stretch finger muscles
• Separate hands and shake vigorously
Posture
See below.
Be focused
It is better to do 20 minutes of concentrated,
purposeful practice than 2 hours of doodling.
Take it slow
Play the exercises in this book slowly and
accurately. Once you have the accuracy, you
can gradually increase the speed.
If it hurts, take a break!
Make sure your sitting or standing correctly as
outlined earlier.
You are training your hands to do something
they are not used to. For example, you may
get sore left hand fingertips. This is normal
and will pass after a couple of weeks when
the skin on your fingertips hardens. If they
start to hurt take a break to avoid blistering.
Warm up study
��
The following exercise is designed to get your fingers moving gently. Do this for a minute or two
before proceeding and it will help you avoid strains. Take it slow to start with. Make each note last
until the next note (legato). Make sure each finger is behind the fret.
Play with downstrokes, then alternate down and upstrokes
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After doing this on one string, you could try ascending by repeating the first bar on the next string,
then the next etc..
6
Pete Downes: Start Right: Guitar
C Major & A minor
C Major (1 octave)
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Grey dots are notes
in the same scale
above and below the
octave shown.
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X = don’t play string
3 = finger 1
2 = finger 2
0 = play open string
1 = finger 1
A minor (1 octave)
Fingering: 0
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Practice the above scales both ascending (as shown) and descending (reverse of shown) and pay
careful attention to fingerings. Note that the fret number and left finger number are the same!
C to Am chord study
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The C major and A minor scales use exactly the same notes. The only difference is the note you start
on. Learn one pattern and you’ve learned two scales! (Technically, A minor is the relative minor of C
Major).
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The objective here is smooth chord changes that stay in time. Practice the left hand finger move first.
Once changes are smooth, progress to the study. This study is not only good practice for changing
chords but also gets the plectrum hand used to doing upstrokes on the offbeat.
Pete Downes: Start Right: Guitar
7
More chords in C
C, F and G chords
These three chords are the basis for a huge volume of songs across all genres. Here we look at playing
them with the minimum of finger movement. All are in the key of C Major.
Fingering for left hand is shown below. Notice the movement of fingers 2 and 3.
Practice these finger moves in the order shown until smooth then move on to the study.
C
F
G
C
E
C
C
E
X
3
0
1
E
G
B
B
G
C
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X
X
3
2
1
1
X
3
2
0
1
0
3
2
0
0
G
0
4
We are now going to play these chords and add some movement at the bottom by adding a bassline
using notes from the C Major scale. The first hollow note in each bar should be held for two beats so
it carries on under the chord. Play all as downstrokes. You will find F tricky at first because of using
finger 1 on two strings. If struggling, leave the high E string open then try after other studies.
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When you’re comfortable with the above study, try varying the rhythm.
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Minor chords in C Major (A minor)
Am
Dm
A
Am
D
E
A
E
F
C
E
E
G
B
E
0
0
0
C
A
A
Em
E
A
2
3
B
E
2
3
D
X
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2
3
1
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X
X
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2
3
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0
1
0
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Play these chords in the sequence shown until they are smooth as you did with the C F and G study.
This time get creative and make up your own study. Start with the chords and rhythm, then see if
you can create a bassline that leads from one chord to the next. If you prefer, base it on the previous
study.
8
Pete Downes: Start Right: Guitar
Melody in C
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We’ve looked at chords in C Major. Now lets have
another look at the scale including the upper strings.
The next study uses the following notes:
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F
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C
F
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Why scales?
All melodies are parts of a scale
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Learning the scale helps you
play both scales and chords
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All chords are parts of a scale
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Name this tune!
I’ll give you a clue. It’s about an elderly chap with a farm!
I chose this tune because I’m 99% certain you will be familiar with it. This reduces the need to rely on
reading and you will begin to hear and see how the scale and its pattern are used to create melodies.
Once you’ve learned the melody, ask your tutor or a friend to play the chords for you or record them
and play over them.
After learning
the melody,
the chords� already
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Pete Downes: Start Right: Guitar
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9
The Blues
The origin of most contemporary music is the blues. Rock guitarists predominantly play blues and
pentatonic scales. Jazz players also use these scales in addition to other scales and passing notes. Soul
and R&B singers basically use the blues. All use in their own context.
For the following studies we move to the key of G Major/E minor (one sharp: F#). This is because
the majority of blues tunes were written on the guitar and E is the perfect guitar key.
E minor (G Major) Pentatonic
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Regular Major and minor scales have 7 notes (8 with the octave). Pentatonic scales have only 5 notes
(6 with the octave). Penta = 5 (like Pentagon).
Here is E minor Pentatonic (which is also G Major Pentatonic):
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The Blues Scale adds one additional note to the Pentatonic: a ‘flat five’ (flattened 5th note of the
scale). The use of this note was probably the biggest change in Western music in the last Century!
(Eastern music has used it a for lot longer.) For many centuries it was considered the ‘Devil’s note’
because of it’s dissonance with the tonic (key note), it is critical to Blues, Jazz, Rock, R&B, Soul
Gospel etc. Singers and guitarists bend in and out of this note to add expression.
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Both these patterns move up the neck to any key!
Once you’ve memorised these patterns in the first postition, you can move them up the neck to play
in any key! The fingering has to change because finger 1 now needs to press the notes that werre at
the nut.
10
Pete Downes: Start Right: Guitar
The Blues
Blues chords in E
‘Sevens’ are the chords most commonly used in blues and 12 bar sequences. Here are the three chords
we need to play a ‘12 bar’ in E:
E7
E
A7
B
D
A
E
B7
G
E
B
G#
D#
E
B
0
2
0
1
0
0
X
0
2
C#
0
3
0
X
2
F#
A
B
1
3
0
4
Practice the above chords and finger changes until you can play them smoothly (no pause between
chord changes). It is not necessary yet to know why they are called 7’s. It will be explained later.
Ability to play them is the goal now.
Once you have the chords, try this study which combines them with a riff from the E blues scale:
E Blues study
Pete Downes: Start Right: Guitar
11
Beyond the blues
The shuffle
Some bands have made careers out of variations of this pattern alone. Chuck Berry was first to make
it mainstream, Status Quo use it, Hendrix used it.
When played in A, the whole 12 bar pattern can be played by simply changing string pairs. If using
electric guitar, try a touch of distortion. Also, try palm muting (see page 13).
Use downstrokes throughout
Fingering: 1
1
3
1
4
1
3
1 etc.. Hold down finger 1 throughout)
Count:
&
2
&
3
&
4
&
1
A7
Count:
1
D7
&
2
&
3
&
4
&...
D7
E7
A7
A7
D7
A7
Examples of the shuffle are
Johnny B Goode:
Chuck Berry, Jimi Hendrix
Riding Along In My Automobile: Chuck Berry
Whatever You Want:
Status Quo
E7
Variations
Tempo and rhythm variations are what gives
this pattern variety.
Triplets
1 & a 2 & a 3 & a 4 & a (play the bold counts)
12
Pete Downes: Start Right: Guitar
Crucial contemporary techniques
Palm muting
Also known
as string
muffling,
this
technique
can be used
to great
effect when
playing
shuffle patterns and other rock/blues riffs,
especially when guitar sound is distorted. We
want to mute the string so that they do not ring
too long. This allows each strum to be clear and
percussive.
Hammering on
A technique for
making more notes
sound than you
actually pluck with
the plectrum.
How to do it
Try putting first
finger on second
fret of G string. Pluck the note. Just after
the note sounds, ‘hammer on’ third finger
to the fourth fret with a quick and sharp
movement.
Pulling off
How to do it
Turn the palm of your right hand towards your
face. See the side of your hand between your
little finger and wrist joint? This must be placed
on the bridge, parallel to it and placed over
the strings about 1cm. Pluck with a movement
of wrist and plectrum fingers (not forearm).
Experiment with moving the amount of mute to
get desired tone.
Vibrato
On guitar it is adding small variations to the
note pitch by moving the finger on the string
after fretting it. It adds expression to the
note.
How to do it
Method 1 (steel or nylon strings)
Place your finger on a fret (the G string is
a good place to start at the fifth fret, using
the second finger. Pluck the string, then
rock your finger left and right parallel to the
string. You should hear a slight variation in
pitch. Use this on steel or nylon strings.
Method 2: (steel strings only)
Place your finger on the string as above. Pull
the string slight downwards then back. This
must be done quickly. Try rocking the left
wrist to get a fast steady variation
Pete Downes: Start Right: Guitar
Basically the opposite of Hammering On. Both
are often used in the same phrase.
How to do it
Put your second finger on the G string at the
second fret and pluck it. After the note sounds,
pull your finger down slightly and release the
string. This flicks the string from your finger
and should produce the note. Try combining
the hammer on and pull off to produce a rapid
flutter of notes.
String bending
It involves
pushing the
string along the
fret to sharpen
(raise) the pitch
of the note.
How to do it
Best done on
electric guitar with light strings. Put your
third finger on the 7th fret of the G string.
Pluck, then push the string up towards your
face. You should hear the pitch change. It
helps to bring your thumb over the neck to
give support to the bending finger.
13
Rock foundations
Power Chords
Well done for getting through so far. Now we’ll have some fun with Power Chords: probably the
single most important rock chord! Power chords are usually notated as 5 chords: e.g.: E5. The chords
shown are at the second fret. This is simply to get them onto our existing diagram so we know where
we are. Once learned, the chord shapes are moveable up and down the neck on the string groups
shown, effectively up to about the 12th fret. The root note of the chord is played with the first finger.
F#5
B5
F#
1
E5
E
B
C#
F#
3
4
X
X
X
X
1
F#
B
3
4
B
X
X
E
X
Why Power Chords?
X
1
3
4
X
When electric guitarists started to use more distortion, they found that adding more complex chords
produced a lack of clarity. The chords above only use the root, the 5th and the root octave. The 5th is
a perfect interval so comes out clearly when distorted.
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Power chord study
For this study, experiment with palm muting. If on electric guitar, add some distortion.
You want this to sound punchy. Palm muting helps. Fingering as in the above diagrams.
See if you can accent the on-beat (1 & 2 & 3 & 4 &...)
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D Blues Scale
This is a great scale to play over these power chords. Have fun with it. Try string bending and
tremolo. Play the above with a friend or tutor, or record the chords for backing. See if you can break
up the note sequence, not just go up and down the scale. Try phrases that resolve to the root (D).
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Bend 2 frets
Pete Downes: Start Right: Guitar
A bit of theory
OK. We’ve got this far without detailed analysis of what’s going on. Now a bit more detail. This is
not essential to know to play good music, but it certainly helps!
Harmonising a scale
We know that a chord contains at least three notes of a scale. We’re going to see how this works by
harmonising the C Major scale. Don’t get scared, it’s easier than you might think.
A scale is created from tone (T) and semitone (S) intervals
Intervals in C Major (piano white notes):
C Major (seven notes plus octave):
Each note has a number in the scale:
A basic triad chord has three notes:
T
T
C
1
1
S
D
2
T
E
3
3
T
F
4
T
G
5
5
A
6
S
B
7
C
8
That gives us the chord C Major
Now lets harmonise all chords in the scale and see what happens:
5ths:
3rds:
C Major Root notes:
Note number:
Chord names:
G
E
C
1
C
A
F
D
2
Dmin
G
1st position
chord shapes:
D
E
G
E
C
A
F
4
F
B
E
B
E
0
1
0
X
X
O
2
3
0
2
3
0
0
0
X
X
3
E
B
G
2
1
E
A
B
F
D
B
7
Bdim
C
F
1
G
F
A
D
2
E
C
A
6
Amin
D
C
A
E
C
3
D
B
G
5
G
F
C
X
B
G
E
3
Emin
1
A
B
3
2
0
0
0
D
F
G
X
4
0
2
3
1
X
1
3
X
4
As we can see from the diagrams, we have already played all these chords except for the diminished!
7 chords
Let’s see what happens to the above pattern we add the 7th degree:
7ths:
5ths:
3rds:
C Major Root notes:
B
G
E
C
C
A
F
D
D
B
G
E
E
C
A
F
F
D
B
G
G
E
C
A
A
F
D
B
Chord names:
CMaj7
Dmin7
Emin7
FMaj7
G7
Amin7
Bm7b5
A Pianist could play these notes as shown with no problem. However it’s more difficult on guitar so we swop
the sequence. A common one is: Root, 5th, 7th, 3rd. That would give us the following chords up the neck:
Chord names:
CMaj7
Dmin7
Emin7
FMaj7
G7
Amin7
Bm7b5
Fret number
Dotted line means
place first finger
across all strings
(barre)
G
C
3
X
1
3
2
4
X
1
3
E
B
1
2
C
F
8
G
A
1
B
D
E
7
F
E
G
A
C
D
5
B
1
X
1
3
1
2
1
X
1
3
2
E
G
A
12
4
1
X
1
3
1
4
D
F
E
B
D
A
B
14
C
A
C
D
F
G
10
1
X
1
3
1
2
1
X
1
3
2
4
X
You can do the same thing with the 9th, 11th and 13th notes. Just keep adding the new note in the
pattern to the ones you already have. Because of a guitars limitations, some notes are left out of the
fingering of extended chords: usually the 5th (if not ‘altered’ by being flat or sharp).
Pete Downes: Start Right: Guitar
15
What next?
Further reading
There are many good books available for guitar covering many musical styles. This book has been
a introduction, not only to guitar tab reading but also guitar notation and terminology, posture and
technique. This will assist you in any further reading you do. Here are a few good ones
Mel Bay Modern Guitar Method Vol 1
Excellent approach that has stood the test of time. It does not include tablature but has a
very clear introduction to standard notation. Good for plectrum technique and learning the
first position chords and scales. Moves up in levels to vol 7.
Modern Method for Guitar vol 1: Berklee Press
The handbook of the Berklee College of Music in the US. Great for the player who wants to
build a deeper understanding of music: particularly jazz and improvisation. Again it does
not include tab but introduces you gradually to reading standard notation. Very highly
respected and goes up to three volumes and advanced level.
RGT Electric Guitar series
Produced by the Registry of Guitar Tutors. Great if you are interested in doing grades. Step
by step introduction to chords and scales for each level. Includes tab and scale diagrams.
The AB Guide to Music Theory
Not guitar specific but a great reference book on music notation and theory. In two
volumes. You can look up any word or symbol you are unfamiliar with.
Other resources
The Web
There are many internet sites offering free guitar tabs and tuition. Try a search for ‘guitar lessons’.
Quality varies as with anything else online.
Lessons
Lessons with an experienced player or teacher will help refine the physical aspect of playing the
guitar; posture, left and right hand techniques etc..
Even the most self motivated student can benefit from some one-to-one lessons.
Videos
There are nearly as many of these as there are of books. Quality can vary again so get good advice or
choose one by your hero!
Magazines
Guitar magazines such as Guitar Techniques generally include lessons.
16
Pete Downes: Start Right: Guitar
About Pete Downes
Pete Downes & PD3 (The Pete Downes Trio)
Article by Gordon Moore
Pete Downes is one
of those incredible
talents that only
surfaces once in a
blue moon. He is
rapidly becoming
one of Europe’s
leading guitarists
in the modern jazz fusion genre. Already
established on the jazz scene in the UK and
Italy with a string of regular appearances
culminating with a packed audience at the
Glastonbury Festival Jazz Lounge.
With influences that cover such a wide
spectrum as Pat Metheny to Jimi Hendrix their
first album “Street Scene” caught the attention
of Jazzwise, Jazz FM and critic praise from
The Guardian, The Observer and many other
Radio Stations and newspapers. The eagerly
awaited follow up album “Into The Blue” is a
further step on the road to a wider audience. On
this album PD3 blend their infectious original
compositions with totally fresh and inspired
versions of classic and recent songs in a way
that simply underlines the incredible versatility
of the trio and the ease in which they can
provide assessable jazz routed music to a much
wider audience.
“Into The Blue” is the result of a year’s hard
work, choosing material, re-arranging and
performing them live to test the reactions of
audience and critics. Now they believe they
have a complete album. Not just a showcase of
musical talent, but a complete work that takes
the listener on a journey into the sound of PD3.
Recorded virtually live at various locations
around Europe and produced by Pete himself,
this album is their finest work to date both
musically and spiritually. The interaction
between the three players is superb with each
allowing the others their own space within each
track Andy Coe’s extreme and unique double
bass playing not only providing a solid back
line, but pulsing through on solos and driving
the tracks along to Tim Bruce’s meticulous
drumming.
Pete Downes’ guitar work is unrivalled, but
never over the top or self indulgent. He is
a master of understatement and delicate
phrasing, but when the track requires power,
he’s there adding just the right amount of
weight so as not to overpower or derail the
beauty of the track.
“Into The Blue” and “Street Scene” are available
now from UK record stores and many digital services
including iTunes. Visit the website for details, audio
samples and live performances:
www.petedownes.com
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For news of updated editions and new publications, please send an email to
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��
GUITAR
Pete Downes: Start Right: Guitar
��
GUITAR
The ultimate beginner’s guide
By Pete Downes
A comprehensive guide for the beginner
covering important issues in the early life of
the aspiring guitarist that are often overlooked.
Posture
Warm-ups and Stretches
Tab and notation
First position chords and scales
The Blues
Rock Power Chords and soloing
Introduction to Theory
wiser productions
Tel: 020 8286 7042
email: [email protected]
Web: www.wiserproductions.co.uk