Copyright, C 2004 Rock Star Recipes Ltd.

All rights reserved. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, scanning, or otherwise, without the prior written
permission of the publisher.
 Contents
5
Preface ..............................................................................................

Lessons:
8
Lesson 1 - D Minor chord, bass note runs................................................

Lesson 2 - Major seventh chords, F major 7th, C major 7th, 16th note rhythm
patterns....................................................................................... 11

Lesson 3 - A major 7, D major 7, G major 7, chromatic notes - first position.....

.................................................................................................. 18

Lesson 4 - B minor chord, triplet rhythm................................................ 27

Lesson 5 - Major six chords, A6 chord, E6 chord, the A major scale................. 31

Lesson 6 - Barre chords, F barre chord, root six barre chord........................ 35

Lesson 7 - Percussive strum................................................................ 37

Lesson 8 - Root 6 minor bar chord........................................................ 40

Lesson 9 - Key signatures and scales..................................................... 48

Lesson 10 - F dominant 7 chord (Root six), music rests............................... 50

Lesson 11 - Deadening, eighth note rest within a strum.............................. 53

Lesson 12 - Major root 5 barre chords, staccato strumming.......................... 57

Lesson 13 - Chord progression concepts, blues pattern 1, blues pattern 2........ 65

 Lesson 14 - Root 5 minor barre chord, 12 bar blues pattern 3................. 68

Lesson 15 - Palm muting............................................................. 78

Lesson 16 - Advanced rhythm techniques.......................................... 80

Lesson 17 - Root 5 dominant 7 barre chord, blues in D......................... 90

Lesson 18 - Reggae strum............................................................ 63

Lesson 19 - Minor scale............................................................... 103

Lesson 20 - Minor 7th chords, Fm7chord, Bbm7 chord........................... 105

Lesson 21 - Major 6 barre chords, F6 chord, Bb6 chord.......................... 116

Lesson 22 - Power chords, F power chord, Bb power chord..................... 119

Lesson 23 - Accents, compound meter.............................................. 128

Lesson 24 - C shape barre chord..................................................... 137

Lesson 25 - Suspended barre chords, Bbsus2, Bbsus4............................ 139

Lesson 26 - Root 6 and root 5 major 7th barres................................... 143

Supplementary Chord Reference.......................................................... 154

Index........................................................................................... 160


Preface
How to get the most out of your Jamorama Kit
By now you would have noticed that the Jamorama Kit contains a great deal of content. Let
me tell you how to get the most out of this course.

When purchasing the Jamorama course you would have noticed that you were sent a Click-
bank
order number via email. This order number is effectively your key to unlocking the doors to
all the tools and secrets that will enable you to become the guitar player you have always
dreamed about. Use it to log in to our members’ area at www.jamorama.com/members.php

Within the ‘Members’ Area’ the full Jamorama course is available as a download, i.e. the
books, the video examples, the songs, and all of the extra bonus software and tools such as
Jayde Musica, Guit-ear-it, the Jamorama Metronome and Guitar Tuner pro.

Let’s start by looking closer at the books. Basically the books are the cornerstone of the
course. All of the bonus software and video examples accompany the books and their content.
They have been written by me directly for you, with you the learner in mind.

All of the lessons within the books have been written in guitar tablature and each lesson is
accompanied by helpful video. The video lessons are excellent accompaniments to the book
as you can SEE and HEAR exactly what you are meant to be doing. Icons have been added to
the books at the relevant places to show you when and where there are video examples
available. When you see this icon you will know that there is video available:

To access the video for each exercise, you will need to log in and download it from our
members’ area. Essentially, the books are the foundation. Read them, study them, love
them… then read them all again!

The bonus software and games that come as part of the Jamorama course consist of the
following:

- Jayde Musica - How to tune your guitar

- Guit-ear-it - Advanced guitar learning techniques
- Guitar Tuner Pro
- Jamorama Metronome

These extra bonuses are tools to help motivate you and keep your interest levels up. I
strongly recommend that you use these for at least 10 minutes each a day. This will very
quickly improve your music sight reading, train your ear and increase your skill at playing in
time. These programmes are available in our members area also. Install these programs
onto your computer and use them from there.


What I can assure you is this: if you listen to what I have to say, practise daily
and keep yourself motivated, you will see the results. And you’ll start seeing
them quickly. I also must add that while this book is an invaluable resource
for your guitar learning, the guidance of an experienced guitar teacher is also
recommended as they will help keep you on task, motivated and can quickly
point out important things about your technique that will help accelerate your
learning that you may not notice yourself.

Good luck with your guitar learning, it’s going to be a really life changing
ride!

Yours sincerely,

Ben Edwards
Jamorama.com


Right now, I want to introduce you to the key that we will be using throughout this course.
From time to time you will see icons at the side of the page. Below is a guide as to what each
of them mean:
This is a lesson or some advice
that could save you a lot of
valuable time. A hot tip can
be a number of things: A quick
pointer, a hard learned lesson
or a cheeky shortcut to get
you there faster. Take note of
each tip and they will serve
you well.
From time to time, I like to
add some deeper thought
into the mix; an idea, a
belief, a word from the wise
just to keep you on your
toes and thinking about the
way you think about playing
and learning guitar.
Did you know that the first
guitarist to intentionally use
a distorted guitar sound was
Link Wray. He achieved the
sound by punching holes in
the speaker of his amplifier
and it can be heard on the
1958 recording of his song
‘Rumble’. You guessed it!
When you see this symbol
you get a pretty trivial fact
- useless, but interesting
nonetheless.
Now that we’ve got that covered, it’s time to start learning. I hope you’re ready for the
ride...

This is the warning symbol.
We use this to steer you away
from any guitar learning no
nos and put you on the road of
righteousness. Pay close
attention to the warning
symbol as bad habits can
creep in unnoticed at any
point in your development.
Jam Track Icon. When you see
this icon, it means there is a
Jam Track available in the on-
line members area. Basically,
the Jamorama Jam Tracks are
there to get you jamming with
the band and to put all those
newly learned skills into
practise.
Pretty self-explanatory
really. This is something
important that you really
need to take note of and
remember. When you see
this icon, study up on the
relevant information until
you know it inside and out.
That way you will be ready
for everything in the lessons
that follow.
Lesson OneImagine that you are filling in for Pearl Jam as they record a new version of
the song ‘Betterman’ in the studio. Their second guitarist is sick. They hand
you a sheet of music and on it are the chords and solos you are to play for
the song. You calmly put the sheet of music on a stand and pick up the gui-
tar. The sound engineer asks if you want a practise run to which you coolly
reply, “No thanks”. The sound guy hits record and you play the whole song
perfectly first time through, from off the page in front of you. Your track is
ready for the mix. Does this situation sound real to you?

I want to ask you, did you pick up this book and read the above section
through perfectly without any mistakes? What’s the difference then between
reading the English language and reading music?

Consider that you’ve grown up reading the English language and by now you
are quite good at it. Compare that to sight-reading music. There’s no trick
to sight-reading, it just takes time and practise. It will get harder as you
progress, just as the English language gets harder the more you study it. In
the end, you will be able to pick up a piece sheet of music and know what to
play, first time without mistakes.

Start today, build up a collection of sheet music books, especially Piano, Sax
or Brass Instruments as typically the sheet music for those instruments is
heavily stave-based. Remember, memorizing a song isn’t sight-reading.
You need to have a large selection of music to read so that you don’t get
a chance to familiarize yourself to it. Mistakes are OK to start with. Try to
keep the flow and speed and perfection will come.

The D Minor Chord

The D minor chord is constructed of the
notes D, F and A .

2
3
1


 44 Dminor


1 1
3 3
T 2 2
A 0 0
B X
X

Exercise
Play the following chord progression using the suggested strum.

Strum:

Count: 1 + 2 + 3 +

34Am Dm G C


0 0 0 0 0 1 1 1 1 1 3 3 3 3 3 0 0 0 0 0
1 1 1 1 1 3 3 3 3 3 0 0 0 0 0 1 1 1 1 1
T 2 2 2 2 2
2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2
B
0 0 0 0 0 X X X X X 2 2 2 2 2 3 3 3 3 3
X X X X X X X X X X 3 3 3 3 3 X X X X X


Bass note runs
Sometimes the sound of the movement between two chords in a particular progression can
become boring or cliche. Bass note runs can help ‘bridge’ two chords together, lending an
element of interest to a piece. A bass note run is a ‘bridge’ constructed of single notes played
on the bass strings.

Exercise:
Play the following piece that uses bass note runs:

34
Am Dm

 
 

T
A 2 0 0
B 0

G C

     

T
A
B 0 2 3 3
3 3

Well done! Becoming a great player and musician will take time and effort on your part, I
really think you‘ve done so well to get to this point. This last exercise may be quite difficult
at first with combining picking and strumming, however you will notice how good and
‘song-like’ it is sounding. You’re really coming together well now!

10
Lesson Two
A Passion for Music
The people who really succeed at getting under way with their development
are people who stick at it no matter what. These people have a real passion for
their music. Passion is an attribute that will serve you well, if you can harness it.
If you watch these people progress you will see that they immerse themselves
in music. They begin to walk, talk and breathe music. They capitalize on their
strengths and work through their weaknesses. Above all, these people love the
music they play and are never fazed by what other people say. With passion,
you will continue to improve every day.

Major Seventh Chords

In Chapter Seven of Book One we looked at dominant seventh chords. Now we will take a look
at a different type of seventh chord; the major seventh. The major seventh chord is very closely
related to the dominant seventh chord. The difference between the two chords is that the major
seventh chord adds the major seventh note instead of the minor seventh note to the major triad.
All major 7th chords use four notes, (the three notes taken from the major chord and a fourth
note added to turn it into a major 7th).

The major seventh is commonly used in jazz and blues.

The F major 7th Chord The C major 7th Chord

The F major 7th chord is like the F major The C major 7th chord is like the C major
chord but with one finger less! It consists chord but also with one finger less! It
of the notes F, A, C and E. consists of the notes C, E, G and B.

3
3 2
2
1

4 5
11
 4 Fmaj7
44 Cmaj7
4 

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 T 0 0 0 0 0 0 0 0
A 3 3 3 3 3 3 3 3 A 2 2 2 2 2 2 2 2
B X X X X X X X X B 3 3 3 3 3 3 3 3
X X X X X X X X X X X X X X X X

4 5

Exercise:
Play the following progression using the suggested strum:
Strum:

Count: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +

44Cmaj7 Fmaj7 G Cmaj7



0 0 0 0 0 0 1 1 1 1 3 3 3 3 3 3 0 0 0 0
0 0 0 0 0 0 1 1 1 1 0 0 0 0 0 0 0 0 0 0
T 2 2 0 0
0 0 0 0 0 0 2 2 0 0 0 0 0 0 0 0
A
2 2 2 2 2 2 3 3 3 3 0 0 0 0 0 0 2 2 2 2
B
3 3 3 3 3 3 X X X X 2 2 2 2 2 2 3 3 3 3
X X X X X X X X X X 3 3 3 3 3 3 X X X X

12
Sixteenth Note Rhythm Patterns
So far we have used either quarter or eight note rhythms. If we take an eighth note and halve
its value, we create a sixteenth note. From this we can create sixteenth note rhythms.

Example:

Eighth note:         (eight notes to a bar)

One eighth note = Two

sixteenth notes.

Sixteenth note:     (Sixteen notes to a bar)

Strum:

Count: 1e +a 2e+ a 3e+a 4e +a

say: one ee and ah two ee and ah etc...

Exercise:
Try playing the following sixteenth note strums over the suggested chords.

Strum:
Count: 1 2 3 e + a 4

44 C major 7th


0 0 0 0 0 0 0
0 0 0 0 0 0 0
T
0 0 0 0 0 0 0
A 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3
X X X X X X X

13
Exercise:
Play the following chords using the suggested rhythm pattern.

Strum:
Count: 1 e + a 2 3 e + a 4

44F Fmaj7 C Cmaj7


1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B
X X X X X X X X X X X X X X X X X X X X 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

Jam Track No. 1

Okay, so most of you will be quite used to these Jam Tracks from the first Jamorama
book. For those of you who are not familiar with them here’s what they do.

At Jamorama, we believe there is no point learning chords and techniques if you never
get to put them into practise with a band. For this reason, I want this course to introduce
you to the idea of contextual learning. Throughout the Jamorama course, we will take
what you have learned and use Jam Tracks to put it into ‘context’. So here we are, you
have been invited into the ‘Jamorama Band’ as the rhythm guitarist. Below is TAB of
what you need to play (note that each Jam Track will only use skills that you have already
learned). There are two audio tracks for each Jam Track, one with your guitar part being
played and one that you can play along with where the rhythm guitar has been left out.
Okay let’s get started.

14
 Jam Track No. 1
Repeat once

C
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
x x x x x x x x x x x x x x x
Strum

G
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Strum

C
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
x x x x x x x x x x x x x x x
Strum

G
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Strum

15
 C
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
x x x x x x x x x x x x x x x
Strum

G
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Strum

C
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
x x x x x x x x x x x x x x x
Strum

G
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Strum

16
 Emin F maj (root6)
0 0 0 0 0 0 1 1 1 1 1 1
T
0 0 0 0 0 0 1 1 1 1 1 1
0 0 0 0 0 0 2 2 2 2 2 2
A
B
2 2 2 2 2 2 3 3 3 3 3 3
2 2 2 2 2 2 3 3 3 3 3 3
0 0 0 0 0 0 1 1 1 1 1 1
Strum

Emin F maj (root6)

0 0 0 0 0 0 1 1 1 1 1 1
T
0 0 0 0 0 0 1 1 1 1 1 1
0 0 0 0 0 0 2 2 2 2 2 2
A
B
2 2 2 2 2 2 3 3 3 3 3 3
2 2 2 2 2 2 3 3 3 3 3 3
0 0 0 0 0 0 1 1 1 1 1 1
Strum

Emin F maj (root6)

0 0 0 0 0 0 1 1 1 1 1 1
T
0 0 0 0 0 0 1 1 1 1 1 1
0 0 0 0 0 0 2 2 2 2 2 2
A
B
2 2 2 2 2 2 3 3 3 3 3 3
2 2 2 2 2 2 3 3 3 3 3 3
0 0 0 0 0 0 1 1 1 1 1 1
Strum

G
3 3 3 3 3 3 3 3 3 3 3 3
T
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
A
B
0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3
Strum

17
Lesson Three
Knowledge is Power
It’s not all about playing, as you may have realized by now. The market is
saturated with information that is valid and reliable. Music magazines are
good reading as they often refer you onto books and videos that will aid your
learning. Autobiographies of artists are always a good read also. They illus-
trate the luck and hard work that it takes in finding rock stardom. Anything
can be found in a book. Whether it is the history of the guitar or how to buy
a good amp, you should read a lot. The musicians who make it big are nor-
mally the musicians who have the most knowledge. Knowledge is power.

The Amaj7 Chord The Dmaj7 Chord

2
1
3 1

9 10

18
 44 A major 7th


0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2
T 1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0
X X X X X X X X

44 D major 7th


2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
T 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0
B X X X X X X X X
X X X X X X X X

10

The Gmaj7 Chord

11

19
 4 G major 7th
4

2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0
A
B
0
X
0
X
0
X
0
X
0
X
0
X
0
X
0
X 11
3 3 3 3 3 3 3 3

Exercise: Major 7 Progression

Play the following chord progression using the suggested strum.

Strum:

Count: 1 2 3 4e+a

44Gmaj7 Dmaj7 Gmaj7 Dmaj7 Gmaj7 Dmaj7 Gmaj7 Dmaj7



2 2 2 2 2 2 2 2 2 22 2 2 2 2 2 2 2 2 2 2 22 2
0 0 2 2 2 2 0 0 2 22 2 0 0 2 2 2 2 0 0 2 22 2
T
0 0 2 2 2 2 0 0 2 22 2 0 0 2 2 2 2 0 0 2 22 2
A
0 0 0 0 0 0 0 0 0 00 0 0 0 0 0 0 0 0 0 0 00 0
B
X X X X X X X X X XX X X X X X X X X X X XX X
3 3 X X X X 3 3 X XX X 3 3 X X X X 3 3 X XX X

A Amaj7 A Amaj7 Gmaj7 Dmaj7 Gmaj7 Dmaj7

4
4

0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 22 2
2 2 2 2 2 2 2 2 2 2 2 2 0 0 2 2 2 2 0 0 2 22 2
T 2 2 1 1 1 1 2 2 1 1 1 1 0 0 2 2 2 2 0 0 2 22 2
A
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 00 0
B
0 0 0 0 0 0 0 0 0 0 0 0 X X X X X X X X X XX X
X X X X X X X X X X X X 3 3 X X X X 3 3 X XX X

12

20
Chromatic notes - First position
On stave, flats and sharps are placed directly before the note that they affect.

C#
Example:
 #


You may have noticed that all flat notes share their position on the fret board with a sharp note.
These notes are enharmonic. They have the same pitch but have different names.
Here are the chromatic notes in the first position:

E F F# or Gb G G# or Ab A A# or Bb

  #  or b   #  or b   #  or b 
T
A
B 0 1 1
0 1 2 2 3 4 4

B C C# or Db D D# or Eb E F F# or

   or b    
  #  or b  #
#
or

T
A 0 1 1 2 3 4
B 2 3 4 4

Gb G G# Ab A A# or Bb B C C# or

 b   #  b   #  or b
   #
 or

T 1 2
0 1 1 2 3 3 4
A 4
B

Continued over page...

21
 Db D D# or Eb E F
 F#  or Gb
  G G#


   or b
  # or b #
b #

0 1 2 2 3 4
T 2 3 4 4
A
B

Exercise:
The following exercise uses flat and sharp notes to form its bass note runs.

3
E A
4
   # #     #

T
A
B 0 0 2 4
0 0 2 4
1 2 3 1 2 3 1 2 3 1 2 3

 34 
D A

 
T
A 0
B 0 0

1 2 + 3 1 2 + 3 1 2 3 1

13

22
 Jam Track No. 2

A min
0 0 0 0 0 0
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 3 2
x x x x x x 3
Strum

A min
0 0 0 0 0 0
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 2 3
x x x x x x
Strum

F
1 1 1 1 1 1
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
3 3 3 3 3 3 3 3 3
x x x x x x 3 2
x x x x x x 3
Strum

A min
0 0 0 0 0 0
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 2 3
x x x x x x
Strum

F
1 1 1 1 1 1
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
3 3 3 3 3 3 3 3 3 3 2 0
x x x x x x
x x x x x x
Strum

23
 A min
0 0 0 0 0 0
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 2 3
x x x x x x
Strum

F
1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1
T 2 2 2
2 2 2 2 2
A 3
3 3 3 3 3 3 3 3 3 3 3
B x x x
x x x x x
x x x x x x x x
Strum

A min
0 0 0 0 0 0
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 2 3
x x x x x x
Strum

F
1 1 1 1 1 1
1 1 1 1 1 1
T 2
2 2 2 2 2
A
3 3 3 3 3 3 3 3 3 3 2 2
B x
x x x x x
x x x x x x
Strum

D
1 1 1 1 1 1
3 3 3 3 3 3
T 2 2
2 2 2 2
A
0 0 0 0 0 0 0 0 0 0 2 2
B x x
x x x x
x x x x x x
Strum

24
 F
1 1 1 1 1 1
1 1 1 1 1 1
T 2
2 2 2 2 2
A
3 3 3 3 3 3 3 3 3 3 2 2
B x
x x x x x
x x x x x x
Strum

A min
0 0 0 0 0 0
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 2 3
x x x x x x
Strum

F
1 1 1 1 1 1
1 1 1 1 1 1
T 2
2 2 2 2 2
A
3 3 3 3 3 3 3 3 3 3 2 2
B x
x x x x x
x x x x x x
Strum

A min
0 0 0 0 0 0
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 2 3
x x x x x x
Strum

F
1 1 1 1 1 1
T
1 1 1 1 1 1
2 2 2 2 2 2
A
B
3 3 3 3 3 3 3 3 3 3 2 2
x x x x x x
x x x x x x
Strum

25
 D
1 1 1 1 1 1
3 3 3 3 3 3
T 2 2
2 2 2 2
A
0 0 0 0 0 0 0 0 0 0 2 2
B x x
x x x x
x x x x x x
Strum

F
1 1 1 1 1 1
1 1 1 1 1 1
T 2
2 2 2 2 2
A
3 3 3 3 3 3 3 3 3 3 2 2
B x
x x x x x
x x x x x x
Strum

D
1 1 1 1 1 1
3 3 3 3 3 3
T 2 2
2 2 2 2
A
0 0 0 0 0 0 0 0 0 0 2 2
B x x
x x x x
x x x x x x
Strum

F
1 1 1 1 1 1
1 1 1 1 1 1
T 2
2 2 2 2 2
A
3 3 3 3 3 3 3 3 3
B x
x x x x x
x x x x x x
Strum

A min
0
T
1
2
A
B
2
0
x
Strum

26
Lesson Four
Guitars vary in so many ways, from shape, size and type of wood. To
appreciate the differences between guitars it’s best to try and pick up as many
guitars as possible. If you walk into a guitar shop and have time, play on guitars
that you initially don’t like the look of. Guitars can be deceptive and you’ll most
probably find a guitar - that you initially thought was ugly - could be the
perfect feel for your hands. Guitar legends often get custom versions of their
favorite guitars, asking the manufacturers for specific ideas they want in the
guitar that feels the best for them.

Bm
The 5th and 6th strings are not played in
the Bm chord.

3
4
2
1

44 Bm


2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
T 4 4 4 4 4 4 4 4
A 4 4 4 4 4 4 4 4
B X X X X X X X X 14
X X X X X X X X

27
Exercise:
Play the following progression using the suggested strum.

Strum:

Count: 1 2e+a 3 4e+a

44 D Dmaj7 Bm G

2 22222 22 2 1 11111 11 1 2 22222 22 2 3 33333 33 3
3 33333 33 3 1 11111 11 1 3 33333 33 3 0 00000 00 0
T 4 44444 44 4
2 22222 22 2 2 22222 22 2 0 00000 00 0
A
0 00000 00 0 0 00000 00 0 4 44444 44 4 0 00000 00 0
B
X XXXXX XX X X XXXXX XX X X XXXXX XX X 2 22222 22 2
X XXXXX XX X X XXXXX XX X X XXXXX XX X 3 33333 33 3

15

Triplet Rhythm
A triplet is three notes played in the time of two. In music a triplet is indicated by a beam or a
curve with a number 3 placed above the notes on the staff.

3 3

 =
  =
  =


28
Exercise: Eighth Note Triplet Strum
To play an eighth triplet strum, tap your foot to a quarter note pulse (count 1 2 3 4). Now, for
every beat that you tap with your foot, play three evenly spaced downward strums (use a chord
that you are comfortable with).
3 3 3

Note:    

Strum:

Foot: 1 2 3 4

44 E

3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 2 3 4
16

Many people have heard of the name Eric Clapton as being synonymous with
guitar playing. He started his long and very twisted career in 1965 playing
guitar in the infamous ‘John Mayall’s Bluesbreakers’. He then moved on in
1966 to form and play guitar in the band ‘Cream’. The band only lasted two
years but established themselves around the world as a force to be reckoned
with. Clapton style draws a lot of influence from early American blues guitar
playing, namely Robert Johnson.

29
Exercise:
Play the following chord progression using the provided eighth note triplet strum.

3 3 3 3
Strum:

Count: 1 + a 2+a 3 + a 4+a etc.

44 D A Em


2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B X X X X X 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0

44 Bm D G


2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0
T 4 4 4 4 4 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A 4 4 4 4 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B X X X X X X X X X X 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X 3 3 3 3 3 3 3 3 3 3

17

30
Lesson Five
Major Six Chords
Major six chords are created when the sixth note of a major scale is added to the major triad.

Example:
Let’s look at the A major scale and see how the A6 chord is made up.

Note: A B C# D E F# G# A

Note No. 1 2 3 4 5 6 7 8

The major six chord is used mostly in blues music.

The A6 Chord
The A6 chord consists of the notes A, D, E
and F#.

2
1
3
4

18

31
 4
4
A6

2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
T 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2
B 0
X
0
X
0
X
0
X
0
X
0
X
0
X
0
X
18

The E6 Chord
The E6 chord consists of the notes E, G#,
B and C#.

2
3
1
4

44 E6


0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2
T 1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
19

32
Exercise:
The following progression uses the A6 and E6 chords with major and seventh chords. Use your
little finger to slide between sixth and seventh chords so that the progression is smooth and
flowing. This symbol- -means that you repeat the last written bar

Strum:

Count: 1+ 2+ 3 + 4+ 1+ 2+ 3 + 4+

44A A6 A7 A6


0 0 2 2 3 3 2 2 0 0 2 2 3 3 2 2 0 0 2 2 3 3 2 2 0 0 2 2 3 3 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

44D A A6 A7 A6


2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 2 2 3 3 2 2 0 0 2 2 3 3 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B
X X X X X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

44E E6 E7 E6 D A A6 A7 A6 D


0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 0 0 2 2 3 3 2 2 2 2 2 2 2 2 2 2
0 0 2 2 3 3 2 2 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3
T
1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
B
2 2 2 2 2 2 2 2 X X X X X X X X 0 0 0 0 0 0 0 0 X X X X X X X X
0 0 0 0 0 0 0 0 X X X X X X X X X X X X X X X X X X X X X X X X

20
33
The A Major Scale
Each scale contains its own number of flats or sharps. The A major scale has three sharps.

  # # 
 # 
1 2 3 4 5 6 7 8

T
A 1 2
0 2 4
B 0 2 4

Note Number: 1 2 3 4 5 6 7 8

Step Pattern: tone tone semi tone tone tone semi

tone tone

Exercise:
Play the A major Scale from the previous page. Play from start to end and then play the scale
in reverse back to the starting point at A on the 5th string. Use down/up picking.

   # # 
  #   # 
#
#
  
T
A 1 2 2 1
0 2 4 4 2 0
B 0 2 4 4 2 0

21

34
Lesson Six
Barre chords
The chords we have covered so far have all been in the open position and they all contain at
least one open string, so they are sometimes referred to as open chords. Bar chords do not
contain any open strings because the first finger holds a ‘barre’ across the fret board. Take the
F major root six barre chord for example, look at the chord diagram below. Do note however
that playing barre chords can be very tricky at first. Most players when initially learning, have
trouble holding the strings down across the entire neck. Here are some tips to help keep barre
chords clear and pristine:

1. Keep your barre finger pressed down hard

2. Keep the barre finger even across the fret (straight up and down)
3. Keep your other fingers perpendicular to the strings and not too flat.

The F Major Root Six Barre Chord

Hold the ‘barre’ down solid. This may be
hard at first, but keep trying. Make sure
each string is sounding.

3
4 1
2

4 F Major root 6 barre

4

1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1
T 2 2 2 2 2 2 2 2
A 3 3 3 3 3 3 3 3
B 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1

22

35
 Looking at the F major chord above you can see that apart from the first finger across the first
fret, the chord shape is that of the open E chord. The root note is the note played on the sixth
string (in this case it is F) and that is where the chord gets its name from, hence the term ‘root
6 barre chord’. If you move this chord shape up the fret board the chord changes, you will find
the name of the chord is the same as the sixth string note (root note). So it is important to know
these notes. They are written below on the fret board diagram:

Fret: 0 1 2 3 4 5 6 7 8 9 10 11 12

Note: E F F# G G# A A# B C C# D D# E
Gb Ab Bb Db Eb
The root 6 bar chord concept means that you now have some new chords to play with, like the
F# chord on the 2nd fret.

Exercise:
When playing the following chord progression, try to maintain contact with the strings at all
times with your left hand. The chord shape should be held firm.

Strum:

Count: 1+ 2+ 3+ 4+

44 F 1st Fret A# 6th Fret G# 4th Fret C 8th Fret



1 1 1 1 1 1 6 6 6 6 6 6 4 4 4 4 4 4 8 8 8 8 8 8
1 1 1 1 1 1 6 6 6 6 6 6 4 4 4 4 4 4 8 8 8 8 8 8
T
2 2 2 2 2 2 7 7 7 7 7 7 5 5 5 5 5 5 9 9 9 9 9 9
A 3 3 3 3 3 3 8 8 8 8 8 8 6 6 6 6 6 6 10 10 10 10 10 10
B 3 3 3 3 3 3 8 8 8 8 8 8 6 6 6 6 6 6 10 10 10 10 10 10
1 1 1 1 1 1 6 6 6 6 6 6 4 4 4 4 4 4 8 8 8 8 8 8

23

36
Lesson Seven
Most people know Dave Evans as ‘The Edge’ from U2. That is the name that
he has adapted over the years. Personally I rate ‘The Edge’ as one of my
all-time favorites. He runs his guitar signal through a series of delay and
reverb units creating a cascade of sound and a wall of synthetic texture. He
often plays subtle arpeggio motifs that create a sense of continuous rippling
within the songs. He’s what I call a quiet achiever, creating beautiful guitar
moments but not in an obvious up-front manner. He has a very destinctive

Percussive Strum
The percussive strum is achieved by deadening all six strings while playing a chord. There are two
techniques of percussive strum, one for barre chords and one for open chords. The percussive
strum is written as an x placed above or below the strum indicator, like this:

x
Strum:
x
Count: 1+ 2+ 3+ 4+

You can see here that beat 2, and the + of 3, are both percussive strums.

Percussive Strum for Barre Chords

Hold the barre chord G with your left hand, but do not apply any pressure to the strings. Your
fingers on your left hand should be touching the strings, but the strings should not be touching
the fret board. When you strum this, you are playing a percussive strum.

Exercise:
Try playing the following percussive strum over the chord G root six Major. It may be hard at
first. The key is to keep trying at it so that it flows.

G
44 G
Strum: x x 
x x
Count: 1+ 2+ 3+ 4+
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
T 4 4 4 4 4 4 4 4
A 5 5 5 5 5 5 5 5
24 B 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3
x x x x
37
 Slow practise:
When we’re first learning a skill we typically perform it slowly, but even once
you’ve grasped the basics, slow practise can be very beneficial for building solid
chunks and strengthening the pathways in your mind. By practising slowly you
minimize the potential for mistakes, thereby ensuring that you don’t “learn”
your mistakes. The more times you perform a task correctly, the easier it will
be to do so the next time, regardless of how slowly you do it. You will also find
it easier to join your chunks together if you do it slowly, since your brain will
have time to think, “what is it that comes next?” and come up with the correct
answer. Slow practise has the added benefit of making material seem easier,
and thereby giving you confidence in your performance. A lack of confidence
can be one of the largest contributors to mistakes and forgetfulness!

Percussive Strum for Open Chords

The open chord percussive strum is a little trickier to master than the barre chord version. First,
hold the open chord C major, but do not apply any pressure to its notes. You will see that the
1st, 2nd and 6th strings are not deadened. To deaden them you must tilt your left hand to cover
the 1st and 3rd strings. Use your thumb to deaden the 6th string.

Exercise:
Try playing the following percussive strum over the open chord C Major.

C
x x
Strum:
x
Count: 1+ 2+ 3+ 4+

C
 44

0 0 0 0 0 0 0
1 1 1 1 1 1 1
T 0 0 0 0 0 0 0
A 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 25
X X X X X X X
x x x

38
 Exercise:
Play the following chord progression using the percussive strum provided.
x x
Strum:

Count: 1+ 2+ 3+ 4+

44 G C G C


3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1
T 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0
A 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 3 0 3 3 3 3 3 3
3 3 3 3 3 3 3 3 X X X X X X X X 3 3 3 3 3 3 3 3 X X X X X X X X
x x x x x x x x

26

Writing Music can be an overwhelming process because not only are you
expressing yourself through your instrument, but more importantly, your voice,
ideas and beliefs are heard by all. It’s a confidence thing, and the sooner you
realize that you’re a good person and what you have to say is important, the
sooner you will set on your songwriting path.

x
Strum:

Count: 1+ 2+ 3+ 4 +

44G B C A


3 3 3 3 3 3 7 7 7 7 7 7 8 8 8 8 8 8 5 5 5 5 5 5
3 3 3 3 3 3 7 7 7 7 7 7 8 8 8 8 8 8 5 5 5 5 5 5
T
4 4 4 4 4 4 8 8 8 8 8 8 9 9 9 9 9 9 6 6 6 6 6 6
A
5 5 5 5 5 5 9 9 9 9 9 9 10 10 10 10 10 10 7 7 7 7 7 7
B
5 5 5 5 5 5 9 9 9 9 9 9 10 10 10 10 10 10 7 7 7 7 7 7
3 3 3 3 3 3 7 7 7 7 7 7 8 8 8 8 8 8 5 5 5 5 5 5
x x x x

27
39
Lesson Eight
Root 6 minor barre chord
The root 6 minor bar chord is very Fm Root 6 Barre Chord
much like the root 6 major bar chord
in that it uses one chord shape that
can be moved along the fret board
to play different chords. The shape 3
of the root minor 6 chord is the 4 1
same as the Em open chord, the only
difference being that it is ‘barred’ by
your first finger. Take the Fm root 6
bar chord for example:

44 Fm Root 6 Barre Chord



1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1
T
1 1 1 1 1 1 1 1
A 3 3 3 3 3 3 3 3
B 3 3 3 3 3 3 3 3 28
1 1 1 1 1 1 1 1

Removing your second finger from the major chord makes this minor chord.

Like the major chord, the root 6 minor bar chord takes its name from the sixth string that it
‘barres’. If your first finger is ‘’barring’ the first fret, the chord would be Fm, if it were the
second fret: F#m, the third fret: Gm etc.

40
Exercise:
Play the following chord progressions using the suggested strums.
x
Strum:
x
Count: 1+ 2+ 3+

34 Gm Cm D# D


3 3 3 3 3 7 7 7 7 7 11 11 11 11 11 10 10 10 10 10
3 3 3 3 3 7 7 7 7 7 11 11 11 11 11 10 10 10 10 10
T
3 3 3 3 3 7 7 7 7 7 12 12 12 12 12 11 11 11 11 11
A
5 5 5 5 5 9 9 9 9 9 13 13 13 13 13 12 12 12 12 12
B
5 5 5 5 5 9 9 9 9 9 13 13 13 13 13 12 12 12 12 12
3 3 3 3 3 7 7 7 7 7 11 11 11 11 11 10 10 10 10 10
x x x x x x x x

29

It stands to reason that if our ability to play the guitar stems from our
ability to perform smaller tasks like playing chords, then we should make
sure that we have these smaller skills well mastered before we attempt to
set them all in motion. However, in our eagerness to demonstrate progress
in a new skill we often tend to rush ahead before we master the basics.
Many people try to cover too much ground too quickly, using the “once over
lightly” approach and hoping to fill in the gaps with practise. This “in the
deep end” or “sink or swim” approach is useful in activities such as
swimming, but not so useful for complex tasks where one skill builds on the
lessons learned previously. Instead of filling in the gaps, often all you do is
develop bad habits and make mistakes that you end up practising (and un-
doubtedly become very good at!) that are then hard to “unlearn” once you
develop enough expertise to realize what you’re doing wrong.

The mastery method, despite the impressive sounding title, really just
means that we learn best and progress faster when we take the time to
master the small components of a skill before we move on to more complex
tasks. This is where having a tutor can really be helpful, since in your early
stages of learning you’re unlikely to recognize when you’re doing
something incorrectly. In lieu of a teacher you could also use videos, audio
CDs or software as a point of reference. With a little experience you’ll be
able to recognize your mistakes yourself.

41
Strum:

Count: 1e+a 2e+a 3e+a 4e+a

44 Am G


5 5 5 5 5 5 5 0 2 2 0 3 3 3 3 3 3 3 3 3 3 3
5 5 5 5 5 5 5 2 3 3 2 3 3 3 3 3 3 3 3 3 3 3
T 5 5 5 5 5 5 5 2 2 2 2 4 4 4 4 4 4 4 4 4 4 4
A 7 7 7 7 7 7 7 2 0 0 2 5 5 5 5 5 5 5 5 5 5 5
B 7 7 7 7 7 7 7 0 X X 0 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 X X X X 3 3 3 3 3 3 3 3 3 3 3

44 F E open


1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1
A 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0

30

Rock around the clock, one of the most famous rock songs which helped create
the rock star era, was written and performed by Bill Haley and the Comets. Bill
played an Aria Pro II PE-180.

Keith Richards from the Rolling Stones played a White Custom Gibson SG on the
band’s landmark tour of the U.S.

42
 Jam Track No. 3

D A Eminor
2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
B 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
x x x x 0 0 0 0 2 2 2 2 2 2 2 2 2 2
x x x x x x x x 0 0 0 0 0 0 0 0 0 0
Strum

G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
T
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
B
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

D A Eminor
2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
B 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
x x x x 0 0 0 0 2 2 2 2 2 2 2 2 2 2
x x x x x x x x 0 0 0 0 0 0 0 0 0 0
Strum

G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
T 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

43
 D A Eminor
2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
B 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
x x x x 0 0 0 0 2 2 2 2 2 2 2 2 2 2
x x x x x x x x 0 0 0 0 0 0 0 0 0 0
Strum

G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
T 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

D A Eminor
2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
B 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
x x x x 0 0 0 0 2 2 2 2 2 2 2 2 2 2
x x x x x x x x 0 0 0 0 0 0 0 0 0 0
Strum

G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
T 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

44
 Eminor
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Strum

Eminor
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Strum

D A Eminor
2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
B 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
x x x x 0 0 0 0 2 2 2 2 2 2 2 2 2 2
x x x x x x x x 0 0 0 0 0 0 0 0 0 0
Strum

G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
T 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

45
 D A Eminor
2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
B 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
x x x x 0 0 0 0 2 2 2 2 2 2 2 2 2 2
x x x x x x x x 0 0 0 0 0 0 0 0 0 0
Strum

G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
T 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

D A Eminor
2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
A
B 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
x x x x 0 0 0 0 2 2 2 2 2 2 2 2 2 2
x x x x x x x x 0 0 0 0 0 0 0 0 0 0
Strum

G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
T 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

46
 G D A
3 3 3 3 2 2 2 2 0 0 0 0 0 0 0 0 0 0
0 0 0 0 3 3 3 3 2 2 2 2 2 2 2 2 2 2
T 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 x x x x 0 0 0 0 0 0 0 0 0 0
3 3 3 3 x x x x x x x x x x x x x x

Strum

G D A
3 3 3 3 2 2 2 2 0
0 0 0 0 3 3 3 3 2
T 0 0 0 0 2 2 2 2 2
A
0 0 0 0 0 0 0 0 2
B 2 2 2 2 x x x x 0
3 3 3 3 x x x x x

Strum

Don’t forget when you are working on the Jam Tracks make to sure you listen to
all the instruments in that Track. For example listen to what the bass guitar is
doing, where are his bass lines moving? What rhythm is he following? What about
the drummer? Listen to how he lifts and lowers the song through his dynamic
playing.

Being a part of a band is all about playing ‘together’, the more you become
aware of what the others in your band are playing, the more you will grow
together as a musical unit. Imagine a band where everytime they practised or
performed it was a a constant aural battle between each band member, each
one trying to be louder than the rest, or each member playing his/her ‘own’ idea
and not listening to the other members and whether all the ideas are ‘working
together’. Can you imagine that? It would sound terrible wouldn’t it? Therefore,
it’s a great idea to also use these Jam Tracks as ‘Band training’ - getting you used
to listening to other instruments as you play your part, understanding their tone,
and rhythm and where they ‘fit’ within a band situation.

Keep up the great work!

47
Lesson Nine

Key Signatures
For the most part, melodies are built from notes within a scale. So far, we have looked at the C
major and a major scale. You will remember that the C major scale has the following notes:

C D E F G A B

Strictly speaking, a melody in C would consist of these notes only.

A melody in A would use notes from the A major scale:

A B C# D E F# G#

The A major scale has three sharps (#s). They are C#, F# and G#. On stave, instead of writing
a sharp in front of every C, F and G, a key signature is used. A key signature is written at the
beginning of a piece of music, on the stave. It indicates the scale you are playing by giving you
the sharps or flats used in the piece.

A major scale


# #
#
 # # 
 # 

T
A 1 2
0 2 4
B 0 2 4

31

Each major scale has a specific number of sharps or flats unique to itself. Therefore, each major
scale key signature is different.

Here are some more scales with their key signatures:

48
D major scale


  
#
#
   


T 2 3
A 0 2 4
0 2 4
B

32

G Major Scale
  

 
#
  

0 2 3
T 0 1 3
A 0 2
B

33

E Major Scale


# #
# #

   
   
0 2 3
T 0 1 3
A 0 2
B

34

Exercise:
Play each major scale from this lesson. Play from start to end and then play the scale in reverse
back to the starting point. Use a down/up picking motion.

49
Lesson Ten
F dominant 7 Root Six Barre Chord
The F dominant 7 chord can be made as a
root six barre chord (see the chord diagram
below). This shape can be played right along
the fret board.
F dom 7 (alternative fingering)
The F dominant 7 chord can be played
another way (shown below). It still uses the
same notes as the first method shown.

3 3
1 1
2 2
4

4 F dom 7 root 6 barre

44 F dom 7 root 6 barre (alternate)
4 

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
4 4 4 4 4 4 4 4 1 1 1 1 1 1 1 1
T 2 2 2 2 2 2 2 2 T
2 2 2 2 2 2 2 2
A 1 1 1 1 1 1 1 1 A 1 1 1 1 1 1 1 1
B 3 3 3 3 3 3 3 3 B 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

35 36

50
Exercise:
Play the following chord progression using root six chords and the suggested triplet strum.
3 3 3 3
xx x x
Strum:

Count: 1+a 2+a 3+a 4+a

44 C Bb


8 8 8 8 8 8 8 8 8 8 8 8 6 6 6 6 6 6 6 6 6 6 6 6
8 8 8 8 8 8 8 8 8 8 8 8 6 6 6 6 6 6 6 6 6 6 6 6
T 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7
A 10 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8
B 10 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 6 6 6 6 6 6 6 6 6 6 6 6
x x x x x x x x

44 F F7


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 3 3 3 3 3 3 3 3 3 3 3 3 1 1 1 1 1 1 1 1 1 1 1 1
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
x x x x x x x x

37

Did you know that the strings you use can greatly alter the sound the guitar
makes? For an acoustic guitar you may be playing on steel strings, or nylon.
Generally, steel strings are much ‘brighter’ or (obviously) ‘metallic’ sounding;
nylon strings produce a softer, warmer feel to them. Even the ‘gauge’ of the
string makes a big difference in both sound and ease of playability. ‘Gauge’
is the thickness of the string. The lighter the gauge (thinner strings), the
easier they are to play but they usually have less volume and are also usually
‘brighter’ (thinner) in their sound.

51
Music Rests
A rest is a section of silence. Every note value has an equivalent rest value as shown in the table
below.

Notes: Whole note Half note Quarter note Eighth note Sixteenth note

     

Rests: Whole note Half note Quarter note Eighth note Sixteenth note

 0 0 9 = \
Number 4 2 1 1/2 1/4
of beats
note is
held:

Many people seem to overlook one of the most understated and brilliant
guitar players of pop history, George Harrison of The Beatles. Known as the
quiet Beatle, George is often not credited for his brilliant and subtle work on
Beatles’ albums. We all know how genius Lennon and McCartney were with
their song-writing, however there are wonderful guitar playing moments on
Beatles’ songs such as ‘Here comes the Sun’, ‘Blackbird’ and ‘While my guitar
gently weeps’.

52
Lesson Eleven

Deadening
Deadening is a term used by guitarists to describe the act of silencing the guitar while playing.
There are two types of deadening. One is done with your fretting hand and is called fret hand
deadening. The other is done with your strumming hand and is called palm deadening.

Fret Hand Deadening

Fret hand deadening is
achieved by lightly holding
the fingers of your fret
hand across the guitar
strings so that all of the
strings are deadened. This
type of deadening is used
when you play a percussive
strum (you covered this in
Chapter eight of this book).

Palm Deadening
Palm deadening is where
you rest the palm of your
picking/strumming hand
against the bridge of the
guitar so that any ring from
the strings is silenced. It
is the best way to silence
your guitar strings so this is
the method we will use to
play rests.

53
Exercise: Palm Deadening Open Chords
Play the following progression using the strum provided. The strum requires you to palm deaden
on beat two and hold that rest for beat three. You will need to play this slowly at first as the
concept is new and can be a little difficult to learn.

Strum:

Count: 1
99
2 3 4

44 D A E E7


99
2 2
3 3
T
2 2
A
0 0
B
X X
X X
99 99 99
0 0 0 0 0 0
2 2 0 0 0 0
2 2 1 1 1 1
2 2 2 2 0 0
0 0 2 2 2 2
X X 0 0 0 0

38

Exercise: Palm Deadening Barre Chords

Palm deadening can also be used with barre chords. Try the following barre chord progression
with the suggested strum. You will have to deaden the strings on beat three and hold the ‘rest’

9
for the + (and) beat of three.

Strum:

Count: 1 + 2 + 3 4 +

44 Gm Cm D# D


9 9 9 9
3 3 3 3 3 8 8 8 8 8 11 11 11 11 11 10 10 10 10 10
3 3 3 3 3 8 8 8 8 8 11 11 11 11 11 10 10 10 10 10
T
3 3 3 3 3 8 8 8 8 8 12 12 12 12 12 11 11 11 11 11
A
5 5 5 5 5 10 10 10 10 10 13 13 13 13 13 12 12 12 12 12
B
5 5 3 5 5 10 10 10 10 10 13 13 13 13 13 12 12 12 12 12
3 3 3 3 3 8 8 8 8 8 11 11 11 11 11 10 10 10 10 10

39
54
Playing Eighth Note Rests
So far, you have either played each eighth note within a strum or you have let the chord hold for
the duration of the eight note. Now, we are going to learn how to play the eighth note rest.

The eighth note rest is hard to master because it involves quick palm deadening technique to
silence the strings for the length of the eighth note. Work through the following exercise slowly,
it may take some practise to get this skill down.

Exercise: Eighth Note Rest

=
Play the following strum over an open E chord. Palm deaden the guitar strings on beat 2.

Strum:

Count: 1 + 2 + 3 + 4 +

44 E open


=
0 0 0 0 0 0 0
0 0 0 0 0 0 0
T 1 1 1 1 1 1 1
A
B
2
2
2
2
2
2
2
2
2
2
2
2
2
2 40
0 0 0 0 0 0 0

12 String guitars add amazing color to simple riffs and lick patterns. The way
the first four strings are doubled with octave tuning and the two high strings
are paired identically creates a very full and complete timbre of sound.
Finger picking and articulation techniques are secret weapons of the 12 string
player; picking out chords sounds amazing on a 12 string guitar.

55
Exercise:
Play the following chord progression using the suggested strum.

Strum:

Count: 1 +
= =
2 + 3 + 4 +

44 G root 6 D open Bm root 6 C root 6



== == == ==
3 3 3 3 3 2 2 2 2 2 7 7 7 7 7 8 8 8 8 8
3 3 3 3 3 3 3 3 3 3 7 7 7 7 7 8 8 8 8 8
T
4 4 4 4 4 2 2 2 2 2 7 7 7 7 7 9 9 9 9 9
A
5 5 5 5 5 0 0 0 0 0 9 9 9 9 9 10 10 10 10 10
B
5 5 5 5 5 X X X X X 9 9 9 9 9 10 10 10 10 10
3 3 3 3 3 X X X X X 7 7 7 7 7 8 8 8 8 8

41

Don’t forget to keep practising regularly with a Metronome. This course came
with the Free Jamorama metronome software. Practising with a metronome
familiarizes your ear and brain with keeping time. We’ve all been to see a
friend’s band in a local bar that just sounded horrible at the time. Usually
keeping time (or in this case not keeping time) is one of the main offenders to
musicians sounding bad.

56
Lesson Twelve
Major Root 5 Barre Chords
We’ve covered the root six barre chord formation. Let’s now take a look at the Root 5 formation.
Root 5 Barre Chords are based upon the open A major chord. You basically take the open A major
chord shape and apply the first finger barre to it. This enables you to play the same A shape all
the way down the fret board. See the example of the A sharp / B flat root 5 barre chord below.
Note that the sixth string is not played.

A# / Bb (Root 5) A# / Bb (Root 5) Alternative

Fingering

1 2 1
3 3
4

44 A# / Bb (root 5)


1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3
T
3 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1
X X X X X X X X

42

57
 This chord shape is called root 5 because the root note of the chord is taken from the fifth
string. In the example above, the fifth string note being played is A sharp or B flat, which is the
root note of both the A sharp and B flat chord that we are playing. As a refresher, the notes on
the fifth string are listed below.

Fret: 0 1 2 3 4 5 6 7 8 9 10 11 12

Note: A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A

Staccato Strumming
In music, staccato is a term that means ‘to cut short’ or ‘to play crisply’. Staccato strum then,
is a strum that is crisp and cut short. It is indicated by a dot placed above or below the note or
the strum mark that you want to play as staccato.

Example staccato notes:

• •
• •
• • • •

Count: 1 2 3 4 1 2 3 4

Exercise: Staccato Strum

Before you can play a staccato strum you must be able to palm deaden (covered in the last
lesson) as you use this technique to ‘cut short’ each strum.

Using a C root 5 chord, play the following staccato strum. You will need to deaden the strings
with your right hand immediatly after each strum. Make sure that you are cutting the strum
very short.
• • • •
Strum:

Count: 1 2 3 4

44 C root 5


3 3 3 3
5 5 5 5
T 5 5 5 5
A
B
5
3
5
3
5
3
5
3
43
X X X X
• • • •
58
Exercise:
Play the following chord progression using the suggested strum.

• • •
Strum:

Count: 1 2 3 4 e + a

44G root 6 C root 5 D root 5 C root 5



3 3 3 3 3 3 3 3 3 3 333 3 5 5 5 5555 3 3 3 333 3

3 3 3 3 3 3 3 5 5 5 555 5 7 7 7 7777 5 5 5 555 5
T
4 4 4 4 4 4 4 5 5 5 555 5 7 7 7 7777 5 5 5 555 5
A
5 5 5 5 5 5 5 5 5 5 555 5 7 7 7 7777 5 5 5 555 5
B
5 5 5 5 5 5 5 3 3 3 333 3 5 5 5 5555 3 3 3 333 3
3 3 3 3 3 3 3 X X X XXX X X X X XXXX X X X XXX X
• • • • • • • • • • • •

44

Some hot tips to help extend the life of your guitar strings.

- Do wash your hands prior to playing. Every time if possible.

- Do clean each individual string with a soft clean cloth after playing.
- Don’t overly “pre-stretch” your strings when changing them.
- Do change your strings well ahead of a performance or practise time
so they have plenty of time to settle in prior to playing.

59
 Jam Track No. 4

T
A
B
0 0 10 12 0 0 10 12 0 0 10 12 0 0 1012
Strum

T
A
B
0 0 10 12 0 0 10 12 0 0 10 12 0 0 1012
Strum

E D E D
0 0 10 10 10 0 0 0 10 10 10 0
T 0 0 10 10 10 0 0 0 10 10 10 0
A 1 1 11 11 11 1 1 1 11 11 11 1
B
2 2 12 12 12 2 2 2 12 12 12 2
2 2 12 12 12 2 2 2 12 12 12 2
0 0 10 10 10 0 0 0 10 10 10 0
Strum

E D A
0 0 10 10 10 5 5 5 5 5 5 5 5 0
T 0 0 10 10 10 5 5 5 5 5 5 5 5 0
A 1 1 11 11 11 6 6 6 6 6 6 6 6 1
B
2 2 12 12 12 7 7 7 7 7 7 7 7 2
2 2 12 12 12 7 7 7 7 7 7 7 7 2
0 0 10 10 10 5 5 5 5 5 5 5 5 0
Strum

E D E D
0 0 10 10 10 0 0 0 10 10 10 0
T 0 0 10 10 10 0 0 0 10 10 10 0
A 1 1 11 11 11 1 1 1 11 11 11 1
B
2 2 12 12 12 2 2 2 12 12 12 2
2 2 12 12 12 2 2 2 12 12 12 2
0 0 10 10 10 0 0 0 10 10 10 0
Strum

60
 E D A
0 0 10 10 10 5 5 5 5 5 5 5 5 0
T 0 0 10 10 10 5 5 5 5 5 5 5 5 0
A 1 1 11 11 11 6 6 6 6 6 6 6 6 1
B
2 2 12 12 12 7 7 7 7 7 7 7 7 2
2 2 12 12 12 7 7 7 7 7 7 7 7 2
0 0 10 10 10 5 5 5 5 5 5 5 5 0
Strum

E D E D
0 0 10 10 10 0 0 0 10 10 10 0
T 0 0 10 10 10 0 0 0 10 10 10 0
A 1 1 11 11 11 1 1 1 11 11 11 1
B
2 2 12 12 12 2 2 2 12 12 12 2
2 2 12 12 12 2 2 2 12 12 12 2
0 0 10 10 10 0 0 0 10 10 10 0
Strum

E D A
0 0 10 10 10 5 5 5 5 5 5 5 5 0
T 0 0 10 10 10 5 5 5 5 5 5 5 5 0
A 1 1 11 11 11 6 6 6 6 6 6 6 6 1
B
2 2 12 12 12 7 7 7 7 7 7 7 7 2
2 2 12 12 12 7 7 7 7 7 7 7 7 2
0 0 10 10 10 5 5 5 5 5 5 5 5 0
Strum

E D E D
0 0 10 10 10 0 0 0 10 10 10 0
T 0 0 10 10 10 0 0 0 10 10 10 0
A 1 1 11 11 11 1 1 1 11 11 11 1
B
2 2 12 12 12 2 2 2 12 12 12 2
2 2 12 12 12 2 2 2 12 12 12 2
0 0 10 10 10 0 0 0 10 10 10 0
Strum

E D A
0 0 10 10 10 5 5 5 5 5 5 5 5 0
T 0 0 10 10 10 5 5 5 5 5 5 5 5 0
A 1 1 11 11 11 6 6 6 6 6 6 6 6 1
B
2 2 12 12 12 7 7 7 7 7 7 7 7 2
2 2 12 12 12 7 7 7 7 7 7 7 7 2
0 0 10 10 10 5 5 5 5 5 5 5 5 0
Strum

61
 T
A
B
0 0 10 12 0 0 10 12 0 0 10 12 0 0 1012
Strum

T
A
B
0 0 10 12 0 0 10 12 0 0 10 12 0 0 1012
Strum

T
A
B
0 0 10 12 0 0 10 12 0 0 10 12 0 0 1012
Strum

T
A
B
0 0 10 12 0 0 10 12 0 0 10 12 0 0 1012
Strum

E D E D
0 0 10 10 10 0 0 0 10 10 10 0
T 0 0 10 10 10 0 0 0 10 10 10 0
A 1 1 11 11 11 1 1 1 11 11 11 1
B
2 2 12 12 12 2 2 2 12 12 12 2
2 2 12 12 12 2 2 2 12 12 12 2
0 0 10 10 10 0 0 0 10 10 10 0
Strum

62
 E D A
0 0 10 10 10 5 5 5 5 5 5 5 5 0
T 0 0 10 10 10 5 5 5 5 5 5 5 5 0
A 1 1 11 11 11 6 6 6 6 6 6 6 6 1
B
2 2 12 12 12 7 7 7 7 7 7 7 7 2
2 2 12 12 12 7 7 7 7 7 7 7 7 2
0 0 10 10 10 5 5 5 5 5 5 5 5 0
Strum

E D E D
0 0 10 10 10 0 0 0 10 10 10 0
T 0 0 10 10 10 0 0 0 10 10 10 0
A 1 1 11 11 11 1 1 1 11 11 11 1
B
2 2 12 12 12 2 2 2 12 12 12 2
2 2 12 12 12 2 2 2 12 12 12 2
0 0 10 10 10 0 0 0 10 10 10 0
Strum

E D A
0 0 10 10 10 5 5 5 5 5 5 5 5 0
T 0 0 10 10 10 5 5 5 5 5 5 5 5 0
A 1 1 11 11 11 6 6 6 6 6 6 6 6 1
B
2 2 12 12 12 7 7 7 7 7 7 7 7 2
2 2 12 12 12 7 7 7 7 7 7 7 7 2
0 0 10 10 10 5 5 5 5 5 5 5 5 0
Strum

A C
5 5 5 5 5 5 5 5 8 8 8 8 8 8 8 8
T
5 5 5 5 5 5 5 5 8 8 8 8 8 8 8 8
A
6 6 6 6 6 6 6 6 9 9 9 9 9 9 9 9
B
7 7 7 7 7 7 7 7 10 10 10 10 10 10 10 10
7 7 7 7 7 7 7 7 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 8 8 8 8 8 8 8 8

Strum

D D#
10 10 10 10 10 10 10 10 11 11 11 11 11 11 11 11
10 10 10 10 10 10 10 10 11 11 11 11 11 11 11 11
T
11 11 11 11 11 11 11 11 12 12 12 12 12 12 12 12
A
B
12 12 12 12 12 12 12 12 13 13 13 13 13 13 13 13
12 12 12 12 12 12 12 12 13 13 13 13 13 13 13 13
10 10 10 10 10 10 10 10 11 11 11 11 11 11 11 11
Strum

63
 T
A
B
0 0 1012 0
Strum

When you are confident with your playing and your skill set you will relax
more, therefore opening up a new set of doors within your playing. When you
play through these Jam Tracks I want you to really practise the skills that are
within them until you are totally confident and competent. Once you are
playing these jam tracks and you are relaxed I want you to really open your
ears, open your mind and try out some new ideas. Try picking out the chords
over the track rather than strumming (effectively a crude version of a SOLO).

What I am trying to get you to do is ‘jam’ with the band, try new ideas, relax
and feel the groove of the song.

64
Lesson Thirteen
Chord Progression Concepts
If you take the simple 12 bar blues chord pattern and analyze it, you find that, regardless of key,
it consists of chords I, IV and V which relate to the position of notes in the major scale. These
chords are known as primary chords and they are what most popular music is based upon.

Take a look at the progression below. It outlines the pattern that you follow when playing a 12
bar blues using root six barre chords. Blues in E has been given as an example.

Blues Pattern 1- Root 6 barre chords

44 E
 I

Any Fret

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

44 A E
 IV I

Up 5 Frets Original Fret

5 5 5 5 5 5 5 5 5 5 5 5 5 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5 5 5 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 6 6 6 6 6 6 6 6 6 6 6 6 6 6 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 2 2 2 2 2 2 2
5 5 5 5 5 5 5 5 5 5 5 5 5 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0

65
 44 B A E B
 V IV I V
Up 7 Frets Down 2 Frets Original Fret Up 7 Frets

7 7 7 7 7 7 7 5 5 5 5 5 5 5 0 0 0 0 0 0 0 7 7 7 7 7 7 7
7 7 7 7 7 7 7 5 5 5 5 5 5 5 0 0 0 0 0 0 0 7 7 7 7 7 7 7
T
8 8 8 8 8 8 8 6 6 6 6 6 6 6 1 1 1 1 1 1 1 8 8 8 8 8 8 8
A
9 9 9 9 9 9 9 7 7 7 7 7 7 7 2 2 2 2 2 2 2 9 9 9 9 9 9 9
B 9 9 9 9 9 9 9 7 7 7 7 7 7 7 2 2 2 2 2 2 2 9 9 9 9 9 9 9
7 7 7 7 7 7 7 5 5 5 5 5 5 5 0 0 0 0 0 0 0 7 7 7 7 7 7 7

45
You can use this pattern all the way along the fret board enabling you to comfortably play a 12
bar blues in six keys; E, F, Gb, G, Ab and A.
Another way to play a 12 bar blues is to use your root six and root five barre chords together.
This pattern is outlined below.

Blues Pattern 2 - Root 6 and Root 5 barre chords

44 G
 I

Any Fret (Root 6)

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
A
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

44 C G
 IV I
Same Fret (Root 5) Same Fret (Root 6)

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 3
T
5 5 5 5 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4 4 4 4 4
A 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
B 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5
X X X X X X X X X X X X 3 3 3 3 3 3 3 3 3 3 3 3

66
 44 D C G D
 V IV I V
Up 2 Frets (Root 5) Original Fret (Root 5) Original Fret (Root 6) Up 2 Frets (Root 5)

5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 5
7 7 7 7 7 7 5 5 5 5 5 5 3 3 3 3 3 3 7 7 7 7 7 7
T
7 7 7 7 7 7 5 5 5 5 5 5 4 4 4 4 4 4 7 7 7 7 7 7
A
7 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7
B 5 5 5 5 5 5 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5
X X X X X X X X X X X X 3 3 3 3 3 3 X X X X X X

46

Exercise:
Using the progression diagrams that you have just learned, practise playing 12 bar blues using
both root six and root five barre chords. Practise the 12 bar blues in the following keys: E, F, Gb,
G, Ab, A, Bb, B and C. Use this exercise to revise the strums that you have already learned.

“What interested me about Chuck Berry was the way he could step out of the
rhythm part with such ease, throwing in a nice, simple riff, and then
dropping straight into the feel of it again. We used to play a lot more rhythm
stuff. We’d do away with the differences between lead and rhythm guitar.
You can’t go into a shop and ask for a ‘lead guitar’. You’re a guitar player and
you play a guitar.” - Keith Richards

67
Lesson Fourteen
Root 5 Minor Barre Chord
The root 5 minor chord is played very similarily to the root 5 major chord except that the middle
note (the third note of the scale) is flattened. Take a look at the B minor chord below.

Bbm (Root 5)
Here, Bb minor is used as an example of a
root 5 minor barre chord. This chord can
move anywhere along the fretboard.

3 1
4
2

47

44 Bbm (Root 5)


1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2
T 3 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1
X X X X X X X X

68
 Exercise:
Play the following chord progression using the suggested strum.
Sixteenth note strum makes the progression a little harder to land, because of the rhythm falling
at the start of the changing note.

Strum:

Count: 1+ 2+ 3+
x
• =
4+

44Bm root 5 A root 6 C#m root 5 E open



= = = =
2 2 2 2 5 5 5 5 4 4 4 4 0 0 0 0
3 3 3 3 5 5 5 5 5 5 5 5 0 0 0 0
T
4 4 4 4 6 6 6 6 6 6 6 6 1 1 1 1
A
4 4 4 4 7 7 7 7 6 6 6 6 2 2 2 2
B
2 2 2 2 7 7 7 7 4 4 4 4 2 2 2 2
X X X X 5 5 5 5 X X X X 0 0 0 0
x • x • x • x •

48

Exercise:
Play the following chord progression using the strum provided.

Strum:

Count:
•
= = •

1 e + a 2 e + a 3 e + a 4 e + a

44 E root 5 G# root 6


= = = =
7 7 8 8 8 8 8 8 8 8 8 4 4 4 4 4 4 4 4 4 4 4
9 9 8 8 8 8 8 8 8 8 8 4 4 4 4 4 4 4 4 4 4 4
T 5 5 5 5 5 5 5 5 5 5 5
9 9 9 9 9 9 9 9 9 9 9
A 9 9 9 10 10 10 10 10 10 10 10 6 6 6 6 6 6 6 6 6 6 6
B 7 7 7 10 10 10 10 10 10 10 10 6 6 6 6 6 6 6 6 6 6 6
X X X 8 8 8 8 8 8 8 8 4 4 4 4 4 4 4 4 4 4 4
• • • •

69
 44 C#m root 5 B root 6


= = = =
4 4 4 4 4 4 4 4 4 4 4 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7 7 7
T 8 8 8 8 8 8 8 8 8 8 8
6 6 6 6 6 6 6 6 6 6 6
A 6 6 6 6 6 6 6 6 6 6 6 9 9 9 9 9 9 9 9 9 9 9
B 4 4 4 4 4 4 4 4 4 4 4 9 9 9 9 9 9 9 9 9 9 9
X X X X X X X X X X X 7 7 7 7 7 7 7 7 7 7 7
• • • •

49

Blues Pattern 3
In lesson fourteen we covered two blues patterns that enabled us to play in the key of E, F, Gb,
G, Ab. A, Bb, B and C. If you had tried to play the remaining keys, Db, D and Eb you probably
would have run out of fret board. We will now look at another pattern that enables you to play
in these remaining keys. D has been given as an example:

44 D
 I
Any Fret (Root 5)

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
T
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
X X X X X X X X X X X X X X X X X X X X X X X X X X X X

4 G D
4 IV I
Down 2 Frets (Root 6) Original Fret (Root 5)

3 3 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 7 7 7 7 7 7 7 7 7 7 7 7 7 7
T
4 4 4 4 4 4 4 4 4 4 4 4 4 4 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A 5 5 5 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 X X X X X X X X X X X X X X

70
 4 A G D A
4 V IV I V
Original Fret (Root 6) Down 2 Frets (Root 6) Original Fret (Root 5) Original Fret (Root 6)

5 5 5 5 5 5 5 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 3 3 3 3 3 3 3 7 7 7 7 7 7 7 5 5 5 5 5 5 5
T 6 6 6 6 6 6 6 4 4 4 4 4 4 4 7 7 7 7 7 7 7 6 6 6 6 6 6 6
A 7 7 7 7 7 7 7 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7
5 5 5 5 5 5 5 3 3 3 3 3 3 3 X X X X X X X 5 5 5 5 5 5 5

Exercise:
Play the 12 bar blues progression that you have learned. Practise playing it in the key of Db, D
and Eb. Use the following strum pattern:

Strum:

Count: 1+ 2+ 3+ 4+ 50

Next time you are in at your local music shop I want you to buy a few dif-
ferent types of string sets, try a nylon set, try a light gauge steel set. Take
them home, put them on your guitar and hear the difference, you never
know, maybe you might find that sound that you have been really aiming for.

71
 Jam Track No. 5

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

72
 A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

73
 A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum
A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum
A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum
A G
5 5 x x x x x 5 5 5 x x x 3 3 x
5 5 x x x x x 5 5 5 x x x 3 3 x
T
6 6 x x x x x 6 6 6 x x x 4 4 x
A
7 7 x x x x x 7 7 7 x x x 5 5 x
B
7 7 x x x x x 7 7 7 x x x 5 5 x
5 5 x x x x x 5 5 5 x x x 3 3 x
X X X X X X X X X
Strum
A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum
A G
5 5 x x x x x 5 5 5 x x x 3 3 x
5 5 x x x x x 5 5 5 x x x 3 3 x
T
6 6 x x x x x 6 6 6 x x x 4 4 x
A
7 7 x x x x x 7 7 7 x x x 5 5 x
B
7 7 x x x x x 7 7 7 x x x 5 5 x
5 5 x x x x x 5 5 5 x x x 3 3 x
X X X X X X X X X
Strum

74
 A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A G
5 5 x x x x x 5 5 5 x x x 3 3 x
5 5 x x x x x 5 5 5 x x x 3 3 x
T
6 6 x x x x x 6 6 6 x x x 4 4 x
A
7 7 x x x x x 7 7 7 x x x 5 5 x
B
7 7 x x x x x 7 7 7 x x x 5 5 x
5 5 x x x x x 5 5 5 x x x 3 3 x
X X X X X X X X X
Strum
A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A G
5 5 x x x x x 5 5 5 x x x 3 3 x
5 5 x x x x x 5 5 5 x x x 3 3 x
T
6 6 x x x x x 6 6 6 x x x 4 4 x
A
7 7 x x x x x 7 7 7 x x x 5 5 x
B
7 7 x x x x x 7 7 7 x x x 5 5 x
5 5 x x x x x 5 5 5 x x x 3 3 x
X X X X X X X X X
Strum
A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

75
 A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

A G C D A
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
T 5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
A
6 6 x 4 4 4 x 9 9 9 x 11 11 11 x 6
B
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
7 7 x 5 5 5 x 10 10 10 x 12 12 12 x 7
5 5 x 3 3 3 x 8 8 8 x 10 10 10 x 5
X X X X
Strum

76
 A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5 x x x x x 5 5 5 x x x x x
5 5 x x x x x 5 5 5 x x x x x
T
6 6 x x x x x 6 6 6 x x x x x
A
7 7 x x x x x 7 7 7 x x x x x
B
7 7 x x x x x 7 7 7 x x x x x
5 5 x x x x x 5 5 5 x x x x x
X X X X X X X X X X
Strum

A
5 5
5 5
T
6 6
A
7 7
B
7 7
5 5

Strum

77
Lesson Fifteen
Palm Muting
Palm muting takes the palm deadening technique that you learned in lesson twelve and uses it
to create a thick and heavy sound from the strings. When you palm mute, you place your palm
against the strings close to the bridge of the guitar and play the strings. You will hear that the
strings don’t ring as much as when you strum normally and that they have a thicker sound. The
closer to the bridge your palm is, the thicker the strings sound.

P.M.-----------------

O
T O
A 1
B 2
2
O

Palm muting is indicated in tab notation by the

letters P.M. above the tab staff and a dotted line
that indicates how long to mute the strings.

In rhythm, the palm mute is indicated by a small ‘m’ above or below the strum indicator.

m
Example:

Exercise:
Strum the barre chord A using palm muting. Only play strings 4, 5 and 6 of the chord.

A
m m m m
Strum:

Count: 1 2 3 4

78
 44 A


0 0 0 0
2 2 2 2
T 2 2 2 2
A 2 2 2 2
B 0 0 0 0
X
m m
X X
m
X
m
51

Palm Muting is most often used with picking and power chords. We look at power chords later
on in this book, but for now we will look at palm mute picking.

Exercise: Palm Mute Picking

Play the following picking progression while palm muting the strings.

4
E (open) F# A
4   
 
 
 


   
 

P.M.--------------------------------------------------------------------------------------
T
A 1 1 3 6
2 2 4 7
B 2 2 4 7
0 0 2 5

52

79
Lesson Sixteen
Advanced Rhythm Techniques
In lessons thirteen and sixteen we covered the techniques of staccato and palm muting. These
techniques can be combined to form some interesting new rhythm patterns.

Exercise:
Play the following rhythms over an open G chord. When you play the palm mute down strums, only
play strings 4, 5 and 6. When you play the staccato up strums, play only the first two strings.

mm mm
Strum 1:
• •

Count: 1 + 2+ 3 + 4+

44 G


3 3 3 3 3 3
0 0 0 0 0 0
T 0 0 0 0 0 0
A 0 0 0 0 0 0
B 2
3
2
3
2
3
2
3
2
3
2
3
53
m m • m m •

Although I am a firm believer that the more your practise the better you will
become, I am also a firm believer in the saying ‘everything in moderation’, i.e.
don’t overdo yourself when it comes to practise. It sounds really obvious but
make sure you make time to eat and shower and relax as these are just as
important as practising your playing skills.

80
 mm m mm m
Strum 2:
• •

Count: 1 + 2 + 3 + 4+

44 G


3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0
A
B
0 0 0 0 0 0 0 0 54
2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
m m • m m m • m

mm m m mm
Strum 3:
• •

Count: 1 + 2+ 3 + 4 +

4
4
G

3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0
A 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 55
3 3 3 3 3 3 3 3
m m • m m • m m

81
Exercise:
Play the following chord progression using the suggested strums from the previous exercise.

mm mm
Strum 1:
• •

Count: 1 + 2+ 3 + 4+

44C#m root 5 A7 root 6 Ab7 root 6



4 4 4 4 4 4 4 4 4 4 4 4 5 5 5 5 5 5 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 4 4 4 4 4
T
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5
A
6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 4 4 4 4 4 4
B
4 4 4 4 4 4 4 4 4 4 4 4 7 7 7 7 7 7 6 6 6 6 6 6
X X X X X X X X X X X X 5 5 5 5 5 5 4 4 4 4 4 4
m m • m m • m m • m m• m m • m m• m m • m m•

56

mm m mm m
Strum 2:
• •

Count: 1 + 2 + 3 + 4+

44C#m root 5 A7 root 6 Ab7 root 6



4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
T
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5
A
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
B 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 7 7 7 7 7 7 7 7 6 6 6 6 6 6 6 6
X X X X X X X X X X X X X X X X 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
m m • m m m • m m m • m m m• m m m • m m m• m m m • m m m• m

57
82
 mm m m mm
Strum 3:
• •

Count: 1 + 2+ 3 + 4 +

44 C#m root 5 A7 root 6 Ab7 root 6



4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
T
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5
A
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
B 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 7 7 7 7 7 7 7 7 6 6 6 6 6 6 6 6
X X X X X X X X X X X X X X X X 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
m m • m m • m m m m• m m• m m m m •m m • m m m m • m m •m m

58

“ I’d play whenever I could get my hands on an electric guitar; I was trying
to pick up the rock’n’roll riffs and electric blues – latest Muddy Waters. I’d
spend hours and hours on the same track, back again, and back again.”
– Keith Richards

83
 Jam Track No. 6

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A
9 9 9 X X X 9 9 9 X X X
10 10 10 X X X 10 10 10 X X X
B
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
5 5 5 X X X 5 5 5 X 5 X
A
6 6 6 X X X 6 6 6 X 4 X
B
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A 9 9 9 X X X 9 9 9 X X X
B 10 10 10 X X X 10 10 10 X X X
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
A 5 5 5 X X X 5 5 5 X 5 X
B
6 6 6 X X X 6 6 6 X 4 X
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A 9 9 9 X X X 9 9 9 X X X
B 10 10 10 X X X 10 10 10 X X X
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

84
 G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
A 5 5 5 X X X 5 5 5 X 5 X
B
6 6 6 X X X 6 6 6 X 4 X
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A 9 9 9 X X X 9 9 9 X X X
B 10 10 10 X X X 10 10 10 X X X
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
A 5 5 5 X X X 5 5 5 X 5 X
B
6 6 6 X X X 6 6 6 X 4 X
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum

F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum

85
 F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum

F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum

F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A 9 9 9 X X X 9 9 9 X X X
B 10 10 10 X X X 10 10 10 X X X
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

86
 G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
A 5 5 5 X X X 5 5 5 X 5 X
B
6 6 6 X X X 6 6 6 X 4 X
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A 9 9 9 X X X 9 9 9 X X X
B 10 10 10 X X X 10 10 10 X X X
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
A 5 5 5 X X X 5 5 5 X 5 X
B
6 6 6 X X X 6 6 6 X 4 X
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A 9 9 9 X X X 9 9 9 X X X
B 10 10 10 X X X 10 10 10 X X X
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
A 5 5 5 X X X 5 5 5 X 5 X
B
6 6 6 X X X 6 6 6 X 4 X
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

C
8 8 8 X X X 8 8 8 X X X
T 8 8 8 X X X 8 8 8 X X X
A 9 9 9 X X X 9 9 9 X X X
B 10 10 10 X X X 10 10 10 X X X
10 10 10 X X X 10 10 10 X X X
8 8 8 X X X 8 8 8 X X X
• •
Strum

87
 G#
4 4 4 X X X 4 4 4 X 4 X
T 4 4 4 X X X 4 4 4 X 4 X
A 5 5 5 X X X 5 5 5 X 5 X
B
6 6 6 X X X 6 6 6 X 4 X
6 6 6 X X X 6 6 6 X 6 X
4 4 4 X X X 4 4 4 X 4 X
• •
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum

F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum

F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum
88
 F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

A min
5 5 5 5 5 5 5 5 5 5 5 5
T
5 5 5 5 5 5 5 5 5 5 5 5
A
5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
Strum

F
1 1 1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
Strum

F
1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 0 0
Strum

F
1 1 1 1 1 1 1 1 1 1
T 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2
B
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 0 0
Strum

C
8 8 8 8
T 8 8 8 8
A 9 9 9 9
B
10 10 10 10
10 10 10 10
8 8 8 8
Strum

89
Lesson Seventeen

Dominant 7 Root 5 Barre Chord

The root 5 dominant 7 barre chord is based upon the root 5 major barre chord shape. The chord
is the same as the major shape except that the seventh is added on the first string. See the
example of the Bb7 chord below:

Bb7 (Root 5) Shape 1

1
3
4

59

90
 44Bb7 (Root 5) Shape 1


4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3
T 3 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 59
X X X X X X X X

Bb7 (Root 5) Shape 2

2 1
3

60

44 Bb7 (Root 5) Shape 2



1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3
T 1 1 1 1 1 1 1 1
A
B
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1 60
X X X X X X X X

91
Exercise: Blues in D
Play the following blues in D using the strum provided.

mm m m m
Strum:
• • •
Count: 1 + 2 + 3+ 4+

44D root 5 G root 6 D root 5 D7 root 5



5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 3 3 3 3 3 3 3 3 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
T
7 7 7 7 7 7 7 7 4 4 4 4 4 4 4 4 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5
A 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
X X X X X X X X 3 3 3 3 3 3 3 3 X X X X X X X X X X X X X X X X
m m • m m • m • m m• m m• m • m m •m m • m • m m • m m • m •

44G root 6 G7 root 6 D root 5 D7 root 5



3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
T 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
A 5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 X X X X X X X X X X X X X X X X
m m • m m • m • m m• m m• m • m m •m m • m • m m • m m • m •

44A7 root 6 Ab7 root 6 G7 root 6 D root 5 A7 root 6



5 5 5 5 4 4 4 4 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 4 4 4 4 3 3 3 3 3 3 3 3 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5
T 6 6 6 6 5 5 5 5 4 4 4 4 4 4 4 4 7 7 7 7 7 7 7 7 6 6 6 6 6 6 6 6
A 5 5 5 5 4 4 4 4 3 3 3 3 3 3 3 3 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5
B 7 7 7 7 6 6 6 6 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7
5 5 5 5 4 4 4 4 3 3 3 3 3 3 3 3 X X X X X X X X 5 5 5 5 5 5 5 5
m m • m m • m • m m• m m• m • m m •m m • m • m m • m m •m •

61

92
Lesson Eighteen
Reggae Strum
Reggae strum differs from the regular 4/4 strum. In a normal 4/4 rhythm, the 1st beat is normally
accented (accent means that you play with more attack) which gives the rhythm a straight up
and down feel. Reggae on the other hand places emphasis upon beats 2 and 4 of the rhythm.
Strong beats are usually regarded as beats 1 and 3, where as weak beats are 2 and 4.

Exercise:
Play the following strum over an open Am chord.

9 9

•
Strum:
•

Count: 1 2 + 3 4

44A minor


0 0 0 0 0 0 0 0 0 0 0 0

9 9 9 9 9 9 9 9
1 1 1 1 1 1 1 1 1 1 1 1
T
2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X

62

Exercise:
Play the following chord progression using the strum from the previous exercise.

44Gm Root 6 Cm Root 5 D# Root 5 D Root 5



3 3 3 3 3 3 6 6 6 5 5 5

9 9 9 9 9 9 9 9
3 3 3 4 4 4 8 8 8 7 7 7
T
3 3 3 5 5 5 8 8 8 7 7 7
A 5 5 5 5 5 5 8 8 8 7 7 7
B 5 5 5 3 3 3 6 6 6 5 5 5
3 3 3 X X X X X X X X X

63
93
 Jam Track No. 7

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

F#
2 2 x x x 2 2 2 x x x x
T 2 2 x x x 2 2 2 x x x x
A
3 3 x x x 3 3 3 x x x x
B 4 4 x x x 4 4 4 x x x x
4 4 x x x 4 4 4 x x x x
2 2 x x x 2 2 2 x x x x
• •
Strum

C#
4 4 x x x 4 4 4 x x x x
T 6 6 x x x 6 6 6 x x x x
A
6 6 x x x 6 6 6 x x x x
B 6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
x x x x x x x x x x x x
• •
Strum

G#
4 4 x x x 4
T 4 4 x x x 4
A
5 5 x x x 5
B 6 6 x x x 6
6 6 x x x 6
4 4 x x x 4
•
Strum

94
 G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

F#
2 2 x x x 2 2 2 x x x x
T 2 2 x x x 2 2 2 x x x x
A
3 3 x x x 3 3 3 x x x x
B 4 4 x x x 4 4 4 x x x x
4 4 x x x 4 4 4 x x x x
2 2 x x x 2 2 2 x x x x
• •
Strum

C#
4 4 x x x 4 4 4 x x x x
T 6 6 x x x 6 6 6 x x x x
A
6 6 x x x 6 6 6 x x x x
B 6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
x x x x x x x x x x x x
• •
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

95
 G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

F#
2 2 x x x 2 2 2 x x x x
T 2 2 x x x 2 2 2 x x x x
A
3 3 x x x 3 3 3 x x x x
B 4 4 x x x 4 4 4 x x x x
4 4 x x x 4 4 4 x x x x
2 2 x x x 2 2 2 x x x x
• •
Strum

C#
4 4 x x x 4 4 4 x x x x
T 6 6 x x x 6 6 6 x x x x
A
6 6 x x x 6 6 6 x x x x
B 6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
x x x x x x x x x x x x
• •
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

96
 G#
4 4 4 4
T
4 4 4 4
5 5 5 5
A
B
6 6 6 6
6 6 6 6
4 4 4 4
Strum

B
2 2 2 2
T 4 4 4 4
A
4 4 4 4
B 4 4 4 4
2 2 2 2
x x x x
Strum

F#
2 2 2 2
T 2 2 2 2
A
3 3 3 3
B 4 4 4 4
4 4 4 4
2 2 2 2
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

97
 G#
4 4 4 4
T
4 4 4 4
5 5 5 5
A
B
6 6 6 6
6 6 6 6
4 4 4 4
Strum

B
2 2 2 2
T 4 4 4 4
A
4 4 4 4
B 4 4 4 4
2 2 2 2
x x x x
Strum

F#
2 2 2 2
T 2 2 2 2
A
3 3 3 3
B 4 4 4 4
4 4 4 4
2 2 2 2
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

98
 G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

F#
2 2 x x x 2 2 2 x x x x
T 2 2 x x x 2 2 2 x x x x
A
3 3 x x x 3 3 3 x x x x
B 4 4 x x x 4 4 4 x x x x
4 4 x x x 4 4 4 x x x x
2 2 x x x 2 2 2 x x x x
• •
Strum

C#
4 4 x x x 4 4 4 x x x x
T 6 6 x x x 6 6 6 x x x x
A
6 6 x x x 6 6 6 x x x x
B 6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
x x x x x x x x x x x x
• •
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

99
 G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

F#
2 2 x x x 2 2 2 x x x x
T 2 2 x x x 2 2 2 x x x x
A
3 3 x x x 3 3 3 x x x x
B 4 4 x x x 4 4 4 x x x x
4 4 x x x 4 4 4 x x x x
2 2 x x x 2 2 2 x x x x
• •
Strum

C#
4 4 x x x 4 4 4 x x x x
T 6 6 x x x 6 6 6 x x x x
A
6 6 x x x 6 6 6 x x x x
B 6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
x x x x x x x x x x x x
• •
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

100
 G#
4 4 4 4
T
4 4 4 4
5 5 5 5
A
B
6 6 6 6
6 6 6 6
4 4 4 4
Strum

B
2 2 2 2
T 4 4 4 4
A
4 4 4 4
B 4 4 4 4
2 2 2 2
x x x x
Strum

F#
2 2 2 2
T 2 2 2 2
A
3 3 3 3
B 4 4 4 4
4 4 4 4
2 2 2 2
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

101
 G#
4 4 4 4
T
4 4 4 4
5 5 5 5
A
B
6 6 6 6
6 6 6 6
4 4 4 4
Strum

B
2 2 2 2
T 4 4 4 4
A
4 4 4 4
B 4 4 4 4
2 2 2 2
x x x x
Strum

F#
2 2 2 2
T 2 2 2 2
A
3 3 3 3
B 4 4 4 4
4 4 4 4
2 2 2 2
Strum

G#
4 4 x x x 4 4 4 x x x x
T
4 4 x x x 4 4 4 x x x x
5 5 x x x 5 5 5 x x x x
A
B
6 6 x x x 6 6 6 x x x x
6 6 x x x 6 6 6 x x x x
4 4 x x x 4 4 4 x x x x
• •
Strum

G#
4 4
T
4 4
5 5
A
B
6 6
6 6
4 4
•
Strum

102


Lesson Nineteen
The Minor Scale
The minor scale is different from the major scale because of its third note. In the major scale
there is a major third. The minor on the other hand has a minor third, meaning that its third
note is flattened from that of the major scale. For example in the key of C, the major and minor
scales are as follows.

Major C D E F G A B C

Minor C D Eb F G A B C

Compared to the major triad sound, the minor triad has a sad unhappy sound. Try and play through
both the major and minor scale in the key of A or G, starting with the first finger on fret 5 for
A, or fret 3 for G. Compare the sound of the major scale to that of the minor scale. Listen for
the third note which is natural in the major scale but flattened in the minor scale. The above
scale is actually known as the melodic minor scale.

Exercise:
Play the following A major scale using the down/up picking technique. Make sure to start with
the correct finger on the fifth fret note, A.

A major scale


# #
#
#  
 #   #

T
A 4 6 7
B 5 7
4 5 7

64
A major Scale fingering:
Fret 5 Fret 6 Fret 7

1 3 4
1 2 4
2 4

103
Exercise:
Notice the difference, on the fretboard, between the A minor scale shape and the A major scale
shape. It is good to remember scales as visual patterns on the guitar. Play the following A minor
scale using the fingering shown.

A minor scale

44 A minor
 #  
   #
 

T
A 4 6 7
B 5 7
5 7 8

A minor Scale fingering:

65
Fret 5 Fret 6 Fret 7

1 3 4
2 4
1 3 4

104
Lesson Twenty

Minor Seventh Chords

The minor seventh chord is made by flattening the 3rd and the 7th to a minor triad. The minor
7th chord therefore has a flattened 3rd and 7th. Compare the differences between major and
minor triads and major and minor seventh chords (see below).

Major and Minor triads.

C Major triad: C E G

Note number: I III V

C Minor triad: C Eb G

Note number: I IIIb V

Major and Minor Seventh Chords.

C Major Seventh: C E G B

Note number: I III V VII

C
C Minor Seventh: Eb G Bb

Note number: I IIIb V VIIb

The minor triad has the 3rd flattened. The minor 7th chord has the 3rd and 7th flattened.

105
The root six minor seventh takes its shape from the E minor seventh open chord:

Em 7 (open)
The Em7 open chord shape becomes Fm7 Fm 7 (root 6)
when played on the first fret as a root 6
barre chord.

2 3
1

44 Fm 7


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

66

106
The root five minor seventh takes its shape from the A minor seventh open chord:

Am 7 (open)
The Am7 open chord shape becomes Bbm 7 (root 5)
Bbm7 when played on the first fret as a
root 5 barre chord.

2 2 1
1 1

Notice that, like other root 5 and root 6 shape barre chords, you can move the chord shape up
the fretboard to play the minor 7 in any chord.

44 Bbm 7


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
X X X X X X X X X X X X X X X X

67

107
 Exercise:
In this exercise, the change from D minor to Dminor 7 adds variation and interest to the
piece.

Strum:

Count: 1+ 2+ 3+a 4+

4D minor D minor 7 D minor D minor 7 C min 7 root 5 G major

 4

5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 33 3 3 3 3 3 3 3

== = == = == = == =
6 6 6 6 6 6 6 6 6 6 6 6 4 4 4 44 4 3 3 3 3 3 3
T
7 7 7 5 5 5 7 7 7 5 5 5 3 3 3 33 3 4 4 4 4 4 4
A 7 7 7 7 7 7 7 7 7 7 7 7 5 5 5 55 5 5 5 5 5 5 5
B 5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 33 3 5 5 5 5 5 5
X X X X X X X X X X X X X X X XX X 3 3 3 3 3 3
• • • • • • • • • • • •

44D minor D minor 7 D minor D minor 7 C min 7 root 5 Bb major



5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 33 3 6 6 6 6 6 6

== = == = == = == =
6 6 6 6 6 6 6 6 6 6 6 6 4 4 4 44 4 6 6 6 6 6 6
T
7 7 7 5 5 5 7 7 7 5 5 5 3 3 3 33 3 7 7 7 7 7 7
A 7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8
5 5 5 55 5
B 5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 33 3 8 8 8 8 8 8
X X X X X X X X X X X X X X X XX X 6 6 6 6 6 6
• • • • • • • • • • • •

44A major root 6 A7 root 6



5 5 5 5 5 5 5 5 5 5 5 5

== = == =
5 5 5 5 5 5 5 5 5 5 5 5
T
6 6 6 6 6 6 5 5 5 5 5 5
A
B
7
7
7
7
7
7
7
7
7
7
7
7
5
7
5
7
5
7
5
7
5
7
5
7
68
5 5 5 5 5 5 5 5 5 5 5 5
• • • • • •
108
 Jam Track No. 8

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

109
 A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

110
 C D
8 8 8 8 10 10 10 10
T 8 8 8 8 10 10 10 10
A 9 9 9 9 11 11 11 11
B 10 10 10 10 12 12 12 12
10 10 10 10 12 12 12 12
8 8 8 8 10 10 10 10
Strum • • • • •
• • •

E D C A
7 7 7 7 7 7 7 5 3 5
T
9 9 9 9 9 9 9 7 5 5
A
9 9 9 9 9 9 9 7 5 6
B 9 9 9 9 9 9 9 7 5 7
7 7 7 7 7 7 7 5 3 7
X X X X X X X X X 5
Strum • • •
• • • • •

C D
8 8 8 8 10 10 10 10
T 8 8 8 8 10 10 10 10
A 9 9 9 9 11 11 11 11
B 10 10 10 10 12 12 12 12
10 10 10 10 12 12 12 12
8 8 8 8 10 10 10 10
Strum • • • • •
• • •

E C D
7 7 7 7 8 8 8 10 10 10
T
9 9 9 9 8 8 8 10 10 10
9 9 9 9 9 9 9 11 11 11
A
B 9 9 9 9 10 10 10 12 12 12
7 7 7 7 10 10 10 12 12 12
X X X X 8 8 8 10 10 10
Strum • • •
• • • • •

111
 A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

112
 A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

113
 C D
8 8 8 8 10 10 10 10
T 8 8 8 8 10 10 10 10
A 9 9 9 9 11 11 11 11
B 10 10 10 10 12 12 12 12
10 10 10 10 12 12 12 12
8 8 8 8 10 10 10 10
Strum • • • • •
• • •

E D A
7 7 7 7 7 7 5 5
T
9 9 9 9 9 9 7 5
A
9 9 9 9 9 9 7 6
B 9 9 9 9 9 9 7 7
7 7 7 7 7 7 5 7
X X X X X X X 5
Strum • • • • •
• • •

C D
8 8 8 8 10 10 10 10
T 8 8 8 8 10 10 10 10
A 9 9 9 9 11 11 11 11
B 10 10 10 10 12 12 12 12
10 10 10 10 12 12 12 12
8 8 8 8 10 10 10 10
Strum • • • • •
• • •

E F G
7 7 7 7 8 8 10 10 10
T
9 9 9 9 10 10 12 12 12
9 9 9 9 10 10 12 12 12
A
B 9 9 9 9 10 10 12 12 12
7 7 7 7 8 8 10 10 10
X X X X X X X X X
Strum • • • • •
• • •

114
 A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A G
5 5 5 5 3 3 3 3
T 5 5 5 5 3 3 3 3
6 6 6 6 4 4 4 4
A
B 7 7 7 7 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum • • • • •
• • •

A
5
T 5
A
6
B 7
7
5
Strum
•

115
Lesson Twenty One
Major 6 Barre Chords
The major sixth chord can be played in root 5 and root 6 barre chord form. Below we use the
first fret examples, F6 (root 6) and Bb6 (root 5) to demonstrate the chord shapes of each. This
chord is very difficult to play so don’t be too upset if you can’t get it sounding quite right, just
keep practising and you will get it.

F 6 (Root 6)
Note that the fourth string is deadened by
the third finger (indicated by an x).

3
1 x
2
4

44 F 6 root 6


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
X X X X X X X X X X X X X X X X
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

69
116
 Bb 6 (Root 5)

1
4

44 Bb6 root 5


3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
A
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
X X X X X X X X X X X X X X X X

70

117
Exercise:
Play the following chord progression using the suggested 3/4 strum.

Strum:

Count: 1+
•
2+
=
3e+a

34A6 D6 root 5 G6


5 5 5 55 7 7 7 77 7 7 7 77 3 3 3 33

= = = =
7 7 7 77 7 7 7 77 7 7 7 77 5 5 5 55
T
6 6 6 66 7 7 7 77 7 7 7 77 4 4 4 44
A
X X X XX 7 7 7 77 7 7 7 77 X X X XX
B 7 7 7 77 5 5 5 55 5 5 5 55 5 5 5 55
5 5 5 55 X X X XX X X X XX 3 3 3 33
• • • •

71

New strings
When you are dealing with new strings, it can be a little nerve
racking at first. They can make some pretty frightening sounds. When
your strings are new, they are at their most vulnerable. They will
break if you pull them too tight, too quickly. The key is to tune them
slowly. You really have to take your time. You will find that they will
reach a certain pitch and then drop back down very quickly. This is
because they are stretching and it is quite normal. You just need to
keep tuning them up slowly until they hold their pitch.

118
Lesson Twenty Two
Power Chords
Power chords are an easy way to play any chord. They are easy to play because they use only
three strings to play the three notes of a chord. Power chords create a great full sound when
used with the dampening technique. Like the root 5 and root 6 barre chords the power chords
can be moved up and down the fretboard to change chords.

F Power Chord Bb Power Chord

1
2 1
3 2
3

44 F Power Chord


X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X
T
X X X X X X X X X X X X X X X X
A
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

72

119
 44 Bb Power Chord


X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X
T
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
A
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
X X X X X X X X X X X X X X X X

73

Exercise:
Play the following chord progression using power chords and the strum provided.

Strum: m m mm mm mm
\ \ \ \
Count: 1 e+a2 e+a3e+a 4 e+a

4 A B
4

X X X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X X X
T
A
B
X
7
7
X
7
7
\ \ \ \
X
7
7
X
7
7
X
7
7
X
7
7
X
7
7
X
7
7
X
7
7
4
4
2
4
4
2
\ \ \ \
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
5 5 5 5 5 5 5 5 5 X X X X X X X X X
mm m m m m m m mm m m m m m m

44 C B


X X X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X X X
T
A
B
5
5
3
5
5
3
\ \ \ \
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
4
4
2
4
4
2
\ \ \ \
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
X X X X X X X X X X X X X X X X X X
mm m m m m m m mm m m m m m m

74
120
 Jam Track No. 9

Power chords and barre chords

pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

121
 pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

122
 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
T
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A
B
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Strum

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
T
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
B
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Strum

pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

123
 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
T
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A
B
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Strum

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
T
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
B
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Strum

pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

124
 pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

125
 pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
T
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A
B
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Strum

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
T
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
B
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Strum

126
 pm pm pm pm

T
7 7 7 7
A
B
7 7 7 7
5 5 5 5
5 5 5 5
Strum

pm pm pm pm

T
7 7 7 7 8
A
B
7 7 7 7 8
5 5 5 5 6
5 5 5 5 6
Strum

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
T
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A
B
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Strum

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
T
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
B
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Strum

127
 Lesson Twenty Three

Accents
To accent means to play the strings of your guitar louder and with more attack. Accents are
notated by a wedge placed above the strum indicator.

Example:
Strum:

Compound Meter
As you have progressed through the previous sections of this book you will now be familiar with
simple time, i.e 4/4 and 3/4. If you revise the theory behind 4/4 you will remember that there
are 4 beats to a bar and that each beat is worth a quater note. The quater note can be divided
into two eighth notes or four sixteenth notes.

When a beat falls on a dotted note this is called Compound Time.

The most common example of compound time is 6/8 which is made up of two dotted quarter
notes in its simplist form. 6/8 time is very similar to 3/4, but in 6/8, dotted quater notes are
usually split into three eighth notes and grouped together. This gives 6/8 a different feel to 3/4.
Compare 6/8 to 3/4 time, where they both contain six eighth notes in a bar:

      
3 6
4 8

Simplified Beat:    Simplified Beat: •  • 

Count: 1 + 2 + 3 + Count: 1 + a 2 + a

128
Exercise:
Play the following chord progression using the 6/8 strum provided. Try accenting beats one and
four.

Strum:

Count: 1+ 2+3+4 +5+ 6+

6
8
C#min Bmin

4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2
5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3
T 6 6 6 6 6 6 6 6 4 4 4 4 4 4 4 4
A 6 6 6 6 6 6 6 6 4 4 4 4 4 4 4 4
B 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2
X X X X X X X X X X X X X X X X

68 A root 6 Ab root6


5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4
T 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5
A 7 7 7 7 7 7 7 7 6 6 6 6 6 6 6 6
B 7 7 7 7 7 7 7 7 6 6 6 6 6 6 6 6
5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4

75

129
 Jam Track No. 10

pm pm pm pm
5 5 5 5
T 7 7 7 7
5 5 5 5
A
B 7 7 7 7
5 5 5 5
X X X X
Strum

pm pm
5 5
T 7 7
5 5
A
B 7 7
5 5
X X
Strum

pm pm pm pm
5 5 5 5
T 7 7 7 7
5 5 5 5
A
B 7 7 7 7
5 5 5 5
X X X X
Strum

pm pm pm pm
5 5 5 5
T 7 7 7 7
5 5 5 5
A
B 7 7 7 7
5 5 5 5
X X X X
Strum

130
 pm pm pm pm
3 3 3 3
T 3 3 3 3
A
4 4 4 4
B 5 5 5 5
5 5 5 5
3 3 3 3
Strum

pm pm pm pm
5 5 5 5
T 7 7 7 7
5 5 5 5
A
B 7 7 7 7
5 5 5 5
X X X X
Strum

pm pm pm pm
5 5 3 3
T
5 5 3 3
A
6 6 4 4
B 7 7 5 5
7 7 5 5
5 5 3 3
Strum

pm pm pm pm
5 5 5 5
T 7 7 5 5
A
5 5 6 6
B 7 7 7 7
5 5 7 7
X X 5 5
Strum

131
 pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

pm pm pm pm pm pm pm pm
3 3 3 3 3 3 3 3
T
3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4
A
B
5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3
Strum

pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

132
 pm pm pm pm pm pm pm pm
5 5 5 5 3 3 3 3
T
5 5 5 5 3 3 3 3
A
6 6 6 6 4 4 4 4
B 5 5 5 5 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum

pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

pm pm pm pm
5 5 5 5
T 7 7 5 5
A
5 5 6 6
B 7 7 7 7
5 5 7 7
X X 5 5
Strum

pm pm pm pm
5 5 5 5
T 7 7 5 5
A
5 5 6 6
B 7 7 7 7
5 5 7 7
X X 5 5
Strum

133
 pm pm pm pm
3 3 3 3
T 3 3 3 3
A
4 4 4 4
B 5 5 5 5
5 5 5 5
3 3 3 3
Strum

pm pm pm pm
5 5 5 5
T 7 7 7 7
5 5 5 5
A
B 7 7 7 7
5 5 5 5
X X X X
Strum

pm pm pm pm
5 5 3 3
T
5 5 3 3
A
6 6 4 4
B 7 7 5 5
7 7 5 5
5 5 3 3
Strum

pm pm pm pm
5 5 5 5
T 7 7 7 7
5 5 5 5
A
B 7 7 7 7
5 5 5 5
X X X X
Strum

134
 pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

pm pm pm pm pm pm pm pm
3 3 3 3 3 3 3 3
T
3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4
A
B
5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3
Strum

pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

135
 pm pm pm pm pm pm pm pm
5 5 5 5 3 3 3 3
T
5 5 5 5 3 3 3 3
A
6 6 6 6 4 4 4 4
B 5 5 5 5 5 5 5 5
7 7 7 7 5 5 5 5
5 5 5 5 3 3 3 3
Strum

pm pm pm pm pm pm pm pm
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7
T 5 5
5 5 5 5 5 5
A
7 7 7 7 7 7 7 7
B 5
5 5 5 5 5 5 5
X X X X X X X X
Strum

136
Lesson Twenty Four
C Shape Barre Chord
To play the C shape barre chord, place your barre finger directly in front of the open C major
chord. The C shape barre chord can move up the fret similar to other barre chords.

C major C# / Db

3 4
2 3 1

1 2

44 C# C shape barre


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
X X X X X X X X X X X X X X X X

76

137
Exercise:
Play the following chord progression using the strum provided.

Strum:

Count: 1 +2+3+4+ 5+ 6+

68 F C formation Dm root 5


5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
T
5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7
A
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B 8 8 8 8 8 8 8 8 8 5 5 5 5 5 5 5 5 5
X X X X X X X X X X X X X X X X X X

6 Bb root 6 C open
8

6 6 6 6 6 6 6 6 6 0 0 0 0 0 0 0 0 0
6 6 6 6 6 6 6 6 6 1 1 1 1 1 1 1 1 1
T
7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0
A 8 8 8 8 8 8 8 8 8 2 2 2 2 2 2 2 2 2
B 8 8 8 8 8 8 8 8 8 3 3 3 3 3 3 3 3 3
6 6 6 6 6 6 6 6 6 X X X X X X X X X

77

138
Lesson Twenty Five
Suspended Barre Chords
We covered open suspended chords in book one. Now we look at the bar chord version of
the suspended chord.

Bb sus2 root 5

3 1
4

44 Bb sus2 root5


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
A
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
X X X X X X X X X X X X X X X X

78

139
 Bb sus4 root 5

2 1
3
4

44 Bb sus4 root5


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
T
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
A
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
X X X X X X X X X X X X X X X X

79

140
 F sus4 root 6
Note that the fourth string is deadened by
the third finger (indicated by an x).

3
1 x
4

44 F sus4 root6


1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
A
X X X X X X X X X X X X X X X X
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

80

141
 Exercise:
Play the following chord progression using the suggested strum.

Strum:

Count:
• =
•
1e+a 2e+a 3e+a 4e+a
=
44 C# root5 C# sus4 E root 5 E sus4


4 4 4 4 4 4 44 7 7 7 7 7

=
7 7 7

= = =
6 6 6 6 6 7 77 9 9 9 9 9 10 10 10
T
6 6 6 6 6 6 66 9 9 9 9 9 9 9 9
A 6 6 6 6 6 6 66 9 9 9 9 9 9 9 9
B 4 4 4 4 4 4 44 7 7 7 7 7 7 7 7
X X X X X X XX X X X X X X X X
• • • •

44B root 5 B sus4 F# root6



2 2 2 2 2 2 2 2

=
2 2 2 2 2 2 22

= = =
4 4 4 4 4 5 55 2 2 2 2 2 2 2 2
T 3 3 3 3 3 3 3 3
4 4 4 4 4 4 44
A 4 4 4 4 4 4 44 4 4 4 4 4 4 4 4
B 2 2 2 2 2 2 22 4 4 4 4 4 4 4 4
X X X X X X XX 2 2 2 2 2 2 2 2
• • • •

Exercise: 81
Play the following chord progression using the strum provided.
x x x x x
Strum:

Count: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +

44E root 5 Esus4 root 5 Dsus2 root 5 D root 5



7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
9 9 9 9 9 9 9 9 10 10 10 10 10 10 10 10 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7
T
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
x x x x x x x x x x

82
142
Lesson Twenty Six
Root 6 and Root 5 major seventh barre chords
The major seventh chord, written Maj7, is not to be confused with the dominant 7 which is
written as the chord name followed by the number 7. The difference between the two is that
the dominant 7 has a flattened 7th note where the major 7 has a natural 7th note.

F major 7 Root 6
In the chord, strings 1 and 5 are muted by Bb Major 7 Root 5
fingers 1 and 2.

1
x
3 3 1
4 2
2 4
x

44 F maj7 root6


X X X X X X X X X X X X X X X X
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B
X X X X X X X X X X X X X X X X
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

83

Like all other barre chords, the root 5 and root 6 major seventh barre chords can be played at
any position along the fret board. Note that the first and fifth strings are not played in the root
6 shape. You deaden these strings with your first finger.

143
 4 Bb maj7 root5
4

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
X X X X X X X X X X X X X X X X

84

Exercise:
Play the following chord progression using the strum provided.

Strum:

Count:
•
==
1 +2+ 3+4+5+6+ 1+2+3+4+5+6+
•
mm mm •

68 Gb maj7 root 5 B maj7 root6



==
9 9 X X X X X X
11 11 7 7 7 7 7 7
T
A
10
11
10
11
• 9
9
9
9
9
9
9
9
9
9
9
9
B
9 9 X X X X X X
X X 7 7 7 7 7 7
• m m m m •

6
 8
D maj7 root 5 E sus2 root 5

==
5 5 7 7 7 7 7 7
7 7 7 7 7 7 7 7
T
A
6
7
6
7
• 9
9
9
9
9
9
9
9
9
9
9
9
B 5 5 7 7 7 7 7 7
X X X X X X X X
• m m m m •

85
144
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145
Supplementary Chord Reference
Ninth chords in open position.

A9 A#9/Bb9 B9
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1
1
3 1 2 2
3 3
2 4 4

C9 C#9/Db9 D9
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1 1
2 2 2
3 1
4 3

D#9/Eb9 E9 F9
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
1 2
1 1
3 4
2 4 3

F#9/Gb9 G9 G#9/Ab9
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1
3
x
3
2 1 2 1

4 1 2

146
Diminished chords in open position.

o
Ao A# o/Bb o B
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1
1 1 1
3 3 2
2 2 3 2
4 4 4

Co C# o/Dbo Do
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1 1
3 3 1
2 2
4 4 2

D# o/Eb o Eo Fo
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1 1
3 3 1
2 2
4 4 2

F# o/Gb o Go G# o/Ab o
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1 1
3 3 1
2 2
4 4 2

147
 Augmented chords in open position.

A+ A# +/Bb + B+
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 5 Fret 4 Fret 3 Fret 2 Fret 1

4 4 4
2 2 2
3 3 3
1 1 1

C+ C# +/Db + D+
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

3 4 4
1 2 2
2 3 3
1 1

D# +/Eb + E+ F+
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

4 3 4
2 1 2
3 2 3
1 1

F# +/Gb + G+ G# +/Ab +
Fret 4 Fret 3 Fret 2 Fret 1 Fret 5 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

4 4 3
2 2 1
3 3 2
1 1

148
Major Sixth chords in open position.

A6 A#6/Bb6 B6
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1
1
2 2
1 1
3 3
4 4

C6 C#6/Db6 D6
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

4
2 2
3 3 1
1 1
4 2

D#6/Eb6 E6 F6
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
3 3
3 1 1 2
4 4
4 1

F#6/Gb6 G6 G#6/Ab6
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1
3
2
1
4 1
2
3

149
Minor Seventh chords in open position.

Am7 A#m7/Bbm7 Bm7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
2 2
31 3
1 1
4 4

Cm7 C#m7/Dbm7 Dm7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
3
3 1 2
1 4
4 1

D#m7/Ebm7 Em7 Fm7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
1
4
1
2
3

F#m7/Gbm7 Gm7 G#m7/Abm7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

1
1 2
1
4

150
 Major Seventh chords in open position.

Amaj7 A#maj7/Bbmaj7 Bmaj7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 5 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2 3
1 1 2
3 4
3 1

Cmaj7 C#maj7/Dbmaj7 Dmaj7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2 4
3 3

1 1

D#maj7/Ebmaj7 Emaj7 Fmaj7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

3
1 2 4
1 2
3 1

F#maj7/Gbmaj7 Gmaj7 G#maj7/Abmaj7

Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1
2
x
4
3 1
2
1 1 3

151