Transcript
presents
FIGURE 8 Eighties hard rock FIGURE 8 Eighties hard rock q = 88 q = 88 G
Cadd9 Cadd9
21
34
21
G 34
let G ring throughout let 3 ring throughout 3 3 3 3 3 3 0 3 0 3 3 0 0 0 2 0 3 2 3
3 3
F 69 F 69
3 3
3 3
0 0
3 3
34
21
34
21 34 Cadd9 Cadd9
21
G 34 G
3 3 3 0 3 2 0 3 2 3
3 3
21
G G
3 3
0 0
Cadd9 Cadd9
2134
21
2F163 4
9
F369
3 3 3 2 3 3 2 3
3 3 2 3 3 2 3
3 3 3 2 3 3 2 3
3 3 3 2 3 3 2 3
3 3
3 3
0 0
3 3
3 3
3 3
0 0
3 3
3 3 3 0 3 0 0 2 0 3 2 3
3 3
G
3 3
0 0
3 3
3 3
0 0
3 3
3 3
3 3
0 0
3 3
0 0
3 3
G G
34
21
21 34 Cadd9 Cadd9 3
21
3 3 3 0 3 2 0 3 2 3
3 3 0 3 2 0 3 2 3
3 3 3 0 3 2 0 3 2 3
3 3 3 0 3 2 0 3 2 3
34
G 34 G 3
3 3
3 3 0 3 0 0 2 0 3 2 3
3 3
3 3
0 0
3 3
3 3
3 3
0 0
3 3
0 0
3 3
Combining Chordal Arpeggiation w/Pedal Tones and Sixths Combining Chordal Arpeggiation w/Pedal Tones and Sixths FIGURE 33 combining chordal arpeggiation w/pedal tones and sixths FIGURE 33 combining chordal arpeggiation w/pedal tones and sixths N.C.(Dm) N.C.(Dm)
0 0
7 7
7 7
0 0
14 14
13 13
0 0
14 14
0 0
7 7
7 7
13 13
7 7
14 14
13 13
7 7
FIGURE 34 James Taylor-style FIGURE 34 James Taylor-style D A D 5fr A 4fr
..
5fr
D
5 5 5 7 5 5 7 5 7 0 7 0
5 5 7 5 5 7 7 5 7 5 7 7
5 5
5 5
12 12
0 0
0 0
5 5
Gmaj7 Gmaj7
12 12
5 5
12 12
5 5
12 12
5 5
12 12
0 0
0 0
G6 G6
10 10
3 3
4 4
A
5 5 54 6 5 04 6
5 4 6 4 5 4 6 4 7 7
31
2
3
2
31
2
3
3
0 0
10 10
0 0
4 4
3 3
10 10
4 4
10 10
3 3
10 10
G6 G6
2 0 0 0 3 3 3 3 3 0 3 2 3 0 0 0 3 0 3 0 3 0 0 0 0 0
G G
213
2
2 1(4) 3
2
A (4) A 0
1 1
2 2
0 0
8 8
9 9
0 0
()
2
Gmaj7 Gmaj7
10 10
A A( )
4fr
(1) 4(1) 32 4A3 2
(1)1
3(1) 41 D3 4
0 0
12 12
0 0
0 2 2 2 0 2 2 2
3 2 0 0 2 3 2 2 2 0 2 0 2 2 2 2 2 2
2 2
G G
D/F# D/F# 3
T
3
T
3 0 0 3 0 3 0
1 1
2 2
0 0
8 8
9 9
0 0
234
13
234
3 2 3 0 2 1 0 2
2 2
A A
13
D/F# D/F#
A A
2 2 2 2 2 0 0 2
8 8
9 9
0 2 2 2 2 2 0 2
1 1
CONTENTS P. 14
P. 31
FOUR TYPES OF GUITARS
P. 21
P. 40
4 HOW TO READ RHYTHMS • Reading rhythms: “slashes” • Practicing strumming in time • Reading rhythms: TAB
2
guitar basics
• Playing when sitting and when standing • Positioning your fretting hand • Holding the pick • How to read TAB • Chord frames
FIRST ESSENTIAL CHORDS • Open-position major chords • Open-position minor chords
1
• Parts of the electric guitar: Gibson Les Paul and Fender Stratocaster • Parts of the acoustic guitar: nylon-string and steel-string
3
P. 73
5 YOUR FIRST SCALES
• E minor pentatonic scale, first position • C major scale, first position • Reading two-, three- and four-note groups and chords
[ CHAPTER ]
FOUR TYPES OF GUITARS
• Parts of the electric guitar: Gibson Les Paul and Fender Stratocaster • Parts of the acoustic guitar: nylon-string and steel-string
CHAPTER 1
PARTS OF THE
ELECTRIC GUITAR
GIBSON LES PAUL BODY: Carved maple top and mahogany back NECK: Mahogany FRETBOARD: Rosewood or ebony, with 22 frets,
12-inch radius and 24.75-inch (629 mm) scale length
HEADSTOCK: Three tuning machines (a.k.a. keys)
per side
heavy metal
Fret Position Markers
Bridge
PICKUPS: Two humbucking-design pickups,
POPULAR USES: Rock, blues, jazz, hard rock,
Nut
Pickups
pickup selector toggle switch
BRIDGE: Gibson Tune-o-matic with chrome plating
Tuning Keys
Pickguard
CONTROLS: Two volume, two tone, three-way
Pickup Selector Switch Body
producing warm tone and low noise
Neck and Fretboard
Headstock
CHAPTER 1
Volume Control Tone Controls Output Jack
[ CHAPTER ]
guitar basics
• Playing when sitting and when standing • Positioning your fretting hand • Holding the pick • How to read TAB • Chord frames
CHAPTER 2
When sitting, rest the weight of the guitar on your right leg while holding it lightly against your body. A well-made guitar will feel naturally wellbalanced when held in this position.
CHAPTER 2
When standing, it is important to determine the height at which the guitar feels most comfortable to you. The height can be easily adjusted by changing the length of the guitar strap.
Whether sitting or standing, remain relaxed and comfortable.
CHAPTER 2
2 3
1
4
The fingers are numbered 1 through 4, starting from the index finger to the pinkie. Arch your fingers and press down firmly right behind each fretwire.
CHAPTER 2
Traditional
thumb-over
When using a traditional grip, place the fret-hand thumb squarely on the back of the neck and do not allow the palm to touch the underside of the neck. Many guitarists prefer to wrap the thumb over the top of the neck, with the palm pressed lightly against the back of the neck.
CHAPTER 2
Audience View
Player’s View
Hold the pick with the thumb and index fingers without squeezing too hard, and allow just the tip of the pick to strike the strings. Find your most comfortable pick-hand position, either lightly resting the palm on the bridge, resting your fingers on the pickguard, or keeping the pickhand suspended above the strings.
CHAPTER 2
How to Read TAB Guitar music is most often written using a system of notation known as tablature, or TAB. The TAB system consists of six horizontal lines, each line representing one of the strings. The bottom line represents the sixth, or lowest string, and the top line represents the first, or highest string. When an unfretted— or open—string is picked, a “zero” (0) is indicated on the horizontal line. When a fretted note is played, the TAB number (1, 2, 3, etc.) indicates at which fret the string should be depressed using a fret-hand finger.
CHAPTER 2
6
ddie
5
te
4
ynamite
3
ood
2
ye
1
ddie
1 2 3 4 5 6
Diagram of open (unfretted) strings
T A B
CHAPTER 2
chord frames Also known as “Chord diagrams,” chord frames show which strings and frets are used to play a chord. The horizontal lines indicate fret positions, while the six vertical lines represent each of the guitar’s strings. Black circles indicate fretted notes, and white circles show open strings, while Xs mark strings that are not sounded. Numbers below the frame indicate which fingers to use when fretting strings.
Nut
Frets 1st fret
2nd fret
3rd fret
strings
CHAPTER 2
12 3 4 5 6
nut
CHORD FRAMES
1st fret 2nd fret 3rd fret
chord frame
strings 12 3 4 5 6
nut
1st fret 2nd fret 3rd fret
chord frame
chord name open strings
open strings
E
Tablature
nut
1st fret 2nd fret 3rd fret
fretted notes fret-hand fingers
Tablature
2 3 1
E
0 0
(chord name)
2 3 1
E
0 0 1 2 2 0
open string
1st string (high E) 2nd string (B)
nut
1st fret 2nd fret 3rd fret
fretted notes fret-hand fingers
chord name
E
(chord name)
fret indications
1st string (high E) 2nd string (B) 3rd string (G) 4th string (D) 5th string (A) 6th string (low E)
[ CHAPTER ]
FIRST ESSENTIAL CHORDS • Open-position major chords • Open-position minor chords
CHAPTER 3
W
hen learning how to play the guitar, it’s best to start with
the five essential open-position major chords: E, A, D, G and C (see FIGURE 1). These chords are referred to as “open-position” because each utilizes at least one open string in its formation. In addition, each is played within the first three frets of the guitar. These chord formations lay the groundwork for learning about the fretboard’s layout. They are commonly called “cowboy” chords as they are the bedrock of campfire songs such as “On Top of Old Smoky” and “Streets of Laredo,” but they can also be heard in early rock hits such as “Hey Joe” and “Gloria,” and are equally essential to other forms of music, such as blues, pop, punk and metal.
CHAPTER 3
CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER THREE THREE THREE THREE THREE EE E
E E
E
AA A
A A
A
A
A
CHAPTER CHAPTER CHAPTER THREE THREE THREE E
Figure 1 (part 1 of 2)
E
E
22332113 1 2 3 12 3 1 231
EE E
00 0 E 00 0 0 11 1 0 22 2 1 22 2 22 00 0 0
231
E E
231
E
GGG G G GG
G
D
11221332 3 1 2 31 2 3
0E 00 10 21 222 00
0 0 1 2 2 0
A
0 0 1 2 2 0
(or (or(or 223324)4) 3(or 4) 2(or 3 4)2 3 4) 111 213111) 21 31) (or (or(or 1) 1(or 1) 1(or 1 1 1)1 2 3 (or 2 3 4) (or 2 3 4) (or 1 1 1) (or 1 1 1)
AA A
A00 0 022 2 222 2 222 2 200 0 0
CCC C
A A A 0 20 22 2 020
(or 2 3 4) (or 1 1 1)
DDD
D D
D
D
11331223 2 1 3 21 3 2 132
0 2 2 2 0
A
D
0 2 2 2 0
2 3 2 0
C C
C
F
132
DDD 22 D 2 33 3 2 22 2 3 2 00 0 0
FF F
132
D D 2 3 2 0
D2 23 32 20 0
F FF
D
CHAPTER 3
OPEN-Position Major Chords Let’s begin with E, A and D. For each of these chords, place the fretting fingertip firmly on the correct string, just behind the fret indicated in the chord frame. This is also shown in the tablature (or TAB), a transcription system that is explained in detail in chapter 4. Once the fret-hand fingers are in place, strum gently across all of the strings, starting with E, and be sure that each of the six strings is sounded clearly. Now do the same with A, which is fretted by using either the index, middle and ring fingers (indicated as 1 2 3) or the middle finger, ring finger and pinkie (2 3 4), or by laying the index finger flat across the D, G
and B strings at the second fret. Then do the same with the D chord form. Now try the same with G and C. Also included in these first essential chords is F, which is in part sounded by laying the index finger across the top two strings at the first fret. Using one finger to cover more than one string at a given fret is known as a barre or partial barre. When playing these chords, note that some of them do not include all six strings and that it is important to carefully avoid strumming any strings that have an X over them in the chord frames and for which there is no TAB number.
CHAPTER CHAPTER THREE CHAPTER THREE THREE CHAPTER 3 22332113 1E2 3 1 2 3 1 E
E A 11221332 3 1A2 3 1 2 3 A (or (or(or 223324) 4) (or 3 4)2 (or 3 4)2 3 4) (or (or(or 111111) 1) (or 1 1)1 (or 1 1)1 1 1)
EE 2E3 1 E E2 3 1 00 00 11 22 22 00
0 0 1E 2 200 01
G
2 2 GG G0
Figure 1 (part 2 of 2)
0 0 1 2 2 0
G
(or 3 2
33 34) 4) (or 2 4)
0 (or 203 4) 0 2 (or 121 1) 2 22 2 2 E A 2 A 22 2 2 2 0 0 00 0 0 0 0 0 2 2
2 2 G 0
2 2 0
G
G
C
2 24)1
4) (or 3 2
(or 2 3 4) 00 (or 1 1 1) 22
1 2 2 0
22112 1 2331 32 1 3
(or (or(or 33223 (or 22 1
AA A 1A2 3 A
231 123
0 0 1E 2 2 00 01
G
GG GG G G G
3
4)3
332
4)(or 3 2
4)
G
C
(or 2 3 4) (or 1 1 1)
D
2 2 0
0 2 2 2 0
2 3 2 0
C
C
C
F
CC C C C
1
132
A
33223 211 31 2 31 2
21
123
32
1
1
32
CC C C C C
3 0 00 0 0 0 0 33 330 3 3 30 0 1 1 00 00 0 0 0 0 0 11 1 1 0 1 0 2 00 0 0 2 0 00 00 0 0 0 2 2 2 3 3 2 22 2 2 0202 02302 02 3 3 33 3 3 3 33 10 3 FIGURE 3 3minor FIGURE open 10FIGURE open chords minor 10 open chords minor chords
D
Em10 Em Em chords Amchords Am FIGURE FIGURE FIGURE FIGURE 10 10 FIGURE 10open open open 10 minor open minor minor open minor chords chords minor chords
13 4 2 1 1
11331223 2 1 3D2 1 3 2 D
DD1 D D 1D3 2 32 22 2 33 3 22D 2 00 0 2 3 2 0
FF F
2 2 3 3 2 D2 0 0 2 3 2 0
F F
F
F
334432241121131 41 2 31 41 2 1 1 34211
34211
C
F
FFF F
F FF
0 1 0 2 3
1 1 2 3 3
1111 112 223 333 33
1 1 2 3 3
Am Dm
1 1 2 3 3
Dm
11 1 21 32 33
3
Dm
F
CHAPTER 3
E X PERT ADVI CE
Take Care of Your Hands
You can finger notes more easily if you keep the nails on your fret hand trimmed short. Leave the nails on your picking hand slightly longer to facilitate plucking the strings. Rough edges on your nails will impair the tone of your playing, so be sure to use a good set of clippers and an emery board to maintain smooth nail tips. Wash your hands prior to playing—clean hands transmit less dirt and help maintain string life and tone.
= 88 F F FCF opchords w/sus2 chords G 1 1 2 3 3 0 3 0 0 2 3
F 1 1 2 3 3
1 1 2 3 3
CHAPTER 3
G
10F 1 111 202 3213 3313
F 1 1 2 3 3
2 3 3
Fsus2 Fsus2Fsus2 Fsus2 CF Fsus2 1
3 0 0 0 2 3
1 1 0 3 3
Fm
Fsus2 1C
1 0 3 3
1 0 130 131
0 0 3 2 3 3 Gm
Figure 2 Open-position chordschords FIGURE 10 open minor minor (part 2 of 2) ords m Dm Dm Dm Fm Em Fm Fm Fm Gm Am Gm Gm Gm
Am Dm
Dm
33113 1 3 1 3133 11 1 01 1 1 11 3 13 3 3 33 2 2 2 20 2 2 220 0 0 0 00
Dm Fm
4 fr
4 fr
Fm
4 fr
Fm Gm
4 fr 4 fr
4 fr
Gm
Gm Cm
1 1Fsus2 01 C 1 1 11 0 0 02 3 3 123 0 3 3 133 1 0 3 3
0 2 3
C
CC
0 1 0 2 3
0C0 11 00 202 313 0 2 3
Cm Dm Cm Cm Cm Cm
Cm
Cm
Fm 4 fr
4 fr
3343411311111 3 4 1 13 341 14311411 1 1 33441131114311 1 1 3344 11 11 131 43 14 13143114111 1 13 3 33 3 3 33 101 1 1 11 0 3 13 3 33 3 3 34 101 1 1 11 1 2 3 3 1 1 1 35 3 3 3555 103 1 3 11 2 0 35 3 55 55 5 323 3 3 33 2 35 5 50 5 55 32 3 33 0
3 4 3314 31 4 1 3 34344111
31 43 52 50
3 4 5 5
3 4 5 5
333 444 5555 55
34111
1 1 1 3 3
[ CHAPTER ]
HOW TO READ RHYTHMS • Reading rhythms: “slashes” • Practicing strumming in time • Reading rhythms: TAB
CHAPTER 4
N
ow that you have learned a handful of essential major and
minor chord shapes, the next step is learning how to play these chords in time—that is, along to a specific beat or tempo. This is your introduction to reading written music. To begin, let’s become familiar with the use of rhythmic slashes. This approach serves as an effective shortcut to learning to read written music.
Reading Rhythms: “Slashes” In the following examples, rhythm slashes are used to indicate how long a chord should be held, or allowed to ring, across a specific number of beats. Before playing, set your metronome at a
slow-to-moderate tempo, or just tap your foot evenly in time at a slow-to-moderate tempo. In the first example (FIGURE 3a), an E major chord is shown above a hollow,
2 3
3
3
CHAPTER 4
FIGURE 10 open minor chords Em
Am
Dm
321
34111
1 3 3
5 5
E
*
= downstroke
E
0 0 1 2
3
Gm
Cm
34111
3421
4)
E
= downstroke
1
*
OR
(2
3
4)
E
OR
(2
*
231
1
Fm
231
E
1 3 2 0
E
Rhythmic “slashes” whole note = 4 beats
0 1 2 2 0
Rhythmic “slashes” whole note = 4 beats
Figure 3a FOUR Whole note = 4 beats CHAPTER
*
0 0 0 2 2 0
34111
3421
3 5 5
Dm
4fr
231
4fr
34111
Am
In the second example, FIGURE 3b, a vertical line, or stem, is added to the left sideFmof the diamond shape. This represents Gm Cm 3 a half111 note, which333 means the chord is held 4 5 3 5 5 3 5 for only two beats, or half of the bar. Again, CHAPTER FOUR this is illustrated in the TAB.
diamond-shaped rhythmic slash. This Em Am Dm represents a whole note, which means the 0 0 1 1 3 2 2 time (the chord002 is held for four beats in 4/4 2 0 2 0 whole0 bar). Count out loud, “ONE-twoFm Gm Cm three-four, ONE-two-three-four,” and so on, and then strike the chord on “ONE” and allow it to ring through “two-threeFm Gm Cm 1 3 four.”1 This is also 3shown in the34 TAB. 23
Em
0 0 1 2 2 0
1
(2
3
4)
Half note = 2 beats CHAPTER 4 E
231
Half note = 2 beats E
231
1
(2)
3
1
3
(4)
E
0 0 1 2 2 0
1
(4)
0 0 1 2 2 0
(2)
3
(4)
E
1
2
3
4
E
1
2
3
4
231
(4)
3
OR
Quarter note = 1 beat E
Quarter note = 1 beat E
231
(2)
0 0 1 2 2 0
(2)
1
OR
E
0 0 1 2 2 0
E
E
E
Figure 3b Half note = 2 beats
OR
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
OR
CHAPTER 4
Now let’s try playing quarter notes, which are held for only one beat (there are four of them per bar). This means we’re going to strum a chord on each beat in the bar. As shown below in FIGURE 3c, an E major chord is formed, and, in the TAB, a diagonal slash is joined by a vertical stem to indicate that the chord is to be struck and held for only one beat. Continuing to divide the value of each rhythm in half, eighth notes are held for
only half a beat each, meaning there are two of them per beat and eight per bar (8/8 = 1). Eighth notes are indicated in a way similar to quarter notes, except groups of four slashes are joined together by a horizontal line known as a beam (see FIGURE 3d). A single beam indicates a rhythm of eighth notes, and each beat is counted as “ONE-an,” followed by “TWO-an,” “THREE-an” and “FOUR-an.”
Quarter00note = 1 beat E12
1
(2)
3
(4)
2
3
4
231 Figure 3c Quarter note = 1 beat E
Quarter note = 1 beat E
231
1
0 0
0 0
E E
1 2 2 10
0 0
1 2 2 20
2
3
0 1 2E 2 0
0 1 2 2 0
0 1 2 2 0
1
2
3
231
an
2
an
3
E Eighth note = 1/2 beat * E
231
count: 1 E
= downstroke E 0 0 * *
0 count:1 21
0 1an 2
= upstroke 0 0 0 12 2
0 1an 2
0 0 13 2
OR
1
2
3
4
2E3 1
0 0 1 2 2 0
E
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2
11
22
33
44
Eighth Enote = 1/2 beat 0E 0
4
1 2 2 0 4
3d Eighth note = 1/2beat Figure 0 0 Eighth note = 1/2 beat 0
OR
0 0
1 2 2 30
1E
0 0 1 2 2 0
2 0
Quarter note = 1 beat CHAPTER 4 E
0 0 1 2 2 0
E * E 0 0
0 1an 2
4
an
0 14 2
an
2*3 1 = downstroke
0
1E
count: 1
4
0
231
0
0 1 an 2
OR
OR
0 0
1 12 2 2 count:20 1 0 an count: 1* = downstroke an
E
0 0 1 2 2 0
0 0 1 2 2 0
0
0 0 1 2 2 0
0 1 2 2 0
Eighth note = 1/2 beat E
an
0 1 2 2 0
*
4
OR
0 0 1 2 2 0
2
3
2
an
3
an
4
an
0 0
0 0
0 0 1 2 2 0 4
0 0
1 2 2 0 an
3
an
4
an
0
0
= upstroke 0 0 0 0 1 2 2 0 2
1 2 2 0 an
2 = upstrokean 0 0 1 2 2 0
0 0 1 2 2 0
1 2 2 0 3
0 0 1 2 2 0
1 2 2 0 an
0 0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
OR
OR
CHAPTER 4
E X PERT ADVI CE
Work on Your Rhythm
It’s tempting to focus your efforts on your lead playing, but don’t neglect to work on your rhythm playing in equal amounts. Guitarists play a supportive role most of the time, so it’s vital that you keep your rhythm chops honed.
CHAPTER 4
Practicing Strumming in Time Now that we have covered the essential open-position major and minor chord shapes, as well as how to read rhythmic slashes, let’s play some exercises combining these elements. As shown in the next six examples (FIGURES 4a–f), each of these major chord voicings is played in a rhythm of steady quarter notes for two bars. Sound each chord by strumming in a downward motion across the indicated strings. (Remember not to strum any strings that are not included in the chord voicing.)
CHAPTER 4
E
Chords Chords Played Playedin inQuarter QuarterNotes Notes Figure 4a FIGURE FIGURE8a 8a EE
count: count: 11
FIGURE FIGURE8c 8c DD
A Figure 4b
22
33
44
11
22
33
44
FIGURE FIGURE8b8b AA
FIGURE FIGURE8d8d CC
(repeat (repeat previous previous bar) bar)
CHAPTER 4
Photo by Tom Copi/Michael Ochs Archives/Getty Images
JIMI HENDRIX ON
Persistence Sometimes you want to give up the guitar— you’ll hate the guitar. But if you stick with it, you’re gonna be rewarded.”
CHAPTER 4
READING RHYTHMS: SINGLE-NOTE TAB Today, most guitar transcriptions are written using TAB, which, as mentioned earlier, is short for tablature. TAB is a six-line grid that represents the six strings of the guitar, the lowest (bottom) line representing the sixth, or low E, string, and the highest (top) line representing the first, or high E, string. A zero on the TAB line means that the string is picked open (i.e., unfretted). If a number
is shown on the TAB line, the number indicates the fret at which a finger should be placed on the string. Just as with rhythmic slashes, we read single notes on the guitar by using the TAB system, and the symbols we use mirror those that are employed for rhythmic slashes. As shown in FIGURE 9, a whole note is indicated by a circle around a specific note (TAB number), in this case,
CHAPTER 4
the open low E string. The string is struck once with the pick and allowed to ring for four beats. Half notes are indicated by a circle with a vertical stem attached, and quarter notes are indicated simply by
adding a stem below the TAB number (no circles included). As with rhythmic slashes, eighth notes are indicated by connecting the stemmed notes with a single horizontal line, or beam.
Understanding Rhythms Figure 9 notes FIGURE 17 notes
whole note = 4 beats
half note = 2 beats
quarter note = 1 beat
0 !
0 !
0
0
0
0
0
0
0
0
0
0
0
0
1
2
3
4
1
an
2
an
3
an
4
an
count: 1
(2
3
4)
0 !
1
(2)
3
(4)
eighth note = 1/2 beat (2 eighth notes per beat)
2
beat: 1
4
3
FIGURE ** in time: low E string:
0
B string:
0
A string:
0
0
0
D string:
0
high E string:
0
0
0
B string:
G string: 0
0
0
0
G string:
0
0
0
CHAPTER 4
E X PERT ADVI CE
Train Your Ears
It can take years of practice before you can identify intervals, chords and scales by ear. Fortunately, a number of resources—including courses and online exercises—are available to help you train your ears. This skill is especially useful for working out riffs, licks and songs, and it can also help you sing what you play and play what you sing, just as guitarist George Benson does when he sings and plays lines in unison or harmony.
CHAPTER 4
JoHN Petrucci Dream Theater ON
Photo by JEREMY DANGER
Using a Metronome Use a metronome, a drum machine or a sequencer. Whatever you use is fine; what’s important is that you learn how to play in time.”
Copyright © 2012 Time Home Entertainment Inc. Published by Time Home Entertainment Inc. 135 West 50th Street • New York, NY 10020 All instructional material by Andy Aledort. Some of the material in this book was previously published in Guitar World magazine, and is reprinted with permission by Time Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. eISBN: 978-1-6032-0431-6 We welcome your comments and suggestions about Time Home Entertainment Books. Please write to us at: Time Home Entertainment Books, Attention: Book Editors, P.O. Box 11016, Des Moines, IA 50336-1016 If you would like to order any of our hardcover Collector’s Edition books, please call us at 1-800-327-6388, Monday through Friday, 7 a.m. to 8 p.m., or Saturday, 7 a.m. to 6 p.m., Central Time. Cover/book design: Alexis Cook Cover/book photography: Jimmy Hubbard
EDITORIAL EDITOR-IN-CHIEF Brad Tolinski MANAGING EDITOR Jeff Kitts EXECUTIVE EDITOR Christopher Scapelliti Music editors Andy Aledort, Jimmy Brown consultant Paul Riario
TIME HOME ENTERTAINMENT PUBLISHER Richard Fraiman VICE PRESIDENT, BUSINESS DEVELOPMENT & STRATEGY Steven Sandonato EXECUTIVE DIRECTOR, MARKETING SERVICES Carol Pittard EXECUTIVE DIRECTOR, RETAIL & SPECIAL SALES Tom Mifsud EXECUTIVE PUBLISHING DIRECTOR Joy Butts EDITORIAL DIRECTOR Stephen Koepp EDITORIAL OPERATIONS DIRECTOR Michael Q. Bullerdick DIRECTOR, BOOKAZINE DEVELOPMENT & MARKETING Laura Adam FINANCE DIRECTOR Glenn Buonocore ASSOCIATE PUBLISHING DIRECTOR Megan Pearlman ASSISTANT GENERAL COUNSEL Helen Wan ASSISTANT DIRECTOR, SPECIAL SALES Ilene Schreider SENIOR BOOK PRODUCTION MANAGER Susan Chodakiewicz DESIGN & PREPRESS MANAGER Anne-Michelle Gallero BRAND MANAGER Katie McHugh ASSOCIATE PREPRESS MANAGER Alex Voznesenskiy
ART Design DIRECTOR Alexis Cook Photography Director Jimmy Hubbard digital imaging specialist Evan Trusewicz PRODUCTION PRODUCTION COORDINATOR Nicole Schilling CONSUMER MARKETING Consumer Marketing Director Crystal Hudson Audience Development Coordinator Kara Tzinivis Fulfillment Coordinator Ulises Cabrera Marketing Coordinator Dominique Rennell NEWBAY MEDIA CORPORATE PRESIDENT & CEO Steve Palm CHIEF FINANCIAL OFFICER Paul Mastronardi CONTROLLER Jack Liedke VICE PRESIDENT-PUBLISHING DIRECTOR, MUSIC GROUP Bill Amstutz VICE PRESIDENT OF DIGITAL MEDIA Joe Ferrick VICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise Robbins VICE PRESIDENT OF CONTENT & MARKETING Anthony Savona VICE PRESIDENT OF HUMAN RESOURCES Ray Vollmer
SPECIAL THANKS Christine Austin, Jeremy Biloon, Jim Childs, Rose Cirrincione, Lauren Hall Clark, Jacqueline Fitzgerald, Christine Font, Jenna Goldberg, Hillary Hirsch, Suzanne Janso, David Kahn, Mona Li, Amy Mangus, Robert Marasco, Kimberly Marshall Amy Migliaccio, Nina Mistry, Dave Rozzelle, Adriana Tierno, Vanessa Wu
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