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The Method for Beginning Guitarists
Kale Good
Part I.
The Basics
2
Lesson 1 Adduction
• The object of this exercise is to adduct the fingers, that is to pull them toward each other as you use them, and to pass
smoothly from finger to finger with no excess motion.
• Only the very tips of the fingers should touch the strings.
• The arm should hang relaxed directly below the hand at all times, the wrist should remain as unbent as possible
throughout, much as it is when the arm hangs at rest at your side.
• The lower finger is slowly placed on the string while the higher note is still sounding and the higher finger is gently
relaxed just as the lower note is played. (lower and higher = pitch!)
• Each time you cross to a new string the arm moves slightly up or down from the elbow, carrying the relaxed finger
over the new string, while the previous note is still sounding; the arm’s motion will carry the thumb along with it.
• The thumb will remain lightly held approximately behind the second finger, the thumb’s tip joint unflexed!
• The thumb should not be opposed, that is rolled inward toward the center of the palm, if the thumb is pressed at all
it should roll slightly away from the center of the palm, so there is no pressure on the carpal tunnel.
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• This example is about as high a fret as is practical on an acoustic or classical guitar. One may begin on even smaller
frets with an electric guitar or a guitar with a cut-away.
• Continue on the next lower fret:
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• Move down one fret at a time until you you finish at the first fret:
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1. Adduction
• When appropriate, continue high on the neck in whole tones, moving gradually down the neck as above. Most people
can play 4 to 1 in whole tones almost immediately.
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• 3 to 1 will take a little longer,
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• And finally, 4 to 2 will take considerable time and patience to progress to the whole tone,
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• Eventually, you will want to master 4 to 1 at a minor third.
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• These exercises are only played with the non-adjacent pairs of fingers; 4 to 2, 3 to 1, and 4 to 1. Once fluent they can
be reverse; 2 to 4, 1 to 3, and 1 to 4.
4
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2.1. A Song on Two Strings
Ode To Joy
Beethoven
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1 1
2.2. Tuning the guitar
There are three basic pieces of knowledge you need before
you can tune your guitar successfully. In addition to these
three pieces of knowledge, there are some tips and pointers
that will help you succeed in tuning your own guitar.
First, you need to understand how to read a tuner. The
fuel-gauge graphic Figure 2.1 shows a typical tuner. The
string is in tune when the tuner is centered. If it is on the
Figure 2.1.: A Basic Tuner
left, the string is flat. This means it is too low in pitch and
needs tightening. If the string is on the right, the string is
sharp. It is too tight and needs loosening. Next, you need to know the names of the strings. Figure 2.2 has the name of each
string listed at the top.
Finally, you need to know how to adjust the tension on the strings. This is done by turning the tuners, located on the
headstock. Turning the tuners counter-clockwise tightens. Clockwise motion loosens the strings.
Basic Procedure
1. Play a string.
5
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Table 2.1.: All The Notes
2. Make sure that the note indicated on the tuner is the correct note for the string you are tuning.
3. Observe the tuner’s reading and adjust accordingly. Repeat until you are in tune
If the tuner displays an incorrect note, use Table 2.1 to correct it. The table lists all the notes from low (flat) to sharp (high).
If you are tuning to E and the tuner reads D, you’re very flat. Tighten the string until the gauge reads E, then use the basic
procedure until you are in tune (notes joined by “/” indicate a single note that has two names).
Tips
• Tuning your guitar every day will make the tuning task easier and faster, as well as making you sound better.
• Make sure that you are turning the right tuner! This can be
done by following the string up to the correct tuning peg.
I advise doing this until you are very comfortable. If you
don’t, you might have the same experience that I had when
I was learning: Broken Strings!
• Some tuners don’t have a gauge, but use blinking lights instead. The faster the light is blinking, the further out of tune
you are. As you get closer to in tune, the blinking will slow
down.
2.3. Using
the Metronome
Figure 2.2.: String Names
Talk about how to use a metronome and metronome marks.
This should really come after the exercise, but I’m having
some formating issues.
2.4. Finger
Independence
The Creepy Crawler Exercise
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2.5. Technical
Goals of Book 1
Exercise
Completion
Adduction Exercises
Tuning Using an Electric Tuner
Chromatic Finger Permutations
7th Chords: A7, E7, D7
D Major Scale
Using a Metronome
Strumming Patterns: 8ths & Ties
Alternate Picking
Major Chords: A, D, E
Major Chord G
Scale: C Major
Strumming Variations: Boom-Chuck, Chunka-Chunka
Chromatic Finger Variations 8ths @ 80 bpm
7
Lesson 3 i
3.1. Developing Pick Accuracy
Prelude
Kale Good
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3.2. Lateral Independence
5 Chord Prep Exercises: Level One
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Achieve buzz tones and bell tones while switching between note-pairs within a bar. Note that these are three separate
exercises rather than one continuous exercise.
3.2.1. Under Pressure
I can still vividly remember my time in college driving to my guitar instructor’s house for our weekly lessons. Most of the
year I drove there with the heat blazing, trying to make sure my fingers stayed warm so that I could play my best. Regardless
of how well I had prepared, I always seemed to play the small (and large) mistakes that I fixed over the course of the week.
Now that I’m a teacher, I see this often with my own students. One of the most common comments I get is “I played this
better at home”. Students often feel like this is the musician’s version of “The dog ate my homework” (and seem to worry
that I don’t believe them), but the truth of the matter is that every musician has experienced this in their own lessons. I’ve
found that it is relatively easy to tell the diﬀerence between a student who has not practiced and a student who is having
diﬃculty. Which is to say: Relax, I believe you when you tell me you had it right at home!
8
3. i
There is a saying that the best playing gets done in the practice room, and its true! As soon as we step outside of the practice
room, we are under pressure to perform according to the exceptions of the audience, whether it is a teacher, some friends, or
an arena of adoring fans.
While there is a lot to be said for learning to deal with the nervous feelings and nervous energy that accompany a performance, today I want to focus on a diﬀerent way that you can prepare for outside-the-practice-room playing. In this
newsletter, I want to show you how you can practice playing under pressure. This is, after all, the situation we encounter as
soon as we leave the warm, comfortable cocoon of our practice room.
• Record yourself: Knowing that you’ll have to listen back to yourself playing, mistakes and all, is a great way to add
some pressure (it also has a ton of other benefits)
• Play x-number of times in a row, without mistakes: If you’ve told yourself that you won’t stop practicing until you
play 10 times in a row without mistakes, you’re going to be under a lot of pressure by the time you play 9 times in a
row correctly. Number 10 better be right, or else your back at 0!
• Play Cold: Our best playing happens when we’re all warmed up; unfortunately, guitar lessons usually get started oﬀ
cold. Find out what happens when you try to play without any warm up, and investigate how you can prepare for
playing cold.
• Tell a partner/roommate/parent that you will do a chore for them for a week (or a few days, depending on the chore)
if you make a mistake while playing the piece: This makes you accountable to someone else, much like a lesson or
performance. For added diﬃculty, tell them that you have to play x number of times in a row!
These four pointers can help you prepare for under-pressure situations from lessons to performances and beyond. Use them
to help avoid the biggest source of in-lesson frustration.
9
Lesson 4 i
4.1. More Fingers, More Strings
Aura Lee
Traditional
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Lesson 5 Four Finger Chromatic Exercises in Scales
The following groups may be played from the sixth string to the first and back,
beginning in the high positions near the body and working gradually downward to
the first position.
1234
2341
3412
4123
1324
2413
3241
4132
1423
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3142
4213
• Keep the weight on each finger until the next is placed, then relax it. There is
no need to actively “pick up” – that is to say to extend – the relaxing finger.
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• When changing strings, shift the whole arm straight up and down from the
elbow; the thumb will follow. There is no need to bend the wrist or lift the
elbow outward.
1432
2143
3214
4321
• Keep the weight of the arm under your hand at all times, with the thumb
approximately behind the second finger.
• Place each finger on its tip, adducting it. As you progress to the wider frets
you may place the first finger flat, in a “hinge bar.” This will help keep the forearm suppine, the elbow relaxed, and
make placement of the fourth finger much easier, in addition to being a valuable skill in itself.
• A number of diﬀerent right hand techniques may be used over time as the left
hand becomes more fluent.
• One may also combine these with slurring, shifting or other left hand skills.
• As the scales become more familiar, use the rhythms below to build up speed.
Aim to achieve 80 bpm with the final rhythm by then end of this book.
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Rhythms for Speed
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Lesson 6 i
A7
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Table 6.1.: Your First Chords
6.1. Introduction To Rhythms
wave your arm around and say these rhythms:
|: Pie Apple Pie Pie :|
|: Pie Apple Pie Apple :|
|: Pie Pie Apple Apple :|
|: Pie Apple Apple Apple :|
Figure 6.1.: Basic Rhythms
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Figure 6.2.: Apple Pie Rhythms
12
Lesson 7
i
5 Chord Prep Exercises: Level Two
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13
Lesson 8 i
Name
Whole Note/Rest
Half Note/Rest
Quarter Note/Rest
Note
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Value
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Table 8.1.: Notes, Rests, and Their Time Values
14
2 Pies
1 Pie
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Lesson 9
Kale! Centerline Images!
I Chord
V Chord
IV Chord
(The Tonic Chord)
(The Dominant Chord )
(The Subdominant Chord)
Table 9.1.: Primary Chords in A Major
9.1. Chords: An Introduction
The names above the chord charts in Table 9.1 are the absolute name of the chords. These chords are always A, D, and E,
no matter what key you play in. The names below are the relative names of the chords when playing in the key of A. These
names tell us about the relationship between the chords. These relationships will change depending on what key we are in.
Consequently, the relative names will change to fit the key we are playing in. To sum it up, the absolute name can never
change, the relative name can.
Place your fingers on the frets and strings indicated. Strum through the strings, being careful to play the open strings
indicated by an ”o” above the nut and avoiding open strings with an ”x” above the nut.
These chord diagrams have the root note indicated in red. The root note is the note from which the chord gets its name;
the root note of the A major chord is A. Some chords seem to have more than one root note indicated; the duplications are
simply the root note in a higher or lower octave.
The basic chords are made of a root note, a third, and a fifth. We’ll talk about this more when we look at intervals and
minor chords
9.2. Chord Exercises: Changes
Talk about it. 1 minute changes primarily.
9.3. Tone Production on The guitar
Talk about it. Also, talk about reviewing previous songs
16
Lesson 10
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10.1. D Major: More
D Major Extension
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10.1.1. G major Chord Prep Exercises
Here they are!
17
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Lesson 11
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Table 11.1.: Notes, Rests, and Their Time Values
18
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Lesson 12
i
|: Pie –Pull Apple Apple :|
|: Pie –Pull Pie Apple :|
|: Pie Apple –Pull Pie :|
|: Apple Apple –Pull Pie :|
Figure 12.1.: Basic Rhythms
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Figure 12.2.: Ties
20
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Lesson 13
G Major
D Major
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Primary Chords in The Key
of G
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I Chord
V Chord
IV Chord
(Tonic)
(Dominant)
(Subdominant)
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Table 13.1.: Primary Chords in G Major
The Primary Chords in the Key of G require the largest amount of cross-fretboard finger independence yet! The G chord
has many varieties; I’ve chosen one here that will allow you to keep a finger down, at least between some of the changes! Use
the skills and tool-sets you’ve acquired in improving your other chord changes; 1-minute changes and using chord changes
during your rhythm guitar practice are both great ways to get these changes integrated into your playing. As you might of
guessed by now, we’ll be looking at some songs with these chords in them in a few weeks, but this time, it will be Choose Your
Own Adventure! The songs are really exciting (read: they are by people who aren’t old enough to be your grandparents-or
even your parents). But until then, you can do rework some of the songs we previously learned and play them with your new
chords.
Figure 13.1.:
21
Lesson 14
i
Soldier's Joy
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Lesson 15
i The Blues in A
Rhythm: Chunka Chunka!
I | IV | I | I |
IV | IV | I | I |
V | IV | I | V |
alternate last line:
V | IV | I fancy stuﬀ | more fancy stuﬀ |
fancy stuﬀ can be either a turn around or an ending.
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I Chord
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E7
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V Chord
Table 15.1.: 7th chords in A
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D7
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IV Chord
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Lesson 16
The End
16.1. This is the end! Good work.
You know how to read basic rhythms. You know a nice handful of chords and a couple of songs you can strum around the
campfire. Your fingers are getting faster and faster, your picking is getting more and more agile. You know a nice number of strumming patterns, and you can spice ’em up with the Boom-Chuck and the Chunka-Chunka strumming pattern
variations. And you had fun getting here. Awesome!
Now move on to book 2 and continue the awesomeness.
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