IN
A
U
CLUDES
D
DIO C
CD not included in
Teacher Preview
GUITAR BOOK 1 – Teacher Preview
ESSENTIAL
ELEMENTS
FOR GUITAR
COMPREHENSIVE GUITAR METHOD
WILL SCHMID
BOB MORRIS
Essential Elements for Guitar
Book/CD – HL00862639/$17.95
Please see your favorite music retailer to
purchase the complete book/CD package.
5
PLAYING CHORDS
Study the photos and diagrams below to begin playing chords. Depress the string indicated with the tip of your 1st finger. Arch your
finger to avoid touching strings that are to be played open. With your right hand holding the pick over the soundhole, strum across
strings 3 through 1 in a downward motion. Or you may strum the strings with your thumb. The full versions of the C and G7 chords can
be found on pages 23 and 25, respectively.
x
C
x
x
o
o
1
Chord
x
x
x
o
G7
o
1
Chord
STRUM BUILDER 1
When the chords are used as accompaniment to singing, they must be strummed with a steady, even stroke. Practice the following
exercises by strumming once for each slash mark ( ’ ), and changing chords when indicated above the slashes. Repeat the patterns
several times while focusing on playing clear and evenly spaced chords.
1. A PERFECT PAIR
C
’ ’ ’ ’ ’ ’ ’ ’
G7
’ ’ ’ ’ ’ ’ ’ ’
2. ROLLING ALONG
C
G7
C
G7
C
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
2
7
PLAYING CHORDS
Now let’s try strumming and singing your first two songs.
TRACK 2
When playing along with the CD, listen for the clicks at the start of each song to help you feel the beat.
4. HE’S GOT THE WHOLE WORLD IN HIS HANDS
C
’
Time Signature
44 œj œ
Heʼs
got
G7
œ
˙
the
whole
’
whole
world
j
œ œ
j
œ œ
in
hands,
His
’
j
œ œ.
continue strumming
world
j
œ œ
j
œ œ
in
hands,
j
œ œ.
˙
’
His
j
œ œ
j
œ œ
in
hands,
His
African-American
œ
œ
œ
Heʼs
got
the
C
j
œ œ.
œ
œ
œ
˙
Heʼs
got
the
whole
G7
œ
œ
œ
œ
œ
Heʼs
got
the
whole
world
world
C
j
œ œ.
in
Double Bar
j
œ
˙
His
hands.
Copyright © 2005 by HAL LEONARD CORPORATION
International Copyright Secured All Rights Reserved
..
THEORY
..
Repeat Sign
Without stopping, play once again from the previous repeat sign.
TRACK 3
5. WATER COME A ME EYE
C
’
4
4œ
’
’
j
œ œ œ œ
Ev - ʼry
œ
time
œ œ œ
Ev - ʼry
I
’
Trinidad
j
œ œ
œ
œ
œ
I
think
œ
j
œœ œœ
j
œœ œœ œœ œœ
Li - za,
wa - ter
come
œ
re - mem - ber
time
G7
continue strumming
G7
œ
œ
j
œœ œœ œœ œ
œ
Li - za,
wa - ter
come
a
Œ
˙˙ ..
me
j
œœ œœ
œ
of
a
C
eye.
C
Double Bar
Œ
˙.
me
eye.
Repeat Sign
..
C
G7
œ
œ
Come
back
œ
œ
œ
˙
j
œœ œœ
come
back
gal,
wa - ter
œ
Li - za,
G7
œ
œ
Come
back
œ
œ
Li - za,
j
œœ œœ œœ œœ
come
a
œ
œ
˙
j
œœ œœ
come
back
gal,
wa - ter
come
me
Œ
˙˙ ..
me
j
œœ œœ œœ œœ
a
C
eye.
C
˙.
Repeat Sign
Œ
..
eye.
Copyright © 2005 by HAL LEONARD CORPORATION
International Copyright Secured All Rights Reserved
3
9
NOTES ON THE FIRST STRING
Now let’s play some single notes. Follow the same right- and left-hand position guidelines as you did with chords. Here you will pick only
one string at a time.
Treble Clef
E
w
&
open
E
▲
open
1
F
w
&
1st fret
1st finger
F
w
G
&
3rd fret
3rd finger
≥
Downstroke
This sign tells you to strike the string or strings with a downward motion of the pick or thumb.
10. WHOLE NOTES
4 w≥
&4
1
0
Count 1
2
3
4
11. HALF NOTES
4 ˙≥
&4
1
˙≥
2
3
4
w≥
3
w≥
Hold down 1st finger
1
2
3
4
1
˙
˙
1
12. QUARTER NOTES
4
G
3
˙
2
3
4
w≥
2
3
4
1
˙
1
2
3
w≥
2
3
˙
4
4
˙
1
2
3
1
2
3
4
2
3
4
w
4
1
4 œ≥
&4
œ≥
œ≥
œ≥
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
10
NOTES ON THE FIRST STRING
At first practice the exercises slowly and steadily. When you can play them well at a slow speed, gradually increase the tempo, or speed.
13. BACK AND FORTH
4 œ≥
&4
œ≥
œ≥
œ≥
1
2
3
4
œ
œ
œ
œ
œ
œ
14. SINGLE STRING THING Touch only the tips of your fingers on the strings.
4œ
&4
œ
œ
œ
œ
œ
œ
œ
œ
œ
15. TECHNIQUE TRAX Keep your left-hand fingers arched over the strings.
œ
œ
4œ
&4
œ
˙
œ
œ
˙
œ
œ
w
œ
œ
w
œ
œ
˙
˙
When you can play the melody successfully on the following tune, try adding the chords with a friend.
16. LINE TO LINE
C
4œ
&4
&
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
G7
œ
œ
C
œ
œ
œ
œ
œ
œ
w
œ
œ
w
TRACK 4
17. SPANISH THEME Spanish flamenco guitarists play this theme for dancing.
E
˙
& 44
E
HISTORY
&
œ
F
œ
˙
F
œ
G
œ
F
œ
G
œ
œ
E
œ
F
œ
E
œ
G
œ
˙
F
œ
F
œ
˙
E
œ
F
œ
G
œ
G
œ
œ
F
œ
œ
E
w
Flamenco is a style of Spanish music that blends song, guitar, and dance. It is believed that this music was brought to Spain
hundreds of years ago by migrating Gypsies. Flamenco guitar players often use the fingerstyle technique, which involves
the use of the right-hand thumb and fingers to pick the strings. The fingernails are grown long and used as natural “picks,”
as opposed to the common plastic picks favored by many guitarists.
5
12
HISTORY
PLAYING CHORDS
Hank Williams (1923–1953) was one of country music’s best songwriters. “Jambalaya (On the Bayou),“ set in a Louisiana
Cajun style, is a lively two-chord song. A bayou is a term for a Louisiana swamp, where a pirogue, or canoe, is used to find
crawfish, an ingredient in the delicious jambalaya recipe.
Try strumming the chords to this song without the slashes. Just follow the chord symbols as the song progresses. Use the same strum
pattern as before. Remember there are four beats in each measure.
TRACK 6
20. JAMBALAYA (ON THE BAYOU)
G
#4
& 4
..
˙
œ
œ
1. Good- bye,
#
got - ta
me
Fon - tain -
go
come
œ œ
oh
me
the place is
go,
eaux,
œ
œ
j
œ œ ˙.
œ œ œ.
pole the
pi - rogue down
to see Y - vonne
by
#
˙.
˙
one,
wild,
#
œ
œ
˙.
me
me
oh
oh
my
my
oh.
oh.
œ
˙.
˙.
œ
˙
-
œ
ʼCause
œ
˙
œ.
j
œ
gun,
gun,
weʼll have
weʼll have
big
big
fun
fun
on
on
the
the
to
-
la - ya and
œ
a craw - fish
œ
œ
œ.
night
Iʼm
gon
-
j
œ œ
œ.
pie
œ
and fil - let
j
œ œj œ
j
œ œ
œ
na
ma cher
a
see my
-
D7
˙.
œ
˙
mi - o,
˙
j
œ œ
œ œ œ œ œ
Jam - ba
gum - bo.
#G
& œ
œ
a
a
the sweet - est
and go hog
œ.
˙
bay - ou.
bay - ou.
D7
& œ
#
Son of
Son of
j
œ œ œ
œ.
Y - vonne,
in
style
My
Dress
œ œ œ
˙
G
œ
#
œ
œ œ
Me got - ta
Kin - folk
œ œ
bay - ou.
doz - en.
the
the
œ
˙
oh.
my
buzz - inʼ.
D7
& ˙
&
œ
Hank Williams
G
& ˙
&
œ œ ˙
œ
Joe,
daux,
(2.)
D7
pick
œ œ œ
Son of
a
œ.
gun,
œ
˙
gui - tar,
j
œ œ œ
weʼll have
big
œ
œ
fill
fruit
˙
jar
G
œ
œ
and
be
˙
œ.
j
œ œ ˙.
fun
on
the
œ
˙.
gay - o.
(œ œ)
˙
bay - ou.
..
(2. Thi - bo) -
Copyright © 1952 Sony/ATV Songs LLC and Hiriam Music in the U.S.A.
Copyright Renewed
All Rights on behalf of Hiriam Music Administered by Rightsong Music Inc.
All Rights outside the U.S.A. Controlled by Sony/ATV Songs LLC
All Rights on behalf of Sony/ATV Songs LLC Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203
International Copyright Secured All Rights Reserved
21. ESSENTIAL ELEMENTS QUIZ Play the chord exercise below for your teacher. Strum once for each slash and
change chords when indicated.
E
6
G
D7
G
D7
G
D7
G
& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
16
HISTORY
PLAYING CHORDS
Robert Johnson (1889–1938) was the best known of the country blues guitarists from the Mississippi Delta. His popularity
was on the rise around the same time that Woody Guthrie was traveling the country and singing his own songs. Johnson’s
signature tune,“Crossroad Blues,” has been played by many guitarists, including Eric Clapton.
TRACK 7
31. SWEET HOME CHICAGO
G
C
#4 j
& 4 œ œ œ ˙.
Come
#
‰ bœ œ bœ œ œ œ
J
on,
ba
-
by don’t- cha wan - na
Ó
Ó
‰ bœ
J
œ bœ œ œ œ
-
go?
& nœ
Ó
old
G
3
# .
.
& nœ œ œ œ œ œ
Œ
1. One and one is two,
2. Six and three are nine,
Back to that
œ bœ œ
w
Chi - ca - go?
3
nœ œ œ œ œ œ
‰ n œj œ
Œ
six and two are eight,
nine and nine eight - een,
make me
see what I
& Ó
Œ
late!
mean.
˙.
‰ bœ œ bœ œ œ œ
J
Hey,
Œ
œ œ œ nœ œ #œ œ
Back to that
same old place,
ba - by don’t-cha
ba - by can’t- cha
G
D7
‰
œ œ œ œ
come on
come on
C
œ œ œ
œ œ œ
∑
œ œ œ
sweet home
place,
‰
G
Œ
Œ
Ó
go?
C
œ #œ œ
same
& nœ
œ œ
Come on,
œ œ ˙
by don’t-cha wan - na
D7
#
Œ
G
ba
#
Robert Johnson
œ œ ˙
C
& ˙.
#
G
ba
-
œ œ ˙
by don’t - cha wan - na
C
Œ
Ó
go?
G
œ œ œ
sweet home
∑
œ bœ œ
..
w
Chi - ca - go?
Copyright © (1978), 1990, 1991 Lehsem II, LLC and Claud L. Johnson
Administered by Music & Media International, Inc.
International Copyright Secured All Rights Reserved
7
28
PERFORMANCE SPOTLIGHT
Rests
Just as there are notes of different values that tell us to play for a certain amount of time, there
are rests of the same values that tell us not to play for a certain amount of time.
Quarter Rest
Ô
Œ
= 1 Beat of Silence
= 1 Silent Beat
THEORY
1
Half Rest
◊=
2 Beats of Silence
&
Ó
Ó
= 2 Silent Beats
=
Œ Œ
1 & 2 &
Whole Rest
=
∑
A Whole Measure of Silence
A Whole Measure
= of Silent Beats
1 & 2 & 3 & 4 &
Whole Rest
Half Rest
∑
Ó
Hangs from
a staff line.
Sits on a
staff line.
This next song features all of the notes you have learned so far from strings 1, 2, and 3. The song splits into a duet on the next page. Be
sure to observe the rests and count through them so you can keep your place in the song.
TRACK 20
49. CAN YOU FEEL THE LOVE TONIGHT (from Walt Disney Pictures’ The Lion King)
Verse
Elton John & Tim Rice
F
4
&4 œ
Thereʼs
œ
œ
œ
a
calm
sur
F
&œ
When
œ
œ
œ
the
heat
ofÊÊÊthe
F
&œ
An
&œ
Itʼs
-
ren -
œ
œ
e - nough
œ
œ
œ
der
to
the
rush
of
Dm
˙
œ
world
C
œ
œ
œ
œ
can
be
turned
a
F
œ
˙.
mo - ment,
œ
œ
œ
roll - ing
Am
œ
˙.
C
en - chant - ed
F
F
œ
œ
œ
œ
C
œ
forÊÊthis rest - less
œ
œ
œ
œ
and
it
sees
me
Bb
œ
œ
war - rior
œ
œ
œ
œ
just
to
be
with
C
w
day.
G
w
-
way.
C
w
through.
G
˙.
you.
œ
And
© 1994 Wonderland Music Company, Inc.
All Rights Reserved Used by Permission
8
29
Chorus
Gtr. 1
C
˙.
4
&4
can
Gtr. 2
& 44
˙.
F
Gtr. 1
&
˙
where
Gtr. 2
&˙
F
Gtr. 1
&œ
G
œ
feel
the
love
œ
˙
˙
˙.
G
˙
we
are?
˙
w
&œ
C
Gtr. 1
Gtr. 2
˙.
œ
can
you
œ
&
&
˙
œ
˙.
G
G
Gtr. 1
&w
˙
C
that
we
˙
˙
˙
feel
the
love
˙
˙
˙.
&w
F
Gtr. 1
&œ
vag - a - bonds
Gtr. 2
&œ
œ
œ
œ
œ
˙
be - lieve
œ
˙
w
Ó
C
Am
for
this
œ œ
w
F
C
w
Ó
Itʼs
e - nough
œ
œ
C
F
the
ver
˙
˙
˙.
-
˙
F
˙
D7
How itʼs
laid
to
œ œ
˙
˙
œ œ
œ
œ
to
make
œ
˙
˙
œ
˙
˙.
œ œ œ œ
Am
˙
œ
eyed
And
Ó
w
-
˙
˙
œ
wide
w
far.
œ
œ
G
this
is
œ œ œ œ
œ œ
˙
˙
œ
œ
It
C
Ó
Dm
œ
D7
œ
Ó
w
œ
F
F
w
Ó
to - night?
rest?
Gtr. 2
œ œ
˙
˙.
w
e - nough
Ó
got
Am
C
˙
œ œ
˙
˙
˙
œ
Itʼs
Dm
F
to - night?
Ó
w
˙
œ
F
w
w
wan - der - er
Gtr. 2
˙.
you
D7
œ
Am
˙
˙
œ
œ
w
y
best.
œ
w
œ
œ
kings
œ
˙
œ
and
œ
œ
œ
C
w
w
9
30
PLAYING CHORDS
STRUM BUILDER 5
Syncopation
An off-beat rhythm, or the accenting of notes that fall on the “&” between counts.
Syncopated Strum
Practice the syncopated strum patterns below as a variation on the down-up stroke.
Tips • Establish the down-up stroke pattern until you can do it without thinking.
•
Continue this down-up action throughout the syncopated strum patterns, but “miss” the strings
where you see the word “miss.” Be sure to keep your arm moving just like the basic down-up strum.
•
This will result in the desired rhythms and will allow you to easily shift back and forth from one strum pattern to another.
Strum
≥Û Û≤ ≥Û Û≤ ≥Û Û≤ ≥Û Û≤
Count
1
Strum
≥Û Û≤ ≥Û Û≤ Miss
Û Û≤ ≥Û Û≤
Count
1
Basic Down-Up Strum
2
&
3
&
4
&
&
Syncopated Strum 1
2
&
(3)
&
4
&
&
let ring
Strum
≥Û
Miss
Count
1
(&)
≥Û Û≤ Miss
Û Û≤ ≥Û Û≤
Syncopated Strum 2
2
(3)
&
let ring
4
&
&
let ring
Try out the new strum patterns with the songs “Water Come A Me Eye” (page 7),“Pay Me My Money Down” (page 11), and “Jambalaya”
(page 12), then practice them in the exercises below.
50. SYNCO DE MAYO
G
≥ ≤ ≥ ≤
D7
1
&
2
(3)
&
≤ ≥ ≤ ≥ ≤ ≥ ≤
G
4
&
1
&
2
&
Miss
(3)
&
≤ ≥ ≤ ≥ ≤ ≥ ≤
D7
≤ ≥ ≤
4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Miss
Û
Û
ÛÛ
&4
Miss
4
&
1
&
&
2
&
Miss
(3)
≤ ≥ ≤ ≥ ≤ ≥ ≤
&
4
&
1
&
2
&
(3)
&
4
&
Now practice syncopated strums with the chords from “Duke of Earl.”
51. DUKE OF STRUMS
G
≥ ≤ ≥ ≤
Em
≤ ≥ ≤ ≥ Miss ≥ ≤
4
& 4 .. Û Û Û Û Û Û Û Û Û
HISTORY
1
10
&
2
&
Miss
(3)
&
4
&
1
Miss
≤ ≥ ≤
C
D7
Û Û Û Û Û Û ..
ÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ Û
(&)
2
&
(3)
&
4
&
1
&
2
&
(3)
&
4
&
1
(&)
2
&
(3)
&
4
The syncopated strums so vital to popular music today are a result of the unique blend of African rhythms and European
and Latin American musical elements.
&
42
PLAYING CHORDS
œœ
Alert
The next song includes 1st and 2nd endings. See page 36 if you need to refresh your memory.
TRACK 33
72. SURFIN’ U.S.A. Strum and sing this famous Beach Boys song.
N.C.
# 4
& #4Œ
œ œ œ œ œ
A7
Ev - ’ry - bod - y’s gone
surf
œ.
œ ˙
J
-
surf - in’ U.
in’,
A7
&
##
ev - ’ry - bod - y
D
had
œ nœ
w
œ
œ
cean
œ
œ
Then ev - ’ry - bod - y’d
We’re wax - in’
down
&
##
œ
like
we
G
# .
& #œ
&
-
-
gies,
mer,
œ nœ œ œ œ œ œ
A
œ
œ.
be
our
surf
surf
bush - y, bush - y blonde
Tell the teach - er we’re
œ
œ
j
œ ˙
œ.
hair
surf
-
œ
J
j
œ
œ
huar - a - chi
san - dals
we’re on
sa - fa - ri to
A7
-
A.
soon.
j
œ ˙
in’
boards
You’d see them wear - in’
We’ll all
be gone for
œ
j
œ
œ œ œ œ œ œ œ
a.
June.
œ
A.
A7
D
j
œ ˙
bag
sum
##
Cal - i - for - ni
can’t
wait for
S.
a - cross the U. S.
we’re gon - na take real
j
œ w
nœ œ œ œ œ
J
œ w
J
nœ œ œ œ œ
œ
J
j
œ ˙
o
(2.) route
an
œ œ œ œ
J
œ
# # œ N.C.
n œ œ œ œ œ œ œ .. œ .
&
1. If
Chuck Berry
D
do,
in’,
œ
their
the
D
w
too.
stay.
œ œ œj œ
surf - in’
surf - in’
U.
U.
S.
S.
j
œ
A.
A.
Copyright © 1958, 1963 (Renewed) by Arc Music Corporation (BMI) and Isalee Music Inc. (BMI)
International Copyright Secured All Rights Reserved
Used by Permission
11
56
FINGER PICKING
Arpeggio
An arpeggio is a “broken” chord whose notes are played individually and in succession instead of all
at the same time.
Finger Picking
A very popular style of guitar accompaniment which uses arpeggios instead of strummed chords.
The distinctive sound of finger picking comes from the right-hand thumb and fingers plucking
only one string each in succession.
The Right Hand
The right-hand thumb and fingers are given letters based on the internationally accepted system of Spanish words and letters:
p = pulgar = thumb
i
m
= indice = index finger
i
a
m = medio = middle finger
a = anular = ring finger
p
Right-Hand Technique
• The thumb (p) plucks strings 4, 5, or 6 depending upon which string has the bass note of the chord. This motion is a downward
stroke. Use the left side of the thumb and thumbnail.
• The other fingers (i, m, a) pluck the string in an upward stroke with the fleshy tip of the finger and fingernail.
• The index finger (i) plucks string 3.
• The middle finger (m) plucks string 2.
• The ring finger (a) plucks string 1.
• The thumb and each finger must pluck only one string per stroke and not brush over several strings (this would be a strum).
Let the strings ring throughout the duration of the chord.
Right-Hand Position
12
•
Use a high wrist and position your thumb and fingers over their
respective strings.
•
•
•
Arch your palm as if you were holding a ping-pong ball.
Keep your thumb and fingers relaxed and ready to play.
Let the fingers do the work rather than lifting your whole hand.
59
NEW NOTES
Below are three different F # notes on the fretboard to learn and play. Just move up one fret (or half step) from any of the regular F notes
that you already know.
99. THE F-SHARPS Practice each of these finger exercises many times.
3 F# s
F#
2
œ
4 œ #œ
&4
2
œ Sharp also
œ œ #œ
œ
4
2
0
Sharp also
& œ #œ
4
œ
œ
œ
œ #œ
œ
Now play both parts of “Danny Boy” which use all of the new notes. Play as a duet with your friend or teacher. Also you can play the chord
progression as a third part.
TRACK 46
Weatherly/Traditional Irish
100. DANNY BOY
Gtr. 1
& 44 # œ œ œ
Gtr. 2
& 44 œ œ # œ
Gtr. 1
&œ œ œ œ
Oh, Dan - ny
down the moun-tain
Gtr. 2
Gtr. 1
#œ ˙
D7
call
The sum-mer sgone,
side.
ing,
and
all the ros - es
˙
œ œ œ #œ ˙ . #œ ˙
bide.
But come ye back
3
0
&
˙
in
shad - ow.
œ œ œ œ
˙
and
˙.
œ œ œ
fall - ing.
œ œ ˙
œ
œ #œ œ œ
It’s you, it’s
œ
when sum-mer’s in the
œ œ œ ˙.
ley’s hushed and white with
œ œ œ ˙. œ
&œ
C
œ œ œ œ Gœ
œ ˙
&
glen,
œ œ #œ
D7
œ
œ œ œ œ œ w
œ
D7
Em
C
G
A7
œ #œ ˙ . #œ #œ œ œ œ
œ
w
&œ
-
œ
G
C
G
œ #œ ˙ . #œ #œ œ œ œ œ œ
œ
œ
˙
G
val
œ
from glen to
C
œ
œ
œ œ œ ˙
œ œ
œ #œ œ œ ˙ .
w
-
G
œ ˙.
œ
œ
œ
œ œ ˙
˙
G
& ˙.
sun-shine or
Gtr. 2
˙.
must go and I must
1
Gtr. 1
the pipes, the pipes are
œ œ œ œ œ w
or when the
Gtr. 2
boy,
D7
& ˙.
you
Gtr. 2
C
œ
œ
œ
œ
œ
œ œ ˙
˙.
& œ œ œ œ #w
G
Gtr. 1
G
Em
œ œ œ œ œ œ
˙
G
D7
˙. œ
œ
œ
œ
œ
3
snow.
œ œ œ œ
˙
mead - ow,
Tis I’ll be
˙
G
#œ
C
œ œ œ
D7
3
there
˙.
G
œ œ œ œ
œ #œ œ œ œ
œ œ #œ w
Oh, Dan - ny
boy, oh Dan - ny
boy, I love you
œ œ œ
œ œ œ #œ œ
˙
˙
in
#œ
œ
so!
w
œ
Copyright © 2005 by HAL LEONARD CORPORATION
International Copyright Secured All Rights Reserved
13
74
PERFORMANCE SPOTLIGHT
THEORY
Eighth Rest
‰
‰
= 1/2 Beat of Silence
Œ
= 1/2 Silent Beat
‰‰
=
&
At the D.S. al Fine play again from the sign % , stopping at Fine (“end”). This is just like the
D.C. al Fine you have learned, except you go to the sign instead of the beginning of the song.
D.S. al Fine
Play this next song by The Police which contains several elements that you have recently learned, including eighth rests. Try picking
the melody as well as singing, strumming, and finger picking.
TRACK 58
120. EVERY BREATH YOU TAKE
Sting
Chorus
#4
& 4Œ
#Œ
&
G
œ œ œ
œ œ ˙
Ev - ʼry breath
you
Ó
C
œ œ œ
œ
ev - ʼry bond
you
œ œ œ
œ œ œ œ Œ
ev - ʼry move
you
Œ
take
Em
make,
D
œ
œ œ œ
œ
œ
break,
ev - ʼry step
you
take,
Ó
Em
œ œ œ œ œ
Iʼll
∑
be watch-ing you.
Verse
# %Œ
&
œ œ œ
1.
2.
#
& Œ
G
˙.
œ œ
Ev - ʼry sin - gle
Ev - ʼry move
you
œ œ œ
ev - ʼry game
ev - ʼry smile
Œ
day,
make,
C
œ
you
you
Œ
play,
fake,
œ œ œ
œ œ
ev - ʼry word
ev - ʼry vow
you
you
˙
ev - ʼry night
ev - ʼry claim
Ó
say,
break,
D
œ œ œ
œ
Em
G
œ
œ œ œ
œ
you
you
stay,
stake,
œ œ ˙
Iʼll be watch - ing
Iʼll be watch - ing
Fine
Ó
you.
you.
Bridge
#
& Œ
œ
Oh,
#
& Œ
œ
canʼt
œ œ œ
How my poor
14
œ œ
you
œ œ
heart
C
˙.
Œ
œ œ œ
Œ
see
A7
œ œ ˙.
aches
you be - long
Eighth Rest
œ œ œ
‰ œJ
with ev - ʼry step
G
œ
to
˙
me.
D7
œ œ ˙.
you
Ó
take.
D.S. al Fine
Œ
© 1983 G.M. SUMNER
Administered by EMI MUSIC PUBLISHING LIMITED
All Rights Reserved International Copyright Secured Used by Permission
75
FINGER PICKING
This next song is well-known for its finger-picked guitar accompaniment. Play the melody first, and then try finger picking the chords and
singing. Experiment with different finger-picking sequences.
TRACK 59
121. DUST IN THE WIND
Kerry Livgren
œ œ œ œ œ œ œ œ œ œ
Verse
C
G
Am
G
1. I
close
my
eyes
on - ly
& 44 œ
w
˙
˙
G
Am
G
All
my
dreams
w
˙
for
a
Am
mo-ment, and the
Dm
Chorus
Am
pass be - fore my eyes a
˙.
mo-ment’s gone.
œ œ œ œ œ œ œ œ œ œ ˙.
C
&˙
Dm
D
˙
Œ
cu - ri - os - i - ty.
G
Dust
œ œ
in the
Verse
Am
D
G
œ œ œ œ œ
&w
wind,
all they are
G
Dm
is
dust
in
Am
& œ œ œ œ œ œ œ œ œ œ ˙.
just a drop of wa -ter in an
Am
œ œ
end-less sea.
C
G
Am
˙
˙
w
old
song,
w
wind.
the
2. Same
C
G
Am
˙
˙
w
All
we
do
G
Dm
œ œ œ œ œ
œ œ œ
crum -bles to the ground though we re -
Chorus
Am
D
G
Œ
& œ œ ˙.
fuse to see.
D
˙
œ œ
w
Dust
in the
wind,
Verse
C
Am
G
Am
œ œ œ œ œ
œ œ w
all we are
in the
is dust
œ œ œ œ Dœm œ œ œ
wind.
G
Am
w
G
3. Don’t
hang
on,
noth - ing lasts for - ev - er
C
G
Am
G
œ œ œ œ Dœm œ œ œ
Am
slips
a
way…
All your mon - ey won’t an - oth - er
min - ute buy.
˙
&˙
w
˙
&˙
-
but
the
Am
œ œ ˙
œ
earth and sky.
It
œ œ ˙.
Chorus
D
&Œ
˙
G
Dust
D
&Œ
˙
Dust
œ œ
in
the
G
œ œ
in
the
Am
œ œ œ œ œ
G
œ œ
Am
wind,
all
dust
in
wind.
Am
D
w
w
wind,
D
we
are
is
G
œ œ œ œ œ
ev - ’ry - thing
the
is
dust
w
Am
œ œ
in
the
˙.
wind.
© 1977, 1978 EMI BLACKWOOD MUSIC INC. and DON KIRSHNER MUSIC
All Rights Controlled and Administered by EMI BLACKWOOD MUSIC INC.
All Rights Reserved International Copyright Secured Used by Permission
15
78
PLAYING CHORDS
12-Bar Blues
The most typical blues is twelve measures, or bars, long.
Many 12-bar blues songs follow the chord progression in the next exercise. Use the power chord shuffle you have just learned.
TRACK 61
124. BLUES IN A
A5
4
&4
T
A
B
.. ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥
œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ
.
.
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
D5
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
A5
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
E5
2
0
2
0
4
0
4
0
2
0
2
0
4
0
D5
4
0
2
0
2
0
4
0
4
0
2
0
2
0
A5
4
0
4
0
2
0
2
0
4
0
4
0
2
0
1.
2
0
4
0
4
0
2.
œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ .. w
& #œ œ
œœ œœ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
.
.
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
2
0
TRACK 62
125. C.C. RIDER Play this 12-bar blues song with the power chord shuffle from the previous exercise and sing along;
# # # 4 . A˙ .
& 4 .
1. C.
2. Tell
&
### nœ
then try it with regular chords.
œ
œ œ ˙.
C.
me
rid - er,
rid - er,
A
œ œ œ œ w
œ
œ
see what
is
what
œ
you
on
A7
œ nœ w
have done.
your mind.
E
D
Traditional
D
œ œ n œJ œ .
C.
me
C.
Tell
A
Ó Œ œ œ œ œ œ . nœ œ œ œ œ w
J
see what you have done.
what is on your mind.
You made me love you,
Oh, tell me why you
rid - er,
rid - er,
∑ ..
now your friend has come.
treat me so un- kind.
Copyright © 2005 by HAL LEONARD CORPORATION
International Copyright Secured All Rights Reserved
E
+84088-AIDFAc
126. ESSENTIAL CREATIVITY
Now go back and play the blues song “Sweet Home Chicago” (page 16) with a shuffle feel. Notice the similarities between this tune and the
other blues tunes you have just learned. Many forms of American popular music are somehow related to the blues. Make a list of as many
songs as you can think of that have this “blues sound” and discuss them with the class.
FOR PROMOTIONAL USE ONLY
90003759