COPYRIGHTED MATERIAL€¦ · slide guitar technique, 202 turnarounds, 202–203 acoustic guitars changing steel strings, 297–301 ... 101 playing, 98 • B • ... blues moves for

• Numerics andSymbols •> (accent) mark, 122, 340, 3472 (downstroke symbol), 44, 65/ (rhythm slashes), 364 (upstroke symbol), 654/4 time signature, 52, 3447th chords, 71–85

about, 44, 71dominant, 72–74major, 76–77minor, 75–76playing songs with, 77–83

12-bar blues progression, 84, 157–158

• A •A-based major barre chords

dominant 7th, 116major 7th, 117–119minor 7th, 117playing, 111–114progressions using, 113–115

A-based minor barre chords, 115–116about this book, 1–3

conventions used, 4getting started, 8icons used in book, 7organization, 4–7technical information, 3–4using with CD, 355–356

accent (>) mark, 122, 340, 347accessories, 279–294

amps, 279–284capos, 210–211, 285–286cases, 284–285

effect pedals and devices, 286–289electronic tuner, 25, 291nonessential, 292–294picks, 289straps, 29, 290–291strings, 290

accompanimentopen-position, 156Travis-style, 219–220

acoustic blues style, 197–204. See alsoblues

alternation in, 200–201bass line with open-position pentatonic

minor, 197–198lyrics and structure of, 189open-string/fretted-string

combinations, 201repetition in, 198–199slide guitar technique, 202turnarounds, 202–203

acoustic guitarschanging steel strings, 297–301finish of, caring for, 312–313illustrated, 12left hand position for, 31–32parts of, 11–14replacing nylon strings, 301–303using electronic tuner with, 291

actionadjusting, 317–318defined, 31, 105

add chords, 169, 170A-family chords, 42–45. See also A-based

major barre chordsA chord diagram, 43A5 chord diagram, 120A7 chord, 73–74Am chord diagram, 48Am7 chord, 75–76Amaj7 chord, 76–77

Index

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HTED M

ATERIAL

A-family chords (continued)

fingering, 42–43major barre chords based on, 111–119minor barre chords based on, 115–116progression with, 44strumming, 43–45

“All My Trials”notation, 228–229playing, 223

“All Through the Night”notation for, 80playing, 78

Allen wrench, 323altered chords, 249alternate G-chord fingering, 46–47alternate modern rock tuning, 172–174alternate picking, 65Am chord, 48Am7 chord, 75–76Amaj7 chord, 76–77amps, 279–284

about, 279–280performance, 281, 283–284practice, 280–281recording, 283using stereo or boom box as, 282

appointments, 274arpeggio (broken-chord) style

classical style, 240, 241defined, 237folk style, 212–213jazz use of, 248, 256–257

articulation, 127–152about, 127adding lead guitar, 160–162“Articulation Blues,” 151–152bends, 139–145conveyed by written music, 339hammer-on, 128–132muting, 147–150pull-offs, 132–136slides, 135–139symbols conveying, 346–347vibrato, 145–147

“Articulation Blues,” 151–152ascending immediate slide, 137, 138Atkins, Chet, 328audio CD players, 357“Auld Lang Syne”

notation for, 56playing, 53

“Aura Lee”notation for, 101playing, 98

• B •B% 7 chord diagram, 116B% barre chord, 113, 114B% m chord diagram, 116B% m7 chord diagram, 116B% maj7 chord diagram, 116B7 chord, 74, 75bar line, 44–45, 63, 340, 345barre, 50barre chords, 103–125

A-based dominant 7th, 116A-based major, 111–114A-based major 7th, 117–119A-based minor, 115–116A-based minor 7th, 117about, 103B%, 113determining name of, 105–106E-based dominant 7th, 107, 109–110E-based major, 103–105E-based minor, 107, 108–109E-based minor 7th, 107, 110–111F, 104–105notation for classical guitar, 242playing songs with power and, 123–125power chords, 119–123progressions based on E-based major,

106–107bars, 45, 63bass run, 222Bass strum strum, 77, 79

366 Guitar For Dummies, 2nd Edition


batteries, 292bebop, 327beginner guitars, 265–266bends, 139–145

about, 139–140idiomatic licks, 142–145lead guitar use of, 160–162playing, 140–142string gauge and, 140

Berry, Chuck, 328blues, 183–206

7th chords and, 7112-bar blues progression, 84,

157–158, 184about, 183acoustic, 197–204alternation, 200–201bass line with pentatonic minor, 197–198blues moves, 195–197box patterns for, 189–194chord names in progression, 184–185lead guitar for, 189–197lyrics and structure of, 189open-/fretted-string combinations, 201phrasing, 194–195playing, 204–206repetition in, 198–199rhythm guitar for, 184–188slide guitar technique, 202triplet feel in, 186–188turnarounds, 185, 202–203writing own, 85

body caps, 271boom box as amp, 282“Bourrée in E minor”


box patternsabout, 143blues, 189–194building rock solo with, 162–168pentatonic minor scale with, 159–160using with progressions, 167–168

breaking angle, 297

bridgeadjusting, 316–317attaching steel strings to, 297–298bridge spring adjustments, 319–321floating, 272, 306, 323illustrated, 12, 13securing electric guitar strings to,

304–305securing nylon strings to, 301–302

bridge pins, 292bridge springs, 319–321broken-chord style. See arpeggio

(broken-chord) stylebuying strategies for guitars, 264–265buzzing, 38

• C •C7 chord, 72–73cable tester, 294cables, 292calluses, 42capos, 210–211, 285–286Carter style folk guitar, 215–216cases, 284–285cassette recorders, 292CD

count-offs on tracks, 356hammer-on techniques, 131–132learning to read music by following

on, 62listening to, 2–3listing of tracks on, 358–364Mac OS installation of, 358MP3 format for tracks, 364selecting rhythm or lead on tracks, 356system requirements for, 357troubleshooting, 364tuning from, 26using book with, 355–356Windows installation of, 357

C-family chords, 49–51C, 48C7, 72–73

367Index


C-family chords (continued)

Cmaj7, 76–77fingering, 50“oldies” progression and, 58progression with, 51strumming, 50–51

chamois, 311channel switching, 281“Chicago Shuffle”


chord diagrams, 351–353A, 43A5 power chords, 120A7, 73–74Am, 48Am7, 75–76Amaj7, 76–77B% 7, 116B% barre chord, 114B% m, 116B% m7, 116B% maj7, 116B7, 74, 75C, 48C7, 72–73Cmaj7, 76–77D, 43D5 power chords, 120D7, 72–73Dm, 50Dm7, 75–76Dmaj7, 76–77E, 43E5 power chords, 120E7, 73, 74–75Em, 46Em7, 75–76F, 50Fmaj7, 76–77G, 46–47G7, 72–73illustrated, 35parts of, 34–35

chord-melody style, 253–254

chords, 41–59. See also chord diagrams;progressions; and specific chordfamilies

A-family, 42–45accentuated, 51add chords, 169, 170altered, 249C-family, 49–51common blues progression, 185creating Travis picking style, 219–220D-family, 45–47developing calluses, 42diagrams for most common, 351–354dominant 7th, 72–74extended, 248F barre, 103–105family of, 41full jazz, 252G-family, 48–49major 7th, 76–77minor 7th, 75–76oldies progressions, 58–59open, 35open-position add, 170open-position sus, 169–170playing, 37–38, 51–53, 202power chords, 199–123qualities of, 44root of, 197slash, 170–171sus chords, 169–170

chorus effect, 288Christian, Charlie, 327chromatic alterations, 174Chuck Berry style, 156, 157“Chuck’s Duck”

notation for, 178–179playing, 177

Clapton, Eric, 329classic rock ’n’ roll style, 155–168. See

also rock ’n’ rollarticulation for, 160–162box patterns for rock solos, 162–168improvising lead guitar solos, 162–163lead guitar, 159–168



pentatonic minor scales in, 159–161, 174

playing in, 177, 178–179rhythm guitar, 156–158using progressions with box patterns,

167–168classical guitar style, 231–246. See also

acoustic guitarsabout, 231arpeggio style, 240, 241changing tone color, 235contrapuntal style, 240–242fingernails of right hand, 234–235free and rest strokes, 34, 237–239left-hand position for, 235–236playing, 242–246right-hand position for, 233–234sitting position for, 232–233

claw, 320clef, 340, 341, 343cleaning guitar, 310–313Cmaj7 chord, 76–77C-major scale

playing in double-stops, 96position shift for two-octave, 93in second position, 91in seventh position, 92

common time, 52, 344comping, 249–252computer CD-ROM drive, 357construction of guitar, 270–271contrapuntal style, 240–242count-offs on CD tracks, 356country-rock guitar style, 174–177

about, 174licks based on pentatonic scale, 176pentatonic major scale, 174–175

crescendo, 340, 346“Cruel War Is Raging, The”


• D •D’Angelico archtop guitar, 333decrescendo, 340, 346dehumidifiers, 315delayed vibrato, 147Delta Blues. See acoustic blues styledescending immediate slide, 137–138dessicant, 315D-family chords, 45–47

D chord, 43D5 chord, 120D7 chord, 72–73Dm chord diagram, 50Dm7 chord, 75–76Dmaj7 chord, 76–77fingering, 46–47G chord, 46–47progression with, 47strumming, 47

digital delay effect, 288dissonant notes, 191distortion

creating effect of, 288using, 122

do-it-yourself repairs, 316–322dominant 7th chords, 72–74

A-based barre chords, 116E-based barre chords, 107, 109–110

dots on chord diagrams, 35double bar line, 340, 345double hammer-on, 128–129double pull-off, 133double staff, 62double-stop bend and release, 144, 145double-stop hammer-on, 129, 130, 132double-stop pull-off, 134double-stops

about, 95defined, 95playing exercises in, 95–97

downbeat, 356downstroke

defined, 44playing, 65

369Index


drop-D tuning, 172–173duct tape, 294duration

conveyed by written music, 339symbols indicating, 343–345

dynamic marking, 340, 346

• E •earplugs, 293E-based major barre chords

dominant 7th, 107, 109–110minor 7th, 107, 110–111playing, 103–105progressions based on, 106–107

E-based minor barre chords, 107,108–109

E-family chordsE chord, 35, 43, 46E5 chord diagram, 120E7 chord, 73, 74–75E-based major barre chords, 103–107,

109–110E-based minor barre chords, 107,

108–109Em chord, 45–46Em7 chord, 76

effect pedals and devices, 286–289eighth note, 340, 343elbow, relaxing, 30electric blues style. See also blues

blues moves for lead guitar, 195–197blues phrasing for lead guitar, 194–195blues rhythm guitar, 184–188box patterns for, 189–194lead guitar, 189–197lyrics and structure of, 189

electric guitarsamps, 279–280body caps, 271changing strings, 304–305choosing pickups and electronics

for, 273

converting vibration to electrical tones,16–17

crackling controls, 321Floyd Rose bridge for, 306illustrated, 13left hand position for, 31loose jacks, 321parts of, 11–14playing barre chords on, 104replacing pickups, 321–322using electronic tuner with, 291

electronic tuner, 25, 291E-major barre chords, 106–107ending brackets, 340, 347enharmonic equivalents, 347EQ (equalization) device, 281expression, 339, 346–347extended chords, 248

• F •faking chord-melody solos, 254Fender Stratocaster guitar, 276, 334Fender Telecaster guitar, 334fifth-fret method, 20–22

about, 20illustrated, 22tuning with, 21

fingerboard, 12fingering

A-based major barre chord, 112–113A-family chords, 42–43alternate G chord, 46–47barre, 50C-family chords, 50chords, 37–38D-family chords, 46–47developing finger calluses, 42frets and finger position, 64G-family chords, 48power chords, 119–121



fingerpickingalternate, 65defined, 33–34right-handed, 64–66

fingersclassical guitar notation for, 238nails for classical guitar play, 234–235position for fretting, 30, 64, 91strengthening, 30, 93–95

fingerstyle technique, 207–209finish checking, 315fixed-source tuning, 22–25flanger/phase shifter effect, 288flats, 342flatted fifth, 191–192floating bridges

restringing Floyd Rose, 306selecting, 272tools required for, 323

Floyd Rose bridge, 306folk guitar, 207–230

about, 207arpeggio style, 212–213capo for, 210–211Carter style, 215–216fingerstyle technique for, 207–209“lullaby” pattern, 213–214songs for, 222–230thumb-brush styles, 214–215Travis picking, 216–222

footstool, 232, 2334/4 time signature, 52, 344free strokes

combining with rest strokes, 240, 241playing, 34, 237–238

“Freight Train”notation, 230playing, 223

fretsabout, 20barre chord names based on, 105–106checking guitar’s, 266fifth-fret tuning method, 20–22finger position and, 30, 64, 91half steps represented by, 16

illustrated, 12, 13represented in chord diagrams, 34, 35top versus bottom in tablature, 62

frettingabout, 15preventing buzzing, 38

full chords, 252fuses, 294

• G •gain, 281gauges

picks, 33strings, 105

getting started with this book, 8G-family chords, 48–49

fingering, 48G chord alternate fingering, 46–47G7 chord, 72–73“oldies” progression and, 58progression with, 49strumming, 48–49

Gibson ES-335 guitar, 334Gibson J-200 guitar, 335Gibson Les Paul guitar, 276, 335gig bags, 285glissando, 136“Gospel Ship”

notation, 227playing, 223

“Greensleeves”notation for, 258playing, 257

Gretsch 6120 guitar, 335grommet, 304guitar foot stool, 28Guitar for Dummies CD. See CDguitar humidifiers, 315guitar notation. See music notation;

tablatureguitar polish, 311guitar tablature. See tablatureguitarists, 327–331

371Index


guitars. See also acoustic guitars;electric guitars; purchasing guitars

caring for finish, 312–314cases for, 284–285developing buying plan, 264–265finding notes on, 347–349hand position and posture, 27–34holding, 28, 232–233making sound on, 15–16manufacturing sound electronically,

16–17parts of, 11–14popular models of, 267–268protecting during travel, 313–314purchasing beginner’s, 265–266sound octave lower than written

notation, 16standing and playing, 29storing, 314string vibration and length for, 15

• H •half note, 340, 343half steps, 16hammer-on from nowhere, 129, 130, 132hammer-on technique

double, 128–129double-stop, 129, 130, 132hammer-on from nowhere, 129, 130, 132idiomatic licks for, 130–132open-string, 128

hands. See left hand; right handhard cases, 284–285hardware

cleaning, 312evaluating guitar’s, 272

harmonics, 222harmonizer, 288harmony, jazz guitar, 248headphone jacks for amps, 281headstock, 12–13held-bend technique, 144, 145help buying guitars, 275

Hendrix, Jimi, 329hex wrench, 323higher/lower, about, 4“Home on the Range”


“House of the Rising Sun”notation for, 224–225playing, 222

humidity, 315hygrometers, 315

• I •icons used in book, 7idiomatic licks, 127

based on pentatonic major scale, 176bends, 142–145blues moves for lead guitar, 195–197hammer-on, 130–132muting, 149–150pull-offs, 135slides, 138–139

improvisationimprovising lead guitar solos, 162–163jazz style and, 247

inside chords, 249–250inside moves, 250, 251intervallic motion, 327intonation

repairs for, 318–319testing new guitar for, 266

“It’s Raining, It’s Pouring”notation for, 82playing, 78

• J •jacks, 321jazz guitar, 247–260

about, 247altered chords, 249



approaching target notes, 256chord-melody style, 253–254comping, 249extended chords, 248full chords, 252harmony in, 248melody as arpeggiated chords, 256–257playing lead, 254–257scales with altered tones, 255songs for, 257–260

• K •key, 41key signature, 340, 343King, B. B., 328“Kumbaya”


• L •lead guitar

articulation for classic rock, 160–162blues moves for, 195–197blues phrasing for, 194–195box patterns for rock solos, 162–168classic rock ’n’ roll, 159–168country-rock and Southern-rock,

174–177electric blues, 189–197jazz, 254–257listening to on CD tracks, 356

left handabout, 4building strength in, 30exercises building dexterity of, 94fingering with, 64muting with, 148placement of, 30–32playing chords, 37–38position for classical guitar, 235–236sitting position and, 28, 232

legato slide, 136letter name of open strings, 19lick, 61“Little Brown Jug”


locking mechanism, 306locking Spurzels, 272“lullaby” pattern for folk guitar, 213–214lyrics and structure of blues, 189

• M •Mac OS CD installation, 358maintenance

caring for finish, 312–314common problems and solutions,

308–310protecting guitars during travel,

313–314removing dirt and grime, 292, 310–312storing guitars, 314temperature and humidity conditions,

314–315major chords

about, 44recognizing in text, 42

major 7th chordsA-based barre chords, 117–119about, 44, 76–77

major scales, 156major third, 193–194making deals on guitars, 276–277“Malagueña,” 238Martin D-28 guitar, 335measures

defined, 45, 63, 345illustrated, 340pickup, 52

melody as arpeggiated chords, 256–257meter, 66“Michael, Row the Boat Ashore”


373Index


Microsoft Windows CD installation, 357minor chords

about, 44E-based minor barre chords, 107,

108–109feeling of, 46

minor 7th chordsA-based major barre chords and, 117about, 44, 75–76E-based barre chords, 107, 110–111

“Mississippi Mud”notation for, 206playing, 204

models of guitarschoosing for next guitar, 268–270summary of, 267–268

modern rock ’n’ roll style, 169–177country-rock and Southern-rock lead,

174–177drop-D tuning, 172–173licks based on pentatonic scale, 176open-D tuning, 173–174playing in, 177, 180–181slash chords, 170–171sus and add chords, 169–170using pentatonic major scales, 174–175

Montgomery, Wes, 328movable power chords

about, 119F5 and B%5 chord diagrams, 121

MP3 format for CD tracks, 364multi-effects processor, 287music notation. See also notational

elements; and specific songsbends, 141conventions for, 4, 62elements of, 340–341guitar sound octave lower than

written, 16illustrated with tablature, 63right-hand fingering notation, 209tie, 51

muting, 147–150creating thick, chunky sound, 148defined, 147

idiomatic licks, 149–150strings, 30, 149

• N •natural notes, 340, 342neck

adjusting, 316–317construction techniques for, 271illustrated, 12, 13playing double stops up, down, and

across, 94–95tightening and loosening truss rod, 317

notation elementsaccent mark, 340, 347accidentals, 340, 342augmentation dot, 340, 345bar line, 44–45, 63, 340, 345clef, 340, 341, 343double bar line, 340, 345double staff, 62dynamic marking, 340, 346eighth note, 340, 343ending brackets, 340, 347half note, 340, 343key signature, 340, 343ledger lines, 340, 342measure, 45, 63, 340, 345quarter note, 340, 343repeat sign, 340, 347rest, 340, 344sixteenth note, 340, 344slur, 340, 346staccato dot, 340, 346staff, 340, 341tempo heading, 340, 344tie, 340, 345time signature, 340, 344whole note, 340, 343

numerals on chord diagrams, 35nut, 20nylon string replacements, 301–304



• O •octaves

illustrated, 92Montgomery’s use of, 328

“Oh, Susanna”notation for, 83playing, 78

“Old Folks at Home”notation for, 70playing, 67

oldies progressions, 58–59“On Top of Old Smoky”


one-octave scale, 92open chords, 35, 42open strings

changing pitch of with capo, 210–211defined, 20letter name of, 19piano keys corresponding to guitar, 23playing in position versus, 90

open tuningD-chord, 173–174Travis picking in, 220–222

open-D tuning, 173–174open-position add chords, 170open-position power chords

about, 119chord diagrams for E5, A5, and D5, 120

open-position rhythm guitar, 156open-position sus chords, 169–170open-string hammer-on, 128open-string/fretted-string combinations,

201output jack, 13outside chords, 251–252outside moves, 251–252

“Over the River and Through the Woods”notation, 81playing, 78

• P •Page, Jimmy, 329pain, 31peg winders, 294, 300pentatonic major scales, 174–175pentatonic minor scales

about, 159–160, 174blues bass line with open-position,

197–198flatted fifth added to, 191–192major third added to, 193–194

performance amps, 281, 283–284phrasing for blues, 194–195piano keys, corresponding to guitar

strings, 23pick

about, 289gauges for, 33holding, 32–33

pickup measure, 52pickup selector switch, 13pickups

cleaning, 312converting vibration to electrical tones,

16–17replacing, 321–322

pitchadjusting intonation, 318–319conveyed by written music, 339fretting and changing, 15music symbols related to, 341–343repeating phrases at different, 199

pitch pipe, 24, 294pitch shifter effect, 288

375Index


playing guitaradding personality when, 52hand position and posture for, 27–34improving by practicing, 45left-hand position, 30–32playing chords, 37–38right-hand position, 32–34seated position for, 28simple melodies, 66–70songs in position and in double-stops,

97–102standing position for, 29upstroke and downstroke, 65without reading music, 34–37, 61

playing in position, 89–95building strength and dexterity, 93–95defined, 89open strings versus, 90playing exercises, 90–92shifting positions, 92–93

plectrum, 32P.M. (palm mute), 148, 150point/counterpoint, 240–242positions. See also playing in position

about, 64names of, 89playing songs in specific, 97–98shifting, 92–93

power chords, 119–123drop-D tuning and, 172–173E5, A5, and D5 chord diagrams, 120fingering, 119–121playing songs with barre and, 123–125using, 121–123

“Power Play”notation for, 125playing with barre and power

chords, 123practice amps, 280–281practicing

double-stop exercises, 95–97exercises building dexterity of left

hand, 94improving by, 45scales, 92

professional repairs, 323–324progressions. See also chords

defined, 44A-based major and minor barre chord,

116–117A-based major barre chord, 113–115A-family, 44C-family, 51D-family, 47E-based major barre chord, 106–107G-family, 49inside jazz chord, 250oldies, 58–59playing 12-bar blues, 84, 157–158power chords in, 121–123slash chords used in, 171using box patterns with, 167–168using major and minor 7th barre

chords, 110“We Wish You a Merry Christmas,” 111,

118–119pull-offs, 132–136

defined, 132idiomatic licks for, 135playing, 132–134

purchasing guitars, 263–277appointments, 274buying next guitar, 268–270choosing beginner’s guitar, 265–266construction techniques, 270–271evaluating materials, 271–273getting expert help, 275making deals, 276–277neck construction techniques, 271pickups and electronics, 273selecting for style of play, 267–268strategies for, 264–265working with salesperson, 275–276workmanship, 273–274

• Q •quarter note, 340, 343



• R •Ramirez Classical guitar, 336ratchet set, 322–323reading music, 339–349

associating notation with sound, 3conventions for music notation, 4, 62duration symbols, 343–345elements of music notation, 340–341expression and articulation symbols,

346–347information conveyed by, 339learning by following CD and rhythm

notation, 62reading tablature versus, 61symbols related to pitch, 341–343

recording amps, 283relations with salesperson, 275–276relative tuning, 20relaxing

left elbow, 30playing in position and, 91

removingdirt and grime, 292, 310–312old strings, 296–297

repairsaction adjustments, 317–318adjusting neck and bridge, 316–317bridge springs, 319–321common problems and solutions,

308–310crackling controls, 321do-it-yourself, 316–322fixing strap pins, 319intonation, 318–319loose jacks, 321replacing pickups, 321–322requiring technical skill, 323–324tightening loose connections, 316tools needed for, 322–323truss rod adjustments, 317tuning machine replacements, 319

repetition in acoustic blues, 198–199replacing strings, 295–296

acoustic steel strings, 297–301electric guitar strings, 304–306nylon strings, 301–303removing old strings, 296–297when to replace, 295–296

rest strokescombining with free strokes, 240, 241finger position and, 34playing, 238–239

resting when feeling pain, 31rests, 109, 340, 344reverb, 281, 288–289reversible screwdriver, 293rhythm

4/4 time signature, 52, 344rhythm slashes, 36syncopation, 41

rhythm comping, 249–252rhythm guitar

12-bar blues pattern, 157–158blues, 184–188listening to on CD tracks, 356open-position accompaniment, 156rock ’n’ roll, 156–158

rhythm slashes, 36Rickenbacker 360-12 guitar, 336riff, 61right hand

about, 4fingernails for classical guitar play,

234–235fingerpicking with, 33–34, 64–66fingerstyle technique for, 207–209free and rest strokes with, 34, 237–239muting with, 148position for, 32–34, 233–234sitting position and, 28strumming chords, 38using pick, 32–33

ritardando, 340, 346

377Index


rock ’n’ roll, 155–181. See also classicrock ’n’ roll; modern rock ‘n’ roll

country- and Southern-rock guitarstyle, 174–177

lead guitar, 159–168modern, 169–177rhythm guitar, 156–158songs, 177–181

Roman-numeral naming of chords,184–185

“Romanza”notation for, 244–245playing, 243

rootchord, 197outside chords missing, 250

• S •saddles, 317–318scales. See also C-major scale;

pentatonic minor scalesaltered tones of jazz, 255major, 156pentatonic major, 174–175practicing, 92

screwdrivers, 322seated position for playing guitar, 28Segovia, Andrés, 93, 327set screws, 3227th chords, 71–85. See also dominant 7th

chordsabout, 44, 71dominant, 72–74major, 76–77minor, 75-76playing 12-bar blues with, 84, 157–158playing songs with, 77–83

sharps, 340, 342shifting positions, 92–93shopping for a guitar. See purchasing

guitarssim. (simile ), 47

“Simple Gifts”notation for, 99playing, 98

sixteenth note, 340, 344slash chords, 170–171slide guitar, 202slides, 135–139

about, 135–136idiomatic licks with, 138–139playing, 136–138

slur, 132, 340, 346soft cases, 285solos

improvising lead guitar, 162–163using Travis picking style for, 220

songs“All My Trials,” 228–229“All Through the Night,” 80“Articulation Blues,” 152“Auld Lang Syne,” 56“Aura Lee,” 101“Bourrée in E minor,” 246“Chicago Shuffle,” 205“Chuck’s Duck,” 178–179“Cruel War Is Raging, The,” 226“Freight Train,” 230“Gospel Ship,” 227“Greensleeves,” 258“Home on the Range,” 79“House of the Rising Sun,” 224–225“It’s Raining, It’s Pouring,” 82“Kumbaya,” 54“Little Brown Jug,” 68“Malagueña,” 238“Michael, Row the Boat Ashore,” 57“Mississippi Mud,” 206“Oh, Susanna,” 83“On Top of Old Smoky,” 69“Over the River and Through the

Woods,” 81“Power Play,” 125“Romanza,” 244–245“Simple Gifts,” 99simple melodies, 66–70



“Southern Hospitality,” 180“Streets of Laredo, The,” 102“Swanee River,” 70“Swing Low, Sweet Chariot,” 55“Swing Thing,” 259–260“Turkey in the Straw,” 100“We Wish You a Merry Christmas,” 124

soundassociating notation with, 3changing tone color, 235converting vibration to electrical tones,

16–17making with guitar, 15–16muting, 148octave lower than written notation, 16

“Southern Hospitality”notation for, 180–181playing, 177

Southern-rock guitar style, 174–177about, 174licks based on pentatonic scale, 176pentatonic major scale, 174–175

staccato marks, 109staff, 340, 341standing position for guitar, 29steel string replacements, 297–301stereo system as amp, 282stomp boxes, 287storing guitars, 314strap locks, 291strap pins, 319straps

choosing, 290–291using in standing position, 29

“Streets of Laredo, The”notation for, 102playing, 98

strengthbuilding in left hand, 30developing dexterity and, 93–95

string retainers, 306, 322strings, 295–306

about, 19altering tone of, 235

bending and gauges of, 140buying extra, 290buzzing, 38changing acoustic steel, 297–301changing electric guitar, 304–305cleaning, 311defined, 14developing calluses from, 42fingerpicking bass and treble, 33fretting and changing pitch of, 15muting noises of, 149open and fretted, 20piano keys corresponding to guitar, 23playing double stops up, down, and

across neck, 94–95removing old, 296–297replacing nylon, 301–304represented in chord diagrams, 34, 35representing in tablature, 62, 63top versus bottom in tablature, 62when to replace, 295–296winding direction around tuning posts,

299, 300strumming

A-family chords, 43–45C-family chords, 50–51chords with right hand, 38D-family chords, 47G-family chords, 48–49pick for, 33symbols for, 47

substitutions, 253support arm, 28sus chords, 169–170“Swanee River”


“Swing Low, Sweet Chariot”notation for, 55playing, 53

“Swing Thing”notation for, 259–260playing, 257

symbols for strumming, 47

379Index


syncopationdefined, 51using in “Michael, Row the Boat

Ashore,” 53system requirements for CD, 357

• T •tab. See tablaturetab staff, 36, 37tablature. See also specific songs

about, 2, 36–37barre chords in classical, 242chord diagrams, 34–35conventions used for, 4, 62illustrated, 37, 63notation for bends, 139, 141playing without reading music,

34–37, 61reading while listening to CD, 62–63rhythm slashes, 36right versus left in, 63top versus bottom in, 62understanding, 34, 63

taper, 273target notes, 256technical information in book, 3–4temperature conditions, 313, 314–315tempo heading, 340, 344thirds

adding major third to pentatonic minorscales, 193–194

double-stopping, 96thumb-brush styles, 214–215tie, 51tightening loose connections, 316timbre, 235time signature, 340, 344tracks

listing of CD, 358–364skipping to desired CD, 355

transposing, 90

Travis picking, 216–222about, 216creating accompaniment style with,

219–220open tunings with, 220–222playing basic pattern, 217–218solo style using, 220

tremelo effect, 289triads, 248triplet feel in blues progression, 186–188troubleshooting CD, 364truss rod, 317tuning

about strings and frets, 19–20acoustic steel-string guitars, 300–301alternate modern rock, 172–174capos and, 211drop-D, 172–173electronic tuner for, 25fifth-fret method, 20–22fixed-source, 22–25matching piano’s pitch, 23new nylon strings, 304open, 173–174pitch pipes for, 24relative, 20tuning forks for, 24, 294using book’s CD for, 26

tuning fork, 24, 294tuning machines, 319tuning post

direction for winding strings around,299, 300

securing acoustic steel strings to,298–300

securing electric guitar strings to,205–206

“Turkey in the Straw”notation for, 100playing, 98

turnarounds, 185, 202–203turning post, securing nylon strings to,

302–303



12-bar blues progressionbasic structure, 84, 157–158, 184naming of chords in, 184–185triplet feel in, 186–188turnaround chords, 185

two-octave scale, 92

• U •up/down, 4upstroke (V) symbol, 65

• V •Van Halen, Eddie, 329–330vibrato, 145–147voicings

inside, 249–250outside, 251

volt/ohm meter, 294

• W •wah-wah pedal, 288waist of guitar, 28“We Wish You a Merry Christmas”

notation for, 124playing with barre and power

chords, 123progressions on, 111, 118–119

whole note, 340, 343wire cutters, 294wood

caring for finish, 312–314cleaning, 311–312criteria for classifying, 272preventing finish checking, 315solid versus laminated, 270workmanship of joints, 273

writing own blues, 85

• X •X on chord diagrams, 35, 43

381Index




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