ALFRED'S BASIC

=REg==- REE=-j`- -
GUITAR NIETHOD
•........ THE MOST POPULAR METHOD

FOR LEARNING HOW T0 PLAY

For individual or class instruction .............................
Contents
THE PARTS 0F YOUR GUITAR .............................. 2 INTRODUCING HIGH A 33
HOW TO HOLD YOUR GUITAR ............................. 3 Rockin' in Dorian Mode 33
THE RIGHT HAND The Riddle Song 34
THE LEFT HAND INCOMPLETE MEASURES 35
HOW TO TUNE YOUR GUITAR A-I.Iskct, A-±asket 35
TO A KEYBOARD The Yellow Rose of Tlexas 35
GETTING ACQUAINTED WITH MUSIC ............... 7 THE SIXTH STRING E 36
Down Low 36
THE FIRST STRING E
Playing with E, F, G 36
TEMPO SIGNS 37
Three-Tempo Rock 37
The Blue Danube Waltz 37
SOUND-OFF: HOW T0 COUNT TIME ................ I 1 BASS-CHORD ACCOMPANIMENT ................. 38
THE SECOND STRING 8 Cc7n-Can (duet) 38
two-String Rock DYNAMICS 39
Merry-Go-Round Echo Waltz 39
Beautiful Brown Eyes SIGNS OF SILENCE 40
Guitar Rock 7lhe Desert song (Study in counting) ........ 40
Jingle Bells
Echo Rock
Alouette
She'II Be comin' 'Round the Mountain ................... 4l
THE THIRD STTRING G
FOUR-STRING C CHORD
Au clair de la June
Three-String Rock
When the Saints C;o Marching ln (duct or tr.io)
MORE BASS-CHORD ACCOMPANIMENTS
Repeat Signs Chiapanecas
Aura Lee EIGHTH NOTES
INTRODUCING CHORDS Happy Birthday to You
Chord Study No. I Eighth-Note Bounce
Chord Study No. 2 Walkin' Bass Rock
THREE-STRING C CHORD More Dynamic Signs
Pachelbel's Canon
Quarter Rest Annie's. Song
Rock 'n' Rhythm SIIARPS #, FljATs b, AND NATURALS I ........ 5o
THREE-STRING G7 CHORD The Chromatic Scale
Two-Chord Rock
Chromatic Rock
Love Somebody
THREE-STRING G CHORD
Over the Rainbow
Rockin' with G & C
Down in the Valley
FOUR-STRING D7 CHORD
Four-Beat Blues
THE FOURTH STRING D Amazing Grace
old MacDonald Had a Farm Rockin' the Bach
Buffalo Gals
Reuben, Reuben THE MAjoR SCALE
Common Time KEY SIGNATURES
G Whiz EIGHTH RESTS
Bohemian Folk Song Eighth Rest Exercise No. 1
Eighth Rest Exercise No. 2
Daisy Bell (A Bicycle Built for Tivo) ,
Eighth Rest Exercise No. 3
FOUR-STRING G & G7 CHORDS
Bill Bailey
Laughing Polka
La Bamba
THE FIFTH STRING A
DOTTED QUARTER NOTES
Volga Boatmen
Auld Long Syne
Peter Gray
Low-Down Rock Singin' in the Rain
Liebestrdum Tlake Me Home, Country Roads ....
Boogie Style cERTHFncATE oF pR®MOTHON.

Front cover giiitar photos: Guitar courtesy of Taylor Guitars . Guitarist photo by Jeff Oshiro
Alfred Music
P.O. Box 10003 Back cover photo models: Luis Cabezas from The Dollyrots (middle right), thedollyrots.com

Van Nuys, CA 91410-0003 Back cover photos: Top, and center right: Kevin Estrada . Middle left: © shutterstock.com / Elnur sitting guitarist
Bottom: © istockphoto.com / Nathan Mcclunie
alfred.com
Book Book & DVD DVD
THIRD EDITION ISBN-io: o-739o-4793ro ISBN-io: o-739o-4888-o ISBN-10: 0-7390-4938-0
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In order to comply with copyright laws, please apply for such written permission andlor license by
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2

The Parts of Your Guitar

The Acoustic Guitar The Electric Guitar

Headstock

Volume
and
tone
controls

Pickup sele
switch

t
S(rap peg
t
S(rap peg

Steel Strings
-__ _
and Nylon Strings
-------- =_ - --

Steel strings are found on both acoustic and electric guitars. They have a bright and brassy sound. Nylon strings are
usually found on classical and flamenco guitars. They have a mellow, delicate sound. Nylon strings are often easier f
beginners to play because they are easier on the fingers than steel strings.
 3

How to Hold Your Guitar

Hold your guitar in a position that is most comfortable for you.
Some positions are shown below.

When playing, keep your left wrist away from the fingerboard.
This will allow your fingers to be in a better position to finger the
chords. Press your fingers firmly, but make certain they do not
touch the neighboring strings.
Tilt the neck slightly up. Don't twist the body of the guitar to see
the strings better.

Sitting.

Sitting witll legs crossed.

guitar is strummed with the right hand. You may use a

r pick or your thumb. Strum all chords in a downward
)n unless other\/vise indicated.

Standing with strap.

4

The Right Hand

To sfrL/in means to play the strings with your right hand by brushing quickly across them.
There are two common ways of strumming the strings. One is with a pick, and the other
is with your fingers.

Strumming with a Pick

Hold the pick bet\^/een your thumb and index finger. Hold it firmly,
but don't squeeze it too hard.
Strum from the 6th string (the thickest, lowest-sounding string)
to the I st string (the thinnest, highest-sounding string).

Important: Strum by mostly moving your wrist, not just your arm.
Use as little motion as possible. Start as close to the top string as you can,
and never let your hand move past the edge of the guitar.

Start near the top string. Move mostly yoLir wrist, not just your
arm. Finish near the bet(om string.

Strumming with Your Fingers

Decide if you feel more comfortable strumming with the side of your
thumb or the nail of your index finger. The strumming motion is the same
with the thumb or finger as it is when using the pick.
Strum from the 6th string (the thickest, lowest-sounding string) to the
I st string (the thinnest, highest-sounding string).

Strumming with the thumb. Strumming with the index finger.

 5

The Left Hand

Proper Left Hand Position

Learning to use your left hand fingers starts with a good hand position. Place your hand
so your thumb rests comfortably in the middle of the back of the neck. Position your
fingers on the front of the neck as if you are gently squeezing a ball between them and
your thumb. Keep your elbow in and your fingers curved.

I{eep elbow in and fingers curved. Arch your Position fingers as if you are gently squeezing
wrist slightly so your fingertips can more a ball between your fingertips and thumb. place
easily come down on top of the strings the thumb under the fingerboard opposite the
2nd finger.

Placing a Finger on a String

When you press a string with a left hand finger, make sure you press firmly with the tip
of your finger and as close to the fret wire as you can without actually being right on it.
Short fingernails are important! This will create a clean, bright tone.

t`+,^u„ ^v %ess'RE¥illasasl

/,,
.

I `<e';sy'^' .; ':\z+'|`,rt; '.:sy:\ 33

y!;::as)1#j;I!,

•S€ #

#1`,

Right! Wromg! Wrong!

Finger presses the string Finger is too far from fret wire; Finger is on top of fret wire;
down near tlie fret without tone is ''buzzi/' and indefinite. tone is muffled and unclear.
actually being on it.
 6

How to Tune Your Guitar to a Keyboard

The six strings of the guitar are the
same pitches as the six notes shown
on the keyboard in the following
illustration: I

i,---------:
NUT

FRET I

FRET 2

FRET 3
STRING: 6 5 4 5 2 1

Tuning the Guitar to Itself EADGBE

Nut
Tune the 6th string to E on the keyboard. If no keyboard is ',
' ' ''
available, approximate E as best you can and proceed as follows:
Fret I ' ' ' I' ' '
Press 5th fret of 6th string to get pitch of 5th string (A). ' '
' '
' ' ' '
Press 5th fret of 5th string to get pitch of 4th string (D). Fret 2
' ' I '
'
' '
Press 5th fret of 4th string to get pitch of 3rd string (G). ' '
Fret 3 '' 'I,' '
'' ''
Press 4th fret of 3rd string to get pitch of 2nd string (a).
Press 5th fret of 2nd string to get pitch of 1 st string (E).
Fret 4
'
I
'
Fret 5
Tuning with the CD or DVD String:6 5 4 3 2 1
To tune while listening to the CD or watching the DVD,
listen to the directions and match each of your strings
to the corresponding pitches.
Open
I)on't play. strings.
11
How to Read Chord Diagrams XXXOO
Ill

Fingering diagrams show where to place the fingers of your 1'[

left hand. Strings not played are shown with dashed lines. Ill

The number within the circle indicates the finger that is Ill
11
pressed down.

I st finger
'st string
11 st I ret`

How to Use an Electronic Tuner

An electronic tuner is a handy device that can help keep your guitar in tune.
You pick each string one at a time, and the tuner guides you to the exact pitch
the string should be in order for it to be in tune. Until your ear becomes more
experienced, an electronic tuner can be extremely useful.
 7

Getting Acquainted with Music ___

Ilusical sounds are indicated by symbols ca[]ed notes. Their time value is determined
by their color (white or black) and by stems or flags attached to the note head.

SD~F]ag Fstem]~#::: F] o
Eigllth Quarter Half
Notes Notes Notes

The Staff
The notes are named after the first seven letters of the alphabet (A-G), endlessly repeated
to embrace the entire range of musical sound. The name and pitch of the note is
determined by its position on five horizontal lines and the spaces between, called the staff.

5th LINE
4th SPACE
4th LINE
3rd SPACE
31.d LINE
2nd SPACE
2nd LINE
-1st LINE I st SPACE

Notes on the lines _ I-Notes in the spaces |

EGBDF FACE

Measures +TTTTTT Bar,]nes

J TTTTT_
Music is divided into equal parts called mec7st/res, or bars.
One measure is divided from another by a bar /r'ne.
L- Measure -L- Measure -
Clefs
During the evolution of musical notation, the staff had from 2 to 20 lines,
and symbols were invented to locate certain lines and the pitch of the note
on that line. These symbols are called c/e/s.
Music for guitar is written in the a c/ef, or treb/e c/ef.
Originally, the Gothic letter G was used on a four-line staff to establish the pitch of G.

This grew into the modern notation

€; on a five-line staff:
 8

Use only down-strokes indicated by rl ,

The symbol o over a note means open sfri.ng. Do not finger.
E

FRET I GO TO NEXT LI
rl rl rl rl etc. WITHOUT STOPPI
FRET 2 a
FRET 3

Play slowly and evenly.

i ------. o 1 3 (HOoLD)

5 (Measure number)

PLAYING WITH E, F, G

E rl rl I etc.

DOUBLE BAH Ll

USED TO SHOW
END OF THE Pl
*Though no photo is shown for the open string, the fingers of the LH should remain slightly above the string
to be ready to play the correct fret when needed. The thumb should also remain in its proper position.
 9

MORE
Left hand fingers: When playing from the 1 st to the 3rd fret, keep the I st finger down.
Only the G will sound, but when you go back to F, your playing will sound smoother.

KEEp lst FINGEP DOWN FINGEB FINGEB

play slowly and evenly. UP DOWN

DOWN

snl.L MORE ©tk5

]i± hand fingers: Place as close to the fret wires as possible without actually touching them.

•,`-............

KEEP lst FINGEP DOWN

t'

13
Left hand fingers: Use only the tips-keep them curved.
Left hand thumb: place on the back of the neck opposite the I st and 2nd fingers.

tt

10

13

15
 11

Soundloff= How to Count Time

Four Kinds of Notes

JJJ. 0
QUARTER NOTE HALF NOTE DOTTED HALF NOTE WHOLE NOTE
ONE COUNT TWO COUNTS THREE COUNTS FOUR COUNTS

COUNT: 1 2 3 4 COUNT: 1 2 3 4 COUNT: 1 2 3 COUNT: 1 2 3 4

Time Signatures
Each piece of music has numbers at the beginning called a i/.me s/.grotw.e. These numbers
tell us how to count time.
The TOP NUMBER tells us how many counts are in each measure.
The BOTTOM NUMBER tells us what kind of note gets one count.

FOUR COUNTS TO A MEASURE

A QUARTER NOTE GETS ONE COUNT

THREE COUNTS TO A MEASURE

__ tL,L`
A QUARTER NOTE GETS ONE COUNT

ftyrtant: Go back and fill in the missing time signatures of the songs you have already learned.
72

The Second String 8 NOTES voU'VE I.EAnNED So FA

1 st String

II II II II 1III

II

IIII

I I1

rl
13o

(HOLD 1 DOWN)

TWO-STRING RocK ©`k8

 13

MERRY-Go-RouND ©ck9

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii--
+.......-...

BEAUTIFUL BROEN EyES ©a`"

Beau - ti - ful, beau - ti - ful brown eyes,

smil - ing right in - to my heart. But now

where are those beau - ti - ful brown eyes? Why

must we be so far a part?

t
14

GulTAR RocK ®a`Hl

lf you have a teacher or a guitar playing friend, the chord symbols above each staff may be used
to play a duet (two players). These chords are not to be played by the student.

TE:Nc;ITrE!R` a # / # cfyf :. G7

D7 c7 G

JINGLE BELLS
TEACHEF3: C

Jim -gle bells! Jim -gle bells! Jin -gle all the way!

F C D7 G7
0h, what fun it is to ride a one horse o -pen sleigh!

C
Jim -gle bells! Jin -gle bells! Jim -gle all the way!

F C G7 c
Oh what fun it is to ride a one horse o -pen sleigh!

13
 15

fuEL~[mE
Traditional French-Canadian

PNE

-i lou - et te, gen - tille A. - lou -

- - te. A lou - et - te, je - te plu - me -

I rai ,a tete. Et la tete, et la tete,

]5
A - lou - ett'' A - lou - ett',

]9
A lou - et - te, gen-tille A -lou -et -te.

23
A lou - et te, je - te plu - me - rai.
 ]6

The Third String G NOTES YOU'VE LEARNED S0 FA

2n_d si:ir`g_ _1Stjtrin_S

8 C D E F a
OPEN STRING
2nd FRET

II I'I II
a 11[1'1'1

II II

IIII II

II I 'I

FRET I

FRET 2

FRET 3

Au CIAIR DE LA LUNE ®a`k,5

7
 17

THREE-STRING RocK ®a`"

TTACHEF}: G

LARGo ®a`„
Antonin Dvo¥ak
(from The New World Symphony)

TEACHEB: C E7Am

Din G7 C EmF EmF

EmF EmF

--` -----, i- E7 Am Din G7 C

_
19
18

BACK To THE '5os ®a`"

TEACHEB: G

Repeat Signs
The double dots inside the double bars indicate that everything between the double bars must be repeated.

®
®
®
® ®
®

AURA LEE
Elvis Presley recorded this folk song in a modern version called ''Love Me Tender.''
TEACHES: C D7G7 C

C
C

C
C

9
 19

ntroducing Chords
chord is a combination of harmonious notes.
I notes except the whole note have a stem going up or down.
en notes ale struck together as a chord, they are connected by the same stem.

(Not to be played.)

xhiE
An x above a string also means
that string is not to be played.
Chord Study No. 1 ©a`k2°
This exercise uses two-note chords on the open 8 and E strings.
Play both strings together with one down-stroke.

xfifiE
Chord Study No. 2 ®a`k2I
This exercise uses three-note chords on the open G, a and E strings.
Learn the order of the strings thoroughly. Play with the wrist free
and relaxed. Keep your eyes on the notes and not on the fingerboard.
20

Threels|ring ®atk22
C Chord
xifeo
¥T--=.-=
10 CC

(HOLD C DOWN TO THE END OF THE EXEF]CISE)

ODE TO Joy ®ack23

(Theme from Beethoven's 9£h Symphony) Ludwig van Beethove
TEACHEFl: C G7

Quarter Rest
This sign indicates silence for one count. For a clearer effect,
you may stop the sound of the strings by touching the strings
]ight]y with the heel of the right hand.

(BEST)

9
 2

Two-CHORD RocK ©a`k26

TEACHEFi: C G7c

L;vE SoMEBOD¥ ®ack„

Here is a song for you to sing while you play the accompaniment. The slanting line below
or following a chord symbol (C / / / G7 / / A means to play the same chord for each line.
Repeat the chord until a new chord symbol appears.

PIAN.. C I I I G] I I I C I I I Ci] I I I

SING: Love some-bod -y, 'deed I do. Love some-bod -y, now guess who?

c / / / ar / / / c / ciJ / c///
Love some-bod -y have youguessed? You're the one that I love best.
 22

G G7 c G

RoCRIN' WITH G & C

TEACHEF}: G

DOWN EN THE VALLEY

play this song as a guitar solo by playing the music, then sing the melody
and accompany yourself by playing the chord line.
pl:AV-- C I I I I I I I I I I I a I I I I I

SING: Down in the val 1ey, val -ley so low,

I I I ciJ I I I I I , , , c I I I I I

hang your head o ver, hear the wind blow.

7
OH, SUSANNA
Stephen Foster

=LACH EF`: G

Oh,I came from A - la ba - rna with a

4 gui - tar on my knee; I'm goin' to Lou - 'si -

D7G

a - na, my true love for to see.

10 rained all night the day I left, the weath-er it was dry; the

GG7

14 sun so hot I froze to death, Su -sam-na don't you Cry.

18 0h, Su sam -na, oh, don't you cry for me, I've

22 come from A -1a -ba-rna with a gui-tar on my knee.

24

The FOuTth string D gr32 NOTES YOU'VE LEARNED S0 FAR

3rd string 2nd string 1 st String

JIIIIIIIIIiiE
13
ol30

GABCDEFG

IIII IIII

II

II

II I'I

FRET I
232o
FRET 2

FRET 3

OLD MACDONALD HAD A FARM ®a`k33

TEACHEF}: G CG

CG
 Hold Sign (Fermata) A
This sign indicates that the time value of the note is lengthened to
approximately twice its usual value.

REUBEN, REUBEN

L~chcHEF}: F`
c7 Din Am

Sz J J J J I J r I I I J J J J i J r F .....-.. lT..T..T I

(HOLD)

C7 Din Am Bb F Bb C7 F

Common Time
C means common i/'me, which is the same as Z time.

G WHIZ ®ack35

TACHEB, G r7 J rl etc.

D7

9
26

BOHEMIAN FOLK SoNG ©a`k36

TEACHEB: C G C G FG7

Gr]]!!!JJ !]]]j!jJJ I

Not all guitar solos are played using one form of the three-note chords already learned.
The next two songs use various combinations of two-and three-note chords.

GooD NIGHTB LADIES ©a"

TEACHEFt: G

AI,
Inr,
rm\J
\\V - - ®
- I
®

cJ

G C G D7 G
A
--I-
I I

.y
rJl
I I

1,rJ
rm
\\1,
Jl
`-I
r-
I
, , -
.I
I

d
5
11

D7G

11111111.11_
'``1'````_

9
jiiiiiiiii

13
 2

DAISY BELL
(A Bicycle Built for Two)
Harry Dacr
TEACHEF): C

HOLD FINGEF3S DOWN_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ I

G

D7G
A.y
J' - - -®
rh
\\\,cJ -
iiiiiiiiiiii Eiiiiiiiiiiiiiiiiiii
G7GC
A - - -J-
rm
I,
J, rJ
I
Ill - rJ rrJ I rllr
I

\`1, I

I '1
11

cJ17

21

C C

25

C C

29
28

Four-S(ring G & G7 €I]ords

The three-note chords you have learned so far can be expanded to four-note chords
that sound fuller and richer. For the G and G7 chords, simply add the open 4th string.

xife
]±:-I:

±=:7-

Here is an exercise using expanded four-string versions of the G and G7 chords.

G G7 C G

I,,)
Jn,,-~
- ®
rJ.
rJ. -,
®

rh JII ® ®

\\ 1, 1 ® ®

cJ

C G7 C G

'J. 'J. ®

.I,
rJl 'J. ®
rJ. ®

rm
\\V
-~
®

d5
®
 2

LAUGHING PoLRA ©a.k4o

TEACHEF`: C

cGC*
A
yl
-
Ill- JlllIIIIIIIIrlll-III- I -I11 \11I,11

-
III

rJ, - - - - - I
1'11

I,"I\\1,I
cJ_5
lJ - I 1[

cG7
y, rJrJ rJ
I 11111---I-r-r-rJ 1'
''

LI--I
I
II II II III III
II II II
II

I
III II

Jn rJ lJJ,II---
I,"I\\\,I I-II - I I-
II II

d_ 11

^
yl
_ `__`___.`-I
IIIIIIIIIr - - I-r-r-rJ I I Ill
G7
-11111111111111

LI--I
I
II
II II II II
II II II

- I
III II

A,rm .- - I -I
---
II II

\\ 1, I
II II

rJ
d_17
11

21

*Two thin lines mean the end of a section.

30

The Fifth String A

NOTES YOU'VE LEARNED SO FAR

4th string 3rd string 2nd string lststring

I 11 I I _I I _I

D E I G A B C D E F a

OPEN STRING 2nd FRET 3rd FRET

I'I
a I 'I I I'

II

II

II

I-ITi DGER LINES

ri 3pS*:rrtd:i:: :hoa;:#:rnddssj:hcea,i:adffa
ledger line.

Am

0
F Am

-
 31

PETER GRAY ©ack%

TEACHEB: Am

Low-DOEN RoCK
i
TEACHEP: G

I, ,I ,Jn1II - _\,
1\
- I

LN,---'----
I 1'1Ill

A
rm JIl I\\V1I II 111'lJIIJ 1111
II

cG!
I -111111111111111I I-
yl
I,L|\t,
''

II
11

IllIIIIIIIIIrllllll-I
I----IIIIIII-III II

- - 1\I,

111`-

d +
5
+ _ _ +

D7 C7 G i

yl - - 1\I,

- 11111111

L-,---Ill-
III

-\rh1
I I

II II Ill,1111

[±
'J
11

\\V Ill
11
I

9
32

LIEBESTRAUM
Franz Lisz
TEACHEB:
CE7 A7D7

Din G C Fin C

FmG CE7

A7D Din G G7 C A

BooG[E STYLE ®a.k46

TEACHEB:
Am C D Am D C

Am C D Am

PmFG DmGF

Am C D Am

EG EDFD

17

Am C D Am

21
 33

Din
Din JJ J-J

9
34

THE RIDDLE SoNG ®a`k49

play ''The Riddle Song'' in t\^ro ways: as a musically complete guitar solo, then as accompaniment while you sing.
Strum chords once each beat. This song may also be played as a duet with your teacher or guitar friend.

FJUAV.. C / / / Fgivf:.

siNG: Gave my love a cher - ry that has

G7

stone' I gave my love a chick - en

G7

I gave my I ove a

that has

C
gave my I ove a baby

13

15
 35

Incomplete Measures

:r°;,:%:g.?f':::3icTuu;[Eabsejgj:tso°nnebbeeaatt,ih#.iism°eTa:tjree:]Eehg::::it,}tahnr::CBemaEi::ezmo:aiuoreb::'t':fna2n.upbeafy

DdEL dEL dhL dEL

I,I,I, |D
` ` ` ` ` ` ` ` ` ` ` `:===
UPBEAT WHOLE MEASURE WHOLE MEASURE WHOLE JV[EASURE LAST JVIEASURE

4 11 2 3 4 1234 1234 123

-TISKET, A-TASKET ©a`k5o

-=icHEF`: C F C FC

123

HE YELLoW RosE oF TERAS ©a`k„

GCG7
^1
' -
-I -
J,

hJ
\\V- - - -I
I

I
rJ
--I- rJ
rJ
u5
CGC GC

9 G7rl'
CG c, G7 c
.,
r hJ
- - I- 11

- rJ
11

I.I Jll
\\W- - I--11 11
11

t'
t3
I
'1 12
36

01
FRET I

FRET 2

FRET 3

DowN Low ©atk53

BOTTOM T0 TOP

REVIEW
BASS STRINGS SOLO STRINGS
6th String 5th string 4th string 3rd string 2nd string 1 st String
FPETS: o 1 3 o23o2302ol30135

C D E F G ffi 8 C D I F a A
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 37

Tem|}o Signs
___ __-E-_-i_____

The three principal tempo sr`gns are

Andante (slow), Moderato (moderately), Allegro (fast).

THREE-TEMPo RocK ©ach55

play three times: 1 st time Andante, 2nd time Moderato, 3rd time Allegro.

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THE BLUE DANUBE WALTZ

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38

I
Bass-Chord Accompaniment
A popular style of playing chord accompaniments in Ztime breaks up the chord into a
single note and a smaller chord. play only the lowest note (called the bass note) on the
I st beat, then play the rest of the chord on the 2nd, 3rd and 4th beats.
The complete pattern js bass-criord-cliord-cliord. A variation of this repeats the
bass note on the third beat: bass-cliord-bass-chord.
C G (Variation)

bass-chord<hord-chord G7 bass-chord-bass-chord C (Variation)

HOLDEDOWN____.I HOLDE-______I

CAN-CAN (DUET)
This song is a duet. The I st and 2nd parts are to be played by the student.
The teacher may accompany the student by playing the 2nd part and vice versa.
Follow this procedure on subsequent duets unless otherwise indicated.
Note: The 2nd part is written in bass-chord-chord-chord style
but can also be played in bass-chord-bass-chord style.
Jacques Offenb
Allegro

HOLD E DOWN _ _ _ _ _ _ _ _ _ _ _ _ _ -

11

HOLD E ------ _. _ _ _ _ _ _ _ I
HOLDC ---- _ _ _ _ _ _ _ _ J
 39

Dynamics
Signs showing how soft or loud to play are called dyr]am/.cs.
Thepiral(p:;n;:are9h#f ifde:xzero:±ryrflye:nd f (f:orfNIe! I f (f v°#x]vssi'omu°rd)

ECHO WALTz ®a`k58

Moderato
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 40

Signs of Silence

QUARTER REST = I COUNT

HALF REST = 2 COUNTS

WHOLE REST =4 COUNTS

3 COUNTS

Stop the sound of tlie strings by toucliing

them liglitly witli the heel of your liand.

THE DESERT SoNG ®a`k59

(Study in Counting)

Moderato

11
 41

ECHo RocK ©a`k6o

Two tempo signs may be combined. Allegro moderato means ''moderately fast."

Allegro moderato

SHE,LL BE CoMIN' ,RouND THE MouNTAIN ©ack6l

Moderato
TEACHEB: C

12 moun-tain, she'll be com-in' 'round the moun-tain when she comes.

 42

WHEN THE SAINTS Go MARCHING [N tDUET oR TR[o, ©atk62

Allegro
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 43

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44

More Bassl€hord Accompaniments

- ____________ _Ii_____:____

When a piece js in 2 time, a popular style of chord accompaniment is bass-chord-chord.

The bass note is the note that names the chord (C for the C chord, G for the G and G7 chords, etc.).
Usually, the bass note is also the lowest note in the chord. First play the bass note alone,
then the rest of the chord on the second and third beats.
C
bass -chord -cliord G7

HOLD C _ _ _ _ _ _ _I
HOLD C _ _ _ _ _ _ I 32
HOLD G -------- _ _ _ _ _ _ _ _ _ _ _ _,

lf a chord is repeated for two or more measures, an alternate bass note

(another note in the chord) is used to get a greater variety of sound.
G7
All. All.
bass I chord -chord bass-chord -chord bass -cllord -chord bass -chord -chord C

HOLDC______I HOLDE______I 3
HOLDG_ _ _ _ _ I

CHIAAEfgTOECAS ®a`k63 9 3(2)* MexlcanHandclapplngso

12

fingering.
 45

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46

Eighth Notes
Ei.gAthnofesare'blacknoteswithaf[agaddedtothestem:Jorp.

Twoormoreejghthngtesarewrittenwithbeams:J|orIT,J|||or[[[[J.
Each eighth note recelves one half beat.

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WHOLE NorE 2 HALF NOTES 4 QUARTER NorEs 8 EIGHTH NorEs

Use alternating
down-strokes Tl and
up-strokes V on eighth notes.

CoUNT: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

||APPY BIRTHDAY TO YOU ®a`k65 Miidred I. Hill

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© 1935 (renewed 1962) Summy-Birchard Music, a division of Summy-Birchard, lnc. All rights reserved. Used by permission.

EIGHTH-NOTE BOUNCE
Allegro moderato
TEACHER: G G7 C C7

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 47

D7CG

More Dynamic Signs

The sign € and the word crescendo both mean grow gradually louder.
The sign ~ and the word decrescendo both mean grow gradually softer.

pACHELBEL'S CANON ©a`k68

pfayas a round. First player plays as usual. Second player be8inswhen first player gets t°E. johann pache|be|

TAc:::W%ndstateLyG Am Em F C F G7

C G Am Em F C F G7 C

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48

ANNIE'S SONG
This arrangement can be used several different ways: the 1 st part is a self-contained guitar solo;
the 2nd part can be used to accompany your singing. The student should learn both parts.

Moderato John Denver

^__-
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© 1974 Cherry Lane Music Publishing Co., lnc.

Intemational Copyright Secured. All Rights Reserved. Used by Permission.
 49

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 50

Sharps #± Flats b., and Nat±rals I

The distance from one fret to the next fret, up or down, is a hc7/I step. Two
half steps make a vwho/e step.

HALFSTEPS . NO FRETBETWEEN

Half Step
Half Step
Half Step
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Half Step

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WHOLESTEPS . ONE FRETBETWEEN

SHARPS raise the note a half step. Play the next fret higher.

If the note is open, play the 4th fret of the next lower string-except if that string
is G (3rd string), then play the 3rd fret.

NATURALS cancel a previous sharp or flat.

I FLATS lower the note a half step. If the note is fingered, play the next fret lower.

When added within a measure, sharps, flats, and naturals are called c7cc/'denfa/s.
A bar line cancels a previous accidental in the measures that follow.

The Chromatic sca|e©ac"a

I#:::n°d£;.::Cc°h/:oil::jrcms::,:XuC:::j¥,ea'tys°bf.ha'f steps.Theascendingchromaticscaleusessharps#.

ASCENDING CHF30MATIC SCALE

(G String)

DESCENDING CHF]OMATIC SCALE

o4

(D String)
 51

CHROMATIC RocK ©a`„'

Allegro moderato
TEACHER FT etc || V r| Vetc F'

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tJ + -
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MY MELANCH0IjY BABY
G. Norton and
E. Burnett
Slowly
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*When a sharped or flatted note appears more than once in the same measure,
the repeated note is still played sharp or flat unless cancelled by a natural.
A bar line cancels a previous accidental in the measures that follow.
52

OVER THE RA[NBoW ©a{„3

Words by
E. Y. Harburg Ha¥g|SdcA:|yen

TEACHEF}:

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there's a land that I heard of once in a lul - 1a - by.

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17
day 1'11 wish up-on a star and wake up where the clouds are far be -

R|ghtsthrouggol?3£e(#onrfdw€g}tyoFTeRd°b-yGftp##:#R#3;gR:#e3d:B||(sT:nn;)Waendd)#'REE5SAS;i?Lp°uGB|yscHiNGco,iNc"nnt)
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19
hind me. Where trou-bles melt like lem -on drops, a -

D#dim Em A7 Din G7

22 way a -bove the chim-ney tops that's where you'11 find me.

C Am Em C7F

25 -Some -where o - ver the rain - bow blue - birds fly,

FFmC

29
birds fly o-ver the rain-bow why then, oh why can't I?

Cmaj7

33 hap-py lit -tle blue-birds fly be -yond the rain-bow, why oh why can't I?
 54

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FouR-BEAT BLUES ©a`k75

Allegro moderato
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=The second F in this measure is also sharp. Accidental sharps, flats, and naturals affect every note
on the same line or space but only in the measure in which they appear.
 55

RocKIN' THE BACH ©a." Adapted from a Bach Minuet

Moderato
TEACHEB: G G

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BUFFALo GALS ©a`„8

Play ``Buffalo Gals'' in two ways: first as a musically complete guitar solo,
then as accompaniment while you sing. Strum chords once each beat.
PLAy: G D7 G
SINfi As I was walk-in' down the street, down the street,H_Q down the street, a
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56

The Major Scale

A sco/e is a succession of eight notes in alphabetical order. All mc7/`or sccJ/es are built in the same form:
whole step, whole step, half step,
whole step, wllole step, whole step, half step.
The highest note of the scale, having the same letter name as the first note, is called the octave note.

C Major Scale
OCTAVE NOTE

WHOLE WHOLE HALF WHOLE WHOLE WHOLE HALF

STEP STEP STEP STEP STEP STEP STEP

It is easier to visualize whole steps and half steps

on a piano keyboard. Notice there are whole steps
bet\^/een every natural note except E-F and B-C.

Whole steps - One key between

Half steps - No key between
_HIEE:FEGEAEBc
L+ L+ L+ L+ LIL L+ L+
WHOLE WHOLE HALF WHOLE WHOLE WHOLE HALF
STEP STEP STEP STEP STEP STEP STEP

A major scale may be built starting on any note, whether natural, sharp, or flat.
Using the pattern, write a major scale starting on G.

lT , 11 , 11 , Ill , 1' , '' , Ill-

WHOLE WHOLE HALF WHOLE WHOLE WHOLE HALF
STEP STEP STEP STEP STEP STEP STEP

Using the pattern, write a major scale starting on F.

Check: Are the notes in alphabetical order?

 57

Key Signatures

THE KEY 0F C MAJOR

A piece based on the C major scale is in the key of C mc7/.or.

THE KEY OF G MAJOFZ

A piece based on the G major scale is in the key of G rna/'o/. Since F is sharp in the G scale,
every F will be sharp in the key of G major. Instead of making all the F's sharp in the piece,
the sharp is indicated at the beginning in the key si.grofore. Sharps or flats shown in the
key signature are effective throughout the piece.

THE KEY OF F MAJOFI

A piece based on the F major scale is in the key of Fmc7/`or. Since 8 is flat in the F scale,
every 8 will be flat in the key of F major.

Accidentals
lf sharps, flats or naturals not shown in the key signature occur in the piece, they are called cJcc/.den fa/s.
Accidentals are effective only for the measures in which they appear.
The three scales shown above should be practiced every day. Students who do this will have
little difficulty playing selections written in C major, G major, and F major.
 58

Eighth Rests

Th-is 'is an eighth rest.

It means to rest for the value of an eighth note.

Single eighth notes are often used with eighth rests:

COUNT: 1 &

Clap or tap the following rhythm:

COUNT: i & 2 & 3 & 4 &

EIGHTH REST EXERCISE No. I ©a`„9

When playing a fingered note, the sound is cut off by releasing the pressure
of the finger on the string. When playing an open note, the sound is cut off
by touching the string with either a left hand finger or the side (heel) of the right hand.

couNT:1 & 2 & 3 & 4 & etc.

EIGHTH REST EXERCISE No. 2 ©a`k8o

Eighth rests may also appear on downbeats. This creates no problem
if the student marks the downbeat by tapping the foot or mentally counting.

couNT:l & 2 & 3 & 4 & etc.

EIGHTH REST EXERCISE NO. 3

COUNT: 1 & 2 & 3 4 1 & 2 & 3 4 1 & 2 & 3 4 1 & 2 & 3 & 4
 59
BILL BAILEY

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Dotted Quarter Notes

A DOT INcnEASES

J. - J_J
THE LENGTH 0F A NOTE
BY ONE HALF. I 3 COUNTS

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A = I I/2 COUNTS

Preparatory Drill

1&

The only difference in the fo[[owing

t\^ro measures and those directly
above them is the way they are written.
They should sound the SAME.

AULD LANG SYNE

Allegro
C G7
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13
 61

INGIN' IN THE RAIN ©a`„5

Music by
Lyric by
Nacio Herb Brown
\rthur Freed
Moderately
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I'm sing -in'inthe rain, just sing -in' inthe rain. What a

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5 9|o ri-ous feel -ing, I'm hap py a -gain. I'm

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© 1929 (Penewed) METPIO-GOLDWYN-MAYER INC.

All Rights Controlled by EMI F{OBBINS CATALOG INC. (Publishing) and ALFRED MUSIC PuBLISHING CO„ lNC. (Print)
All Rights Preserved
62

TAKE ME HOME' CouNTRY ROADS ©ack86

This country classic is arranged as a duet. The student should learn both parts.
Words and Music
Bright country tempo Bj':Ranj%ff'nTaD¥nyj
TEACHEF}: G

Al - most heav en, West Vir - gin - her,

'round ia'
All my mem - 'ries gath - er

Blue Ridge Moun - tains, Shen-an -do -ah Riv-

min - er's la - dy' stran-ger to blue Wa - ter.

> > >

EmD

Life is old there, old - er than the young-er than t

Dark and dust - y, paint-ed on the mist-y taste ,

G%G

15 moun - tarns, grow-in' like a

moon - shine, tear-drop in my take_ in

© 1971 CHEPPY LANE MUSIC PUBLISHING CO„ lNC.

International Copyright Secured
All Bights peserved Used by permission
 63
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