LEARNING TO PLAY

THE GUITAR WITH

CHRISTIAN SONGS

LEARNING TO PLAY THE GUITAR WITH CHRISTIAN SONGS The purpose of this book on "Learning to Play the Guitar with Christian Songs" is

twofold. First it is to teach someone who has never played the guitar before how to play, as well as someone who knows something about the guitar how to play better. You do not have to be able to read music to use this book, but you must be familiar with the Christian melodies used for teaching to apply it. The book starts with the basics of the guitar, i.e. tuning, strumming, chords, the capo, etc., and progresses gradually up to advanced music theory, learning to play by ear, and finger picking. All along the way, you will be learning a variety of increasingly difficult Christian songs.

The second purpose of this book is to use Christian songs in learning to play the

guitar. These songs should reinforce God's values in your own life as you practice them frequently. This will also readily apply your newly developed skill in being able to teach and play Christian songs with children, youth fellowship groups, prayer and share groups, and in worship services.

It is my prayer that if you have been given a talent in music, you will develop it to its

fullest potential and in turn use it to serve God by serving and sharing it with others in such a way as to draw them to Christ.

In His Name, Van B. Haywood Copyright 1982 Van B. Haywood 3310 Quaker Springs Road Augusta, Georgia, 30907 Current Address: 492 Falcon Drive Martinez, Georgia 30907 Vhaywood2@comcast.net

Edited 2003

TABLE OF CONTENTS

The Guitar: types and parts..................................................................................................................1

Strings: names, numbers, and types ...................................................................................................1

Positions: of the body and hands .........................................................................................................2

Tuning: to itself and other instruments .................................................................................................3

Chord Diagrams: how to read them.....................................................................................................5

Strumming: beginning techniques........................................................................................................7

More Strumming Techniques ..............................................................................................................11

Scales and Chords: an introduction ....................................................................................................17

Advanced Strumming Techniques......................................................................................................20

Partial Bar Chords ...............................................................................................................................27

Beginning Bar Chords .........................................................................................................................31

The Capo .............................................................................................................................................32

Beginning Chord Theory .....................................................................................................................35

Transposing .........................................................................................................................................39

Basic Music Information ......................................................................................................................44

Beginning or ending Licks, and Hammer-ons.....................................................................................46

Bar Chord Forms, and their variations ................................................................................................47

Advanced Chord Theory: how chords are formed.............................................................................50

Finger Picking and Reading Tablature................................................................................................55

Two-string Lead-ins with finger picks..................................................................................................58

Determining the Key and Playing by Ear ............................................................................................59

Appendix: Music Ministry/Copyright laws...........................................................................................65

Appendix: Contemporary Chords.......................................................................................................68

Index of Songs.....................................................................................................................................70

1

CHRISTIAN GUITAR PLAYING

Your first step in learning to play a guitar is to obtain one, and familiarize yourself with the various parts and their names. You may not want to invest much money until you see whether you enjoy the instrument. However, recognize that you must obtain a guitar that is reasonably easy to fret (push down the strings) or your fingers will become so sore and you will become so discouraged that you won’t continue with your practicing long enough to give your talents a chance to develop. A good, new steel-string guitar which is a reasonable investment (i.e., it will fret and sound good, and also have a good resale value should you want to sell it) will cost between $100 and $300, depending on the brand, sales, etc.. You may locate a used one through the newspaper or a friend for slightly less, but be wary of anything much cheaper. Visit your local music stores for information or ask someone who plays to evaluate one, especially if it does not come from a reputable music dealer. Sometimes, for learning purposes, you can replace the steel strings on an inexpensive guitar with nylon strings (which have less tension and are easier to fret) in order to make it playable. You lose some tone, volume and clarity that you will later enjoy, but it may serve well in the learning stages. (Most decently-built steel-string guitars are designed for steel strings only; do not change them unless it is impossible to play otherwise). There are some guitars that are designed only for nylon strings. These are called “classical” guitars, and are designed for soft, mellow, solo picking….not brisk strumming or sing-along style. Classical guitars typically have a wider neck. Hence they are not well-suited for the beginner unless you have extremely large hands or you find one with a small neck. Steel string guitars, although somewhat more difficult to fret, provide the best sound and greatest versatility, especially when singing in groups or large rooms. Of course, you want to obtain a six-string guitar, not a four-string “tenor” guitar, a twelve-string guitar, or any other variation. Now, you need to learn the name and number of each string.

STRINGS The strings are numbered from one to six, starting with the smallest, which is next to the pickguard, or closest to the floor when the guitar is held correctly, to the largest: 1 to 6 = E B G D A E. However, we will write them the way they are positioned if you were looking straight at them on the guitar.

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Largest Smallest E A D G B E 6 5 4 3 2 1 Learning their names and numbers is an important foundation on which to build later, as well as of immediate practical value when replacing broken strings. Strings #1 and #2 are plain steel strings, while #3, #4, #5, and #6 are usually wound. Strings come in “gauges” known as light, medium, extra-light, heavy, etc. This refers to the thickness of a given string (i.e., each string has a range of thicknesses in which it falls). Generally the lighter gauge strings are easier to fret, but they don’t last as long (they lose their tone and are then difficult to tune), they don’t give as much volume and sometimes they may buzz or rattle on the frets because of their lower tension. You should use either a medium or light gauge string, with the medium being preferred for its durability and sound projection.

As you learn more about the different sounds of a guitar, and discover the sounds you prefer, you will be better able to choose between the many brands and gauges to find a string that suits your individual needs and desires, both in terms of play-ability, tone, projection and durability. I prefer Phosphoros-Bronze mediums (size 13 to 56) for group and solo singing.

POSITIONS Basically the guitar is designed for right handed playing, i.e., the right hand will perform the pickin’ or strumming while the left hand will finger the chords. You should position yourself in a straight-back, firm chair with no arms, such that your thighs can be parallel to the floor (it may be easier to sit out on the edge of the chair). Allow the “waist” portion of the guitar body to rest on your right thigh, with the back of the guitar perpendicular to the floor and snuggled close to your body. Your right hand goes over the body to a point over the sound hole. Your left hand will hold the neck up close to the head. When first learning chords, place your left thumb on an imaginary line running down the middle of the back of the neck. This will keep your palm away from the strings. (Later you will be able to wrap your thumb around to the 6th string and have the top of your palm resting against the back of the neck for certain chords, but this is a difficult way to start). The left hand is used to finger chords by pressing with the tip of the finger (with short or no fingernails) just behind (on the side toward the guitar head) the desired fret. Try to keep your fingers as perpendicular to the fret board as possible to avoid touching (or dampening) the adjacent strings. Note that the phrase “up the neck” means “up in pitch” or “up toward the body of the guitar.” (“Down the neck” is toward the head). If you are starting with a flat pick, hold it in your right hand, allowing it to rest on the thumb-side of your first finger, with your thumb resting firmly on top of the pick as if you were pinching the pick between the finger and thumb. To strum, the pick is then dragged downward lightly at an acute angle with the upcoming strings, using only the tip. You should have soft flexibility in your fingers, not holding the pick too rigid. A smooth strum requires flexing your right wrist as you go from top to bottom of the guitar (i.e., start your strum on string six; this is a downward strum.

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Strumming around or just behind the sound hole gives you your best volume and tone. Strumming closer to the bridge gives a brighter tone but a reduced volume. You may also use a light gauge plastic thumb-pick, which wraps around your thumb and does not have to be help as tightly, for strumming. This thumb-pick is also later used with metal finger-picks to “finger-pick”. I recommend the “Ernie Ball Thin” thumb-pick, or the National Medium thumb pick and the “Dunlop .025” metal finger-picks for guitar (see page 55).

TUNING Tuning the guitar is rather difficult for the beginner, so you may wish to have someone tune it for you the first time or two. However, you will need to learn this yourself because you must check the tuning each time you begin to play. Some guitars stay in tune better than others, but always check yours. Do not practice on an out-of-tune guitar, as this does not train your ear to hear properly and correct problems. You must have a standard pitch to which to tune your guitar. It is possible for a guitar to be in tune with itself but out of tune with all other guitars or instruments. Therefore, use either a tuning fork (A=440 cycles/sec.), a pitch pipe (they are made for the six notes on a guitar), the piano (#1 string is the E above middle C), a good keyed harmonica (preferably in the key of one of the open strings E, B, G, D, A, or E), or an electronic tuner (electronic tuners are the best). Once you get one string in tune with the standard pitch, then you can tune the other strings to that one if you do not have an electronic tuner for all the strings.

Tuning: 1) Pitch pipe or tuning fork (A=440) 2) Piano (#1 = E above middle C)

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It is usually easiest to tune the low E string (#6) to one of these standards, then tune the rest of the strings to the E in the following manner: Fret the low E string on the 5th fret and pick it. Then turn the tuning peg of the A string until its pitch played open matches that of the fretted E. Continue according to the following list, noting that the one place where you will fret on the 4th fret rather than the 5th fret is when you are tuning the B string.

3) Tune strings with one another: 5th fret of E string(#6) = open A string (#5) 5th fret of A string(#5) = open D string (#4) 5th fret of D string(#4) = open G string (#3) *4th fret of G string(#3) = open B string (#2) 5th fret of B string(#2) = open E string (#1) *Note this interval is the only one of 4 frets

4) Use an electronic tuner (lights or gauge shows when correct) When tuning by matching pitches, you are doing more than just listening to the pitch or sound of the note. Sound travels in waves much like the ripples in a pool of water travel out from the point where a stone is dropped. As two notes get closer and closer in pitch, these waves overlap more and more. This produces a phenomenon of pulsations or beats that get slower and slower the closer in pitch the two notes get. Hence, once you get two notes fairly close to one another (so this phenomenon will begin to operate), then you actually get the notes exactly matched by “tuning out the beats”. Remember in this method, one string is considered correct or the constant, and all the movement in pitch is done on the other string (the one that is being tuned – the variable) by turning the tuning peg. (That’s also why you always wrap the string around the peg the same way –inside out – so you always know which way to turn to raise or lower the pitch). You should wipe the strings with a lint-free cloth after playing (such as an old t-shirt), and clean the wood occasionally with a good grade furniture polish (Ethan Allen is good) or guitar polish. When changing strings, it is best to replace one string at a time, leaving the other strings in place to maintain the correct tension on the neck. This approach helps in re-tuning the guitar, as well as prevents breakage of the new strings. Steel strings have a ball on the end which attaches to the bridge (the nylon or silk-and-steel strings come with a ball end or an end suitable for tying, but using the ball-end type is much easier). Attach the ball end to the bridge in the same manner as the old string on the guitar, then leave enough slack in the string to allow several wraps around the tuning peg (this will prevent slippage). Tighten the new string until it reaches its correct pitch before beginning to replace another string.

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CHORD DIAGRAMS To show the fingerings of the different chords on the guitar, we will use a “chord diagram”. This diagram represents the first few frets of the guitar, starting from the nut and going toward the body. It is drawn as if you were looking at the fret board from the face of the guitar. The double lines represent the nut of the guitar. The horizontal lines are the frets, and the vertical lines represent the six strings. The fingers of your hand are numbered from 1 to 4, and the thumb is noted by a “T”. Fingers are represented in the diagram by a square just behind the fret with the finger number beside it, and are drawn just behind the fret where the finger should be placed.

6 5 4 3 2 1 E A D G B E ╒══╤══╤══╤══╤══╕ nut │ │ │ │ ▄1 │ 1st finger;1st fret ├──┼──┼──┼──┼──┤ 1st fret │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ 2nd fret │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ 3rd fret │ │ │ │ │ │ Six strings

In a regular chord diagram, the names or numbers of the strings are not written above them, but rather one or more of the following symbols may appear over a string: “X” = do not play it “O” = play it open (un-fretted) Most strings that should be played open do not have any marking above them. The “O is used primarily when teaching single-string picking. When you are learning chords, you can play all strings that do not have an “X” over them. Two other symbols that you may find written over the strings are “B” and “AB”. “B” = bass note of the chord “AB” = alternating bass note of the chord The definitions of these terms, as well as another new term, are as follows: The bass note is usually the string which has the name of the chord, and is the lowest one in pitch that is played in that chord position (lower notes which are not the bass note, but are a part of the chord are usually selectively omitted). NOTE: The octave note is usually considered to be the highest string that is played which has the same name as the bass note or the name of the chord. The alternating bass note is either the next highest string above the main bass note (if the pitch of this string is seven frets higher than the bass note), or more commonly it is the string below the bass string (if the pitch of this string is five frets lower than the bass note). The alternating bass note is used as an alternative to picking the bass note when you stay on one chord for a long period of time. Use of the base and alternating base notes gives a classic country sound.

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Now try these chords, noting their similarities. Pick each string separately to make sure it is sounding. First finger the C chord, pressing with the tips of your fingers just behind the fret, thumb on the middle of the back of the neck, and palm of your hand away from the neck (review the previous section on “Positions”).

After you have fingered the C chord, then go from the C to the G. Move fingers #2 and #3 over one string first. Now place finger #4 correctly as you pick up finger #1. (Whether or not you have played a guitar before, you may find this fingering for G unusual and awkward. However it is well worth learning,

since much more versatility and speed in chord changes, as well as fancy picking, can be achieved from this foundation. The traditional fingering uses #1, #2, and #3 in place of #2, #3, and #4 respectively. Use this fingering only if you must.)

x B C ╒══╤══╤══╤══╤══╕ │ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B G ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ traditional fingers: 2 1 3

Practice your new chords on the following song. Strum each chord slowly and at regular intervals. Each slash and chord symbol denotes a “beat” in the music where you would strum the chord (or pat your foot). Try to maintain a regular strum as you change chords. Slow the song down as much as necessary to do this. The slashes and chord symbols represent an even, regular rhythm of strumming, with the same amount of pause between each one. There are slashes over the word or part of a word that should be sung at that particular strum. Therefore, you should fit the words in these limits, and keep the strumming regular. Do this by starting to strum the first chord of the song several times in a regular tempo or rhythm before you begin singing. Then begin singing either on a strum if the first word has a chord or slash over it, or just before a strum if there is nothing over the first word (this latter phrase is called a “pick-up” phrase to the song). HE’S GOT THE WHOLE WORLD IN HIS HANDS C / / / / / /

Strum a C chord to find the pitch of the first note of the pick-up phrase, “He’s got the”, which will be the G string.

He’s got the whole world in His hands / G / / / / / / He’s got the whole wide world in H / C / / / / / /

is hands

He’s got the whole world in His h / G / / / C

ands

He’s got the whole world in His hands. 8 8 8 4 4 or: C – G – C – G – C This last notation is an abbreviated way to write the chords for a song. The number above each chord tells you how many times to strum that chord. With each chord, you will be given some chord theory rules. If you do not already have some music background, these may be hard to understand. If that is the case, do not dwell on them, because you will have them explained more fully later in the book.

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When a song tends to stay on one chord for a long time, often you may vary the sound by substituting a seventh chord. This also leads you to the next chord, or back to the main chord around which the song is written (the “key”). The sound it makes leaves you with a “fall off of a cliff” feeling, which feels uncomfortable to leave without changing to another chord. Chord theory rule: A seventh chord takes the octave note and lowers it by two frets. Now add the following chord and its “seventh”.

STRUMMING

x AB B ╒══╤══╤══╤══╤══╕

D7

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ ▄3 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Notice that although the fingering is different, the only note that is changed is on the B string, where i

t moves from the 3rd fret to the 1st down two frets). (

x AB B ╒══╤══╤══╤══╤══╕

D

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄1 │ ▄2 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

As you first begin to play chords, you should strum all the strings you are allowed to play (those which do not have an “X” over the string in the chord diagram). Make one strum at each chord name and the following slashes (example: G / / / means four strums) in a downward fashion (from lowest in pitch to highest). Make sure each note sounds clearly and rings (i.e., is not muted or dampened by an adjacent finger). If you were to rhythmically count each strum, you could write this in the following notation (where SD = strum down): Written: G / / / Count: 1 2 3 4 Play: SD SD SD SD This is the simplest strumming pattern with which to begin. Use it as you learn your chords and new songs. In these songs, you can use D in place of D7. THIS LITTLE LIGHT OF MINE Keep your right

hand regular, and force your left hand to catch up. The beginning singing pitch for these two songs is the open D string. When going back to G from D, try to get your 3rd finger own first. d

G / / / / / / / This little light of mine, I’m gonna let it shine, C / / / / / G / This little light of mine, I’m gonna let it s/ / / / / / /

hine

This little light of mine, I’m gonna/ / / D7 / G

let it shine

Let it shine, let it shine, let it shine JOY (G) / G / / / / / / / I’ve got the joy, joy, joy, joD7 / / / G / /

y down in my heart

down in my heart, down in my heart / G / / / / / / / I’ve got the joy, joy, joyD7 / / / G / /

, joy down in my heart

down in my heart to stay

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Silent Night G / / / / / / // / // The chords for this song are played in groups

of three. The heavier slash is to help you see this pattern, which feels like a waltz. The singing pitch is an open D string. This song was originally written for guitar when the church organ was broken. You can se D in place of Du

7.

S n h iD7 / / / / / G / / / / / ilent ight, oly n ght

A a C / / / / / G / / / / / ll is c lm, all is bright

R n C // / / / G / / / / / on yo virgin, mother and child

Holy infant so tender and mild D7 / / / / / G // /// S y G / / D7 / / G / / leep in heavenl peace

Sleep in heavenly peace The B-I-B-L-E

The beginning pitch for this song is a B note for the pick-up word “The”, and is a D note for the first beat on the letter “B”. You can se D in place of Du

7.

G / / / The B-I-B-L-E C / / / Yes, that’s the book for me D7 / / / I stand alone on / / G /

the word of God

The B-I-B-L-E. Stand Up for Jesus / G / / / C / / / G / / / D / / Stand up, stand up for Jesus, ye soldiers of the cross / G / / / C / / / G / D / G / / Lift high His royal banner, it must not suffer loss. / D / / / G / / / C / / / G / D From victory unto victory, His army shall He lead / G / / / C / / / G / D / G / / ‘Til every foe is vanquished and Christ is Lord indeed. According to the previous rule, a 7th chord drops the 8th note or octave of the scale by two frets. Therefore, a C7 chord adds a Bb note, and a G7 chord adds a F note. (see the section on NOTES, page 17, for further explanation)

x B ╒══╤══╤══╤══╤══╕

C7

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

For the C7, first finger a “C”, thenadd the 4th finger to make the seventhchord.

B ╒══╤══╤══╤══╤══╕ G7

│ │ │ │ │ ▄1 ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

For the G7, first finger a “G”, thenlift the 4th finger and fret with the 1st tomake the 7th chord.

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First learn the following song in its basic chord progression. Then play the more complicated version using your newly-learned chords. Deep And Wide G / / / C / / Deep and wide, deep and wide / G / / / D7 / / /

The beginning pitch is the open D string. This song, as well as others, may not usually be played in the complicated version. It is written this way as an exercise to learn the new hords. c

There’s a fountain flowingG / / / C / /

deep and wide

Deep and wide, deep and wide / G / D7 / G / / There’s a fountain flowing deep and wide Deep And Wide G / G7 / C / C7 Deep and wide, deep and wide / G / / / D7 / / / There’s a fountain flowing dG / G7 / C / C7

eep and wide

Deep and wide, deep and wide / G / D7 / G / / There’s a fountain flowing deep and wide Also learn the following song in its simpler version. Remember to slow the song down as much as you need to maintain a regular rhythm when you change chords. Start very slowly at first until you are sure of the new fingerings. Then gradually increase the speed (tempo) as you become more proficient with the chords. Sing Hosanna beginning pitch: D / G / / / C / / Give me oil in my lamp, keep me bur/ G / / / D / /

nin’ burnin’ burnin’

Give me oil in my lamp I pray / G / / / C / / Give me oil in my lamp, keep me burnin’ bur/ G / D / G / / /

nin’ burnin’

Keep me burning ‘til the liG / / / C / / /

ght of day

Sing Hosanna, sing Hosanna D / / / G / / / Sing Hosanna to the King ofG / / / C / / /

Kings

Sing Hosanna, sing Hosanna D / / / G / / Sing Hosanna to the King of Kings Now learn the more complicated version. Notice where the chords are added. (This song may be too high for you to sing comfortably, but it is still useful for learning your new chords. We will deal with the method to lower the singing pitch later.)

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The chord in parenthesis () comes very quickly, so it is hard to finger it for one strum and return to the original chord without losing the rhythm. The beginning student should treat this as another slash for the preceding chord and not attempt to insert it now. Later you can add the chord as you become more proficient. Sing Hosanna / G / G7 / C / C7 Give me oil in my lamp, keep me bur/ G / / / D / /

nin’ burnin’ burnin’

Give me oil in my lamp I pray / G / G7 / C / C7 Give me oil in my lamp, keep me burnin’ bur/ G / D / G / / /

nin’ burnin’

Keep me burning ‘til the liG / / / C / / /

ght of day

Sing Hosanna, sing Hosanna D / / / G (C) / / Sing Hosanna to the King ofG / / / C / / /

Kings

Sing Hosanna, sing Hosanna D / / / G (C) G / Sing Hosanna to the King of Kings Now learn these familiar songs. Substitute a slash for the chord in parenthesis until you can master the chord change fast enough. Leaning on the Everlasting Arms G / (G7) / C / (C7) / What a fellowship, what a joy diviG / / / / / D /

ne Beginning pitch: open B

Leaning on the everlasting arms. G / (G7) / C / (C7) / What a blessedness, what a peace isG / / / D / G /

mine

Leaning on the ever-lasting arms. G /(G7)/ C /(C7)/ G / / / / /D / Leaning, leaning, safe and secure from all alarms G /(G7)/ C /(C7)/ G / / / D / G / Leaning, leaning, leaning on the everlasting arms. Battle Hymn Of The Republic Beginning pitch: D G / / / / / / Mine eyes have seen the glory of the coming of the Lord / C / / / G / D7 He is trampling out the vintage where the grapes of wrath are s/ G / / / / / /

tored

He hath loosed the fateful lightenin/ C / D

g of His terrible swift sword 7 / G / / /

His truth is marching on. G / / / //// C / / / G/ / / Glory, glory, hallelujah, glory, glory, hallelujah / / / / /// / C / D7 / G / / Glory, glory, hallelujah, our God is marching on.

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MORE STRUMMING TECHNIQUES As you learn the bass note for each chord, and get more proficient at changing from one chord to another without losing the rhythm, then you are ready to single out and use the bass note of the chord. Pick it for the name of each chord change and strum the remaining allowable strings for each slash. Hence, using a G chord as an example, G / / / become as follows: Written: G / / / Count: 1 2 3 4 Play G SD SD SD bass note While you may find it a little difficult to pick the bass note for each chord in the beginning, continue to try this on some of the simpler songs, and always learn the bass note of each new chord you are given. So far your strumming has all been in one direction (downward). Now to fill out the sound more, you maintain the same rhythm as before (G / / / ), but after each downward strum, quickly follow it with an upward strum of the bottom (highest pitched) four strings. This is best illustrated as follows: Written: G / / / Count: 1 and 2 and 3 and 4 and Play SD SD SD SD Using the same notation, the fuller sound now becomes the following (SU = strum up): Written: G / / / Count: 1 and 2 and 3 and 4 and Play SD SD SU SD SD SU Most of the strumming on the guitar is done on the four smaller strings. The lower pitched, heavier strings are used to establish the rhythm by picking the bass notes, or to announce a chord change by being included with the other four on the first strum of the new chord. Our fuller sound can also be used with the pattern of picking the bass note at the beginning of each chord change, and would be written as follows: Written: G / / / Count: 1 and 2 and 3 and 4 and Play G SD SU SD SD SU bass note Now go back and try these techniques on the songs that you already know well. Learn each new song with the techniques on page 7, then try other patterns later.

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A “minor” chord has a sad, melancholy sound. It is formed by dropping a certain note in the major chord by ½ fret. You will cover this more in depth on page 17. It is easiest to see this change by observing an “E” chord, and seeing how this chord relates to the E minor chord.

EB AB ╒══╤══╤══╤══╤══╕

m

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

E B AB ╒══╤══╤══╤══╤══╕ │ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

First, learn the “E” chord. Then you form an “E minor” chord (written Em) by lifting our first finger. y

Do Lord G / / / / / / / Do Lord, oh do Lord, oh do remember me C / / / / / G /

When you change from a G to an Em and back, notice that the second finger stays on the same string, same fret. S inging pitch: D Key: G

Do Lord, oh do Lord, oh do remember me G / / / / / Em

Do Lord, oh do Lord, oh do rememb/ G / D / G / / /

er me

Look away beyond the blue Learn these frequently used minor chords. Dx AB B ╒══╤══╤══╤══╤══╕

m

│ │ │ │ │ ▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AAB B ╒══╤══╤══╤══╤══╕

m

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 ▄3 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Notice how the fingering for Am is related to the fingering for an E. They have the same form and use the same frets, but are on ifferent strings. d

Standin’ in the Need of Prayer / C / / / / / / /

Beginning pitch: E

It’s me, it’s me, O Lord Am / G / C / /

As you practice this song, notice that you only move one finger to go from C to Am. This provides a good reference point for your left hand. Leave those ingers in place during that change. f

Standin’ in the need of pr/ C// / / / / /

ayer

It’s me, it’s me, O Lord Am / G / C / / Standin’ in the need of prayer.

13

/ C / / Not my mother, not my/ / / / /

father On the next song, you will also note another good reference point: when you go from C to D7, leave your first inger in place. f

But it’s me, O Lord Am / G / C / / Standin’ in the need of p/ C / /

rayer.

Not my sister, not my/ / / / /

brother

But it’s me, O Lord Am / G / C / / Standin’ in the need of prayer. The following song has two sets of verses for the same chords. The first set is the regular version. The second set is the Christmas version. This song sounds good with the strumming pattern listed third on page 11.

Go Tell It On The Mountain Beginning pitch:E Chorus: C / / / / / / / G / / / C / G / Go tell it on the mountain, over the hills and everywhere C / / / / / / / / / G / C / / / Go tell it on the mountain that Jesus Christ is born. C / / / / / / / G / / / C / / When I was a sinner, I prayed both night and day / C / / / / // / D7 / / / G / G7 (pause) I asked the Lord to help me, and He showed me the way Repeat Chorus from above C / / / / / / / G / / / C / / When I was a seeker, I sought both night and day / C / / / / // / D7 / / / G / G7 (pause) I asked the Lord to help me, and He taught me to pray Chorus These are the Christmas verses: C / / / / / / / G / / / C / / While shepherds kept their watching o’er silent flocks by night / C / / / / / / / D7 / / / G / G7 (pause) Behold, throughout the heavens there shone a holy light. Chorus C / / / / / / / G / / / C / / The shepherds feared and trembled when, lo, above the earth / C / / / / / / / D7 / / / G / G7 (pause) Rang out the angel chorus that hailed our Savior’s birth Chorus C / / / / / / / G / / / C / / Down in a lowly manger our humble Christ was born / C / / / / / / / D7 / / / G / G7 (pause) And God sent us salvation that blessed Christmas morn

14

There are two ways to play an E7, either by lifting a finger or by adding one. We will use the first way. Both ways add the same note (D) to the chord.

EB ╒══╤══╤══╤══╤══╕

7

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

To make a simple E7, finger an E chord.Then lift your 3rd finger to make the chorda 7th chord as shown on the left. Theexample on the right forms an E chordfirst, then adds the 7th note by using the 4th

finger.

EB ╒══╤══╤══╤══╤══╕

7

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Being familiar with E, E7, and Em is very important to a later form of chord called a “bar chord”. A bar chord is used with the electric guitar extensively and also is important for the acoustic guitar. Now learn the “A” chord, and one way to play its seventh. This way is best used when you are already strumming an A chord and need to go to an A7 .

Notice how your finger must overlap andcrowd up closely to the fret for an A.

AAB B ╒══╤══╤══╤══╤══╕

7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

A AB B ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 ▄1 ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

You will learn another way to play A7 laterwhich is faster to go directly to, and accentsthe 7th note more.

Now use your chords on the following songs, playing them slowly at first. Jesus Loves Me A / / / / / A7 / Jesus loves me this I know D / / / A / E /

beginning pitch: D As you practice this song, notice how the first finger stays on the same string for all major chord change (A to D to E). This provides a good eference point for your left hand. r

for the Bible tells me so A / / / / / / / Little ones to Him belong D / A / E / A / They are weak, but He is A / / / D / / /

strong

Yes, Jesus loves me A / / / E / / /

Yes, Jesus loves me A / / / D / / Yes, Jesus loves me / A / E / A / / For the Bible tells me so

15

Down by the Riverside Beginning pitch : F#

D / / / / 4th string, 4th fret Gonna lay down my sword and shield, / / / A / / / Down by the riverside,D / / /

down by the riverside,

down by the riverside. D / / / / / / / Gonna lay down my sword anA / / /D / D

d shield, down by the riverside, 7

Down by the riverside. / G / / Well I ain’t gonna study war no more, / D / / / A / / / D / D7 I ain’t gonna study war no more, I / G / /

ain’t gonna study war no more,

Well I ain’t gonna study war no more, / D / / / A / / / D / / I ain’t gonna study war no more, I ain’t gonna study war no more. Blest be the tie that binds (D) D / / A / / D / / D7 / Beginning pitch: F# Blest be the tie that binds, / G / / D / / A / / / / Our hearts in Christian love, / A7 / / D / / A7 / / D / The fellowship of kindre/ / / / A / / D

d minds,

Is like to that above. Jesus Loves The Little Children D / / / / / / / Beginning pitch: F# Jesus loves the little childreA / / / / / /

n,

All the children of the worl/ D / /

d.

Red and yellow, black and w/ G / D

hite,

They are precious in His sight, / D / A / D Jesus loves the little children of the world. If You’re Happy And You Know It Pitch: A to D / D / / / A / / If you’re happy and you know it, clap your hands. / A7 / / / D / / If you’re happy and you know / G / /

it, clap your hands.

If you’re happy and you know it,/ D / /

then your face should surely show it / A / / / D / / If you’re happy and you know it, clap your hands. [do also with “stomp your feet; “say a-men’’; “Do all three”]

16

Blessed Assurance Beginning pitch: F# / D / G D / Blessed assurance, Jesus is mine / / A E A A7

When you go from D to A to D, keep your first finger in place as a reference point. This song is a “waltz” rhythm (three beats per chord, with the accent or strong strum on he first beat) t

O what a foretaste of glory divine. / D / G D / Heir of salvation, purchase of God / G / A7 D / Born of His Spirit, washed in His blood. A7 D / G D / This is my story, this is my song / G / E7 A / Praising my Savior, all the day long.A7 D / G D /

This is my story, this is my song/ G / A D

Praising my Savior all the day long. This Train is Bound for Glory Beginning pitch: D D / A / D / / / This train is bound for glory, this train. D / / / A / A7 / This train is bound for glory, tD / D7 /

his train.

This train is bound for glory, G / G7 / don’t ride nothing but the righteous and holy D / A / D / / / This train is bound for glory, this train. D / A / D / / / This train don’t carry no gamblers, this train. D / / / A / A7 / This train don’t carry no gamblers,D / D7 /

this train.

This train don’t carry no gambG / G7 /

lers,

no hypocrites, no midnight ramblers. D / A / D / / / This train is bound for glory, this train. Onward Christian Soldiers Beginning Pitch: A D / / / A / / / A7 / / / D / / / Onward Christian soldiers, marching as to war / / / / A / // E / / / A / / / With the cross of Jesus, going on before / / / / D / / / D7 / / / G / / / Christ the royal Master leads against the foe / / / / / / / / / / / / A / / / Forward into battle, see his banners go. D / / / A / / / A7 / / / D / / / Onward Christian soldiers, marching as to war / / / / A / // E / / / A / / / With the cross of Jesus, going on before.

17

To learn some rules about scales and chords, it is easiest to look at the piano keyboard. Here you can learn the names of the notes ( A to G ), and see which ones have “sharps” or “flats” by the color of the notes. The white notes are the letters of the alphabet, and the black notes are the sharps and flats. You can also see the basic pattern for any scale if you use a “C Major” scale as an example. This is a scale that starts on the note “C” and consists of only the white notes (follow the horizontal lines). The black notes can be called by one of two names: “sharps” are used when going up the scale; “flats” are used when coming down the scale.

A “major” scale has eight notes. Notice that in our example of a “C Major” scale, all the white notes have a black note between them except between E-F and B-C. This shows you the relative distance between any two notes on a major scale, depending on whether there is a black note between two notes or not. To follow the horizontal lines from the first C to C on the diagram will show you the pattern (which notes to sound or to skip), and the sound of a major scale. A major scale repeats itself every eight notes. Another kind of scale does not skip any notes at all. To follow the second set of lines from C to C on the diagram would form this scale, called a “chromatic” scale. This pattern is like going up a guitar string one fret at a time. A chromatic scale repeats itself every twelve notes. Each fret on the guitar is a step higher or lower then the previous one. To move two frets would be called a whole step. Notice the pattern of whole and half steps in a major scale. The notation # is called a “sharp” sign, and means to raise the pitch of that note by ½ step (or 1 fret). “b” is the “flat” sign, and means to lower the pitch of that note by ½ step (or one fret). The traditional way to learn a scale by singing it is as follows: DO- RE- ME- FA- SO- LA- TE- DO (then repeats) 1 2 3 4 5 6 7 8 (octave note) C D E F G A B C (this is a C major scale) A major CHORD is made up of the 1st, 3rd, 5th, and 8th notes of the major scale of the same name. Hence a “C” CHORD on the guitar consists of only three different notes: C(l); E(3); or G(5). Finger this chord on your guitar and identify the name of the note that is played on each string. CHORD THEORY RULE: A MINOR Chord takes the major chord and drops the 2nd note of that chord (3rd note of the major scale) by ½ step.

18

Now let us learn some more songs: We Wish You a Merry Christmas / G / / C /

Beginning pitch:D to G

We wish you a merry Christmas/ A

7 / / D /

We wish you a merry Christmas/ G / / C /

We wish you a merry C/ G / D

hristmas 7 G /

And a Happy New Year. / G / / D / / Em / A7 D / Good tidings we bring to you and your kin, / G / / / / / Am / D7 G We wish you a Merry Christmas and a Happy New Year. Count Your Many Blessings D / / / A / / /

Beginning Pitch: F#

When upon life’s billows you are tempest tossed,A

7 / / / D / / / When you are discouraged thinking all is lost. D / / / A / / / Count your many blessings, name them one by one A7 / / / / / D / And it will surprise you what the Lord hath done. D / / / A / / / Count your blessings, name them one by one. A7 / / / D / / / Count your blessings, see what God hath done. D / G / A (Em) A7 / Count your blessings, name them one by one. D / G / (D) A D Count your many blessings, see what God hath done. Away in a Manger D / / D

Beginning pitch: A 7 / / G / / D /

Away in a manger, no crib for a bed. / A / / A7 / / D / / / / The little Lord Jesus lay down His sweet head./ / / / / / / G / / D /

The stars in the sky looked down where H/ A / / D / / E

e lay. m / / D

The little Lord Jesus, asleep on the hay.

19

Kum Ba Yah (Come By Here ) / D / / G D / /

beginning pitch: D

Kum ba yah, my Lord, kum ba yah / D / / / A / / Kum ba yah, my Lord, kum ba yah / D / / G D / / Kum ba yah, my Lord, kuG D / A / D / /

m ba yah

Oh Lord, Kum ba yah A Someone’s singing Lord, Kum ba yah … A Someone’s crying lord, Kum ba yah … A Someone’s praying Lord, Kum ba yah … NOW LET US SING beginning pitch: A / A / / / / / / Now let us sing (sing to the power of the Lord come dow / A / / / E / /

n)

Now let us sing (sing to the power of / A / /

the Lord come down)

Lift up your voice (lift u / D / /

p your voice)

Be not afraid (be not afraid) / A / / E / A And let us sing to the power of the Lord come down GOD IS SO GOOD D / / / A / / /

beginning pitch: D

God is so good A7 / / / D / / / God is so goodD

7 / / / G / God is so good / / D / A / D He’s so good to me SWING LOW / D / / / G / D /

beginning pitch: F# to D

Swing low, sweet chariot / / / / A / / Coming for to carry me ho/ D / / / G / D /

me

Swing low, sweet chariot / / A / D / / Coming for to carry me home

20

ADVANCED STRUMMING TECHNIQUE After you are comfortable with the basic strumming pattern, you may choose to use the bass note more frequently to give the song a more definite rhythm. You may do this by picking the bass note at the name of each chord and at every other slash if the song is written in 2/4 or 4/4 time (the number of times you strum a chord before changing is 2, 4, or a multiple of this). Now G / / / becomes as follows: Written: G / / / Count: 1 2 3 4 Play G-note SD G-note SD This can be varied more by learning the alternating bass note of each chord and substituting it for every other bass note after the first. Now G / / / becomes as follows: Written: G / / / Count: 1 2 3 4 Play: G-note SD D-note SD On the G chord, you may prefer to use a B-note in place of the D-note. As previously demonstrated, both of these patterns can be made fuller by also strumming upwards as follows: Written: G / / / Count: 1 - and - 2 - and - 3 - and - 4 - and - Play: G-note SD SU G-note SD SU or, with the use of the alternating bass note: Written: G / / / Count: 1 - and - 2 - and - 3 - and - 4 - and - Play: G-note SD SU D-note SD SU On a very fast strum, you may choose to only play the bass note at the chord name, and double strum for all slashes: Written: G / / / Count: 1 - and - 2 - and - 3 - and - 4 - and - Play: G SD SU SD SU SD SU This would be repeated every 4 counts.

21

If the song is in a 3/4 rhythm (the number of times you strum a chord before changing is 3 or a multiple of 3), then it will be written G / / G / / or G / / / / / . In this rhythm you will pick the bass note at the beginning of each group of three strums as follows: Written: G / / G / / Count: 1 2 3 1 2 3 Play: G-note SD SD G-note SD SD If you stay on the chord more than 3 strums, you can vary the sound by inserting the alternating bass note with the second set of three slashes as follows: Written: G / / / / / Count: 1 2 3 1 2 3 Play: G-note SD SD D-note SD SD Also, the fuller pattern can be applied as we did in 4/4 time. Written: G / / G / / Count: 1 - and - 2 - and - 3 - and - 1 - and – 2 - and - 3 –and- Play: G-note SD SU SD SU G-note SD SU SD SU These only highlight the most common strumming patterns. As you progress, you will learn to accent certain beats or omit other beats to add variety to your sound. If it is difficult to locate the G sting for a single note, you can merely accent the heavier three strings for the first beat instead, then do the strum-up and strum-down on the four smaller strings.

22

Continue to learn these new songs, as well as practice some of the previous ones using your new strumming techniques. Just As I Am

beginning pitch: D / D / / / / / A / / D / Just as I am, without one plea, / A / / A7 / / G / / D /

This song and the following song should have a “waltz” feeling to the rhythm. The chords are in gropus of three, and the first strum of each rouping should be accented. g

But that Thy blood was shed for me. / D / / D7 / / G / / / / And that Thou bidst me come to Th/ D / / / / / A / /A7//D / /

ee

O Lamb of God, I come, I come. JACOB’S LADDER

beginning pitch: A A / / / / / / / / / / / We are climbing Jacob’s Ladder, The first and second verses are written with

all the strums. The heavier slashes (/) should be accented slightly more than the regular. This gives you that “waltz” feeling (and means the song is in 3/4 time). On the remaining verses, only the main beat is written. You may fill in strums on the other two beats, or strum the song as it is written, depending on how much “activity” you want uring the song. d

E / / / / / E7 / / A / / We are climbing Jacob’s Ladder, A / / A7 / / D / / A / / We are climbing Jacob’s Ladder, A / / E / / A Soldiers of the Cross. A / / / / / / / / / / / Every rung goes higher, higher, E / / / / / E7 / / A / / Every rung goes higher, higher, A / / A7 / / D / / A / / Every rung goes higher, higher, A / / E / / A Soldiers of the cross. A / / / Brother do you love my Jesus? E / E7 A Brother do you love my Jesus? A A7 D A Brother do you love my Jesus? A E A Soldiers of the cross. A / / / If you love Him, why not serve Him? E / E7 A If you love Him, why not serve Him? A A7 D A If you love Him, why not serve Him? A E A Soldiers of the cross.

23

We have already noticed that when a song tends to stay on one chord for a long time, often the author will vary the sound by substituting the seventh of that same chord (i.e., G ⇒ G7 ). He also may add the “corresponding minor” chord, which is a minor chord three frets lower in pitch than the main chord (i.e., G ⇒Em, not the minor of that same chord, i.e. G does not go to Gm ). The following are some frequently used major chords, and the corresponding minor chord that relates to each one: C ⇒ Am F ⇒ Dm G ⇒ Em Now re-learn this song. Notice how more chords are added to the main foundation of chords you have already learned. Also notice how these additional chords are related to the simpler chord progression you first learned for this song (i.e., G7 and Em are now played in some of the places you originally played G, and C7 is also added in the place of some of the C chords). THIS LITTLE LIGHT OF MINE

beginning pitch: D G / / / G7 / / / This little light of mine, I’m gonna let it shine C / / / C7 / G /

When you change from a G to an Em, keep your 2nd finger in he same place. t

This little light of mine, I’m gonna let it shinG / / / G7 / Em

e

This little light of mine, l’m gonna / G / D7 / G

let it shine

Let it shine, let it shine, let it shine DO LORD G / / / / / G7 / Do Lord, oh do Lord, oh do remember me C / / / C7 / G / Do Lord, oh do Lord, oh do remember me G / / / / / Em / Do Lord, oh do Lord, oh do remember me / G / D / G Look away beyond the blue Now learn this rather difficult chord, and try it on the following songs:

x B ╒══╤══╤══╤══╤══╕

B7

│ │ ▄1 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ ▄3 │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

24

These three songs are all in 3/4 time, and should have the “waltz” rhythm. What Child Is This (Green sleeves)

Beginning pitch: E to G Remember to accent the eavier slashes (/). h

Em / / / / / D / / / / What child is this who laid to rest / C / / / / / B7/ / / / on Mary’s lap is sleeping, Em / / / / / D / / / / Whom angels greet with anthems sweet, / C / / B7 / / Em///// While shepherds watch are keeping. G / / / / / D / / / / / C / / / / / B7 / / / / / This, this is Christ the King, whom shepherds guard while angels sing, G / / / / / D / / / / / C / / B7 / / Em / / / Haste, haste to bring him laud, the babe, the son of Mary.

Beginning pitch: D Remember, only attempt the rapid chord change to the chord in parenthesis if you can keep the rhythm steady. Otherwise, treat the (A) as an additional lash for D. s

Trust and Obey / D / (A) D / / A / / D / When we walk with the Lord, in the/ G / / D / / A /

light of His Word

What a glory He sheds on our way. / D / (A) D / / A / / D / While we do His good will, He abides wit/ G / / D / A D / /

h us still,

And with all who will trust and o-bey. A / / D / / B7 / / Em / Trust and o-bey, for there’s no other way / A / / D / / / / A D to be happy in Jesus, but to trust and o-bey. In Came Upon a Midnight Clear / G / / C / / G / / / / It came upon a midnight clear, beginning pitch: B up to G / C / / A7 / / D / / D7 / that glorious song of old / G / / C / / G / / / / from angels bending near the earth, / C / / D7 / / G / / / / to touch their harps of gold. / B7/ / / / / Em / / / / Peace on the earth, good will to men / D / / A7 / / D / / D7 / from Heav’n’s all glorious King / G / / C / / G / / / / the world in solemn stillness lay / C / / D7 / / G / / / to hear the angels sing.

25

God Rest you Merry, Gentlemen Em / / / / / B7 / God rest you merry, gentlemen, let nothing you dismay. Em / / / / / B7 / Remember Christ our Savior was born on Christmas Day. Am / G / Em A D To save us all from Satan’s pow’r, when we are gone astray. / G / Em B7 Em A D O tidings of comfort and joy, comfort/ G / B7 / Em / / /

and joy

O tidings of comfort and joy. Em / / / / / B7 / Now to the Lord sing praises, all you within this place. Em / / / / / B7 / And with true love and brotherhood, each other n Am / G / Em A D

ow embrace.

This Holy tide of Christmas all other doth deface. / G / Em B7 Em A D O tidings of comfort and joy, comfort/ G / B7 / Em / / /

and joy

O tidings of comfort and joy. Notice in both songs, when going from Em to B7, the second finger does not move. We Three Kings of Orient Are

beginning pitch: B Em / B7 EM We three Kings of Orient are, / / B7 Em

Only the main beats of this song have a slash or a chord. This is another song in 3/4 or waltz time. You can add two lighter strums between each marking to give the song a uller sound. f

Bearing gifts we traverse afar, Am D G / Field and fountain, Am B7 Em

moor and mountain,

Following yonder star. D7/ G / C G O, star of wonder, star oG / C G

f night,

star with royal beauty brightEm D C D

.

Westward leading still proG / C G

ceeding,

Guide us to the perfect light.

26

Old Time Religion beginning pitch: B

/ E / / Gimme that ole time relig/ B

ion 7 / E

Gimme that ole time relig/ E / A

ion

Gimme that ole time rel E B

igion 7 E

It’s good enough for me. Hallelu, Hallelu

beginning pitch: E E / A / Hallelu, hallelu, haE B

llelu, hallelujah 7 E /

Praise ye the Lord E / A / Hallelu, hallelu, haE B

llelu, hallelujah 7 E /

Praise ye the Lord. / / B7 / Praise ye the Lord, Halleluj/ / E /

ah

Praise ye the Lord, Halleluj/ / A /

ah

Praise ye the LoB

rd, Hallelujah 7 / E Praise ye the Lord. Because the chords for each line of the following song are the same, this song can be sung in a “round”. A round means you can have a different person start singing the song from the beginning every time the first person who began singing the song begins to sing a new line. Love, Love

beginning pitch: E Em D Em B7 Love, love, love, love, Em D Em B7 the Gospel in one word is loveE

m D Em B7 Love your neighbor as y E

our self m D Em B7

for God loves all.

27

Up to this point, we have had one finger press down one string. Now we will begin to develop our skill by having one finger press down two or more strings until we can eventually use four fingers to press down all six strings. We are now beginning to learn “bar chords”. Bar chords are formed by using one finger laid on its side to form a “bar” across all six strings. Once all the strings have been fretted with the one finger, the remaining fingers can form the chord. A good exercise to begin to learn this new technique is by playing A7 as follows:

AB B ╒══╤══╤══╤══╤══╕

A7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ ▄2 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Note this is the form of A7 that adds the7th note by placing another finger down.

x AB B ╒══╤══╤══╤══╤══╕

Dm7

│ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

A minor seventh chord changes twonotes from the major chord: one changemakes it a minor chord, and the othermakes it a seventh; together they make aminor seventh.

When trying the A7 chord this way, it is best to use the harder side of your first finger (that faces your second finger) to fret the strings. However, when you attempt the Dm7 chord, use the side of your first finger that faces your thumb. Before getting into a complete bar chord, we will build on the Dm7 position by adding the 3rd finger to the Dm7 to form a new chord, F (this is a shortened form of the chord, in which you do not play string #5 or #6). Now try F in the shortened form:

F x x B ╒══╤══╤══╤══╤══╕ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Later, you will use the advanced (orcomplete) form of F. First you will addfinger #4 and play all the strings exceptstring #6, as shown on the right.

│ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │

F x AB B ╒══╤══╤══╤══╤══╕

├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Then you will either wrap your thumbaround the neck to fret string #6 (shownon the left), or go to the complete barform by using your first finger to “bar”across all six strings at the first fret, asshown on the right.

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │

F B ╒══╤══╤══╤══╤══╕

├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ F

▄T │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

28

Do not expect to play a complete bar chord for F yet, but do notice that when you do, the position formed by fingers #2, #3, and #4 is an E-chord position. Once we are able to use finger #1 to bar completely across all six strings, we can use the various forms of E and A to play many different chords. Now try your new chords on these songs. While you are using the shortened form of F, remember not to strum strings that are not fretted. Jesus Loves me beginning pitch: G C / / / / / C7 / Jesus loves me this I know F / / / C / G / for the Bible tells me so C / / / / / C7 / Little ones to Him belong F / C / G / C / They are weak, but He is strong C / / / F / / / Yes, Jesus loves me C / / / G / / / Yes, Jesus loves me C / / / F / / Yes, Jesus loves me / C / G / C / / For the Bible tells me so Amazing Grace C / / C

beginning pitch: G to C 7 / / F / / C /

Amazing Grace, how sweet the sound, / C / / C7 / / G / / G7 / that saved a wretch like me. / C / / C7 / / F / / C / I once was lost, but now/ A

am found, m / / G / / C

was blind, but now I see. Joy to the World C / / / / G C /

beginning pitch: C

Joy to the world, the Lord is F / G / C / / /

come,

Let earth receive her King. / / / / / / / / Let every heart, prepare Him / / / /

room,

and heav’n and nature sing, G / G7 / and heav’n and nature sing, C / / / / G C and heav’n and heav’n and nature sing.

29

Notice that you have already learned the first two songs on the page, but with different chords. This means the song can be written in different “keys” or groups of chords. The pitch for singing the song will then be higher or lower, depending on the chords/key in which you play. We will discuss changing keys, and chords in a given key later. Just As I Am beginning pitch: C-D-E / C / / / / / G / / C / Just as I am, without one plea, / G / / G7 / / F / / C / But that Thy blood was shed for me. / C / / C7 / / F / / / / And that Thou bidst me come to Thee / C / / / / / G / /G7//C / / O Lamb of God, I come, I come. Trust and Obey beginning pitch: C-D-E / C / (G) C / / G / / C / When we walk with the Lord, in the/ F / / C / / G /

light of His Word

What a glory He sheds on our way. / C / (G) C / / G / / C / While we do His good will, He abides wit/ F / / C / G C / /

h us still,

And with all who will trust and o-bey. G / / C / / A7 / / Dm / Trust and o-bey, for there’s no other way / G / / C / / / / G C to be happy in Jesus, but to trust and o-bey. I have decided to follow Jesus / C / / / / / /

beginning pitch: C

I have decided to follow Jesus / F / / / C / / I have decided to follow Jesus / C / / / / / / I have decided to follow Jesus / // G / C / / No turnin’ back, no turnin’ back. 2nd verse: The world behind me, the cross before me 3rd verse: Though none go with me, still I will follow

30

Michael, row the boat ashore / C / / / F / C

beginning pitch: C Only the main beats are marked in this song. You can strum once in between each marking for a fuller ound. s

Michael, row the boat ashore, Al-le-lu-ia / Em / F / C G C Michael, row the boat ashore, Al-le-lu-ia / C / / / F / C Sister, help to trim the sail, Al-le-lu-ia / Em / F / C G C Sister, help to trim the sail, Al-le-lu-ia / C / / / F / C River Jordan is deep and wide, Al-le-lu-ia / Em / F / C G C Milk and honey on the other side, Al-le-lu-ia / C / / / F / C River Jordan is chilly and cold, Al-le-lu-ia / Em / F / C G C kills the body, but not the soul, Al-le-lu-ia O Holy Night C / / / F / C / / beginning pitch: E O holy night, the stars are brightly shining / / / G7 / C / / / It is the night of the dear Savior’s birth. C / / / F / C / / Long lay the world, in sin and error pining, / Em / B7 / Em / / / ‘Til He appeared, and the soul felt its worth. G / / / C / / / A thrill of hope, the weary world rejoices G / / / C / / / For yonder breaks a new and glorious morn. Am // / Em / / Fall on your knees! / Dm / / / Am / / / Oh hear the angel voices C/ G7 / C / F / C / G7 / C / / O night divine, O night when Christ wa/ G7/ / / C / F/ C / G7 / / C

s born,

O night divine, O night, O night divine.

31

Although we will not get into a complete discussion of bar chords at this time, let us briefly look at them enough to give you more versatility in playing songs you may have encountered outside of this book. In a complete bar chord, the first finger “bars” or presses down all six strings. This means the first finger now takes the place of the “nut” on the guitar (see pages 1 & 5), and the remaining three fingers use the different forms of an E, A, or sometimes C chord position to form a variety of other chords. Here is the application of the E form on the first fret:

F B ╒══╤══╤══╤══╤══╕ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Sliding these fingerings up the necderivatives ) F#, G, G#, A, etc.. played by the first finger on the six

FB ╒══╤══╤══╤══╤══╕

#

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Here is the A form of a bar chord,chord formed as you slide this formthe fifth string.

BAB B ╒══╤══╤══╤══╤══╕

b

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄▄▄▄▄▄▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ Fm

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

k (toward the body) will produce theThe name of the chord for this E th string.

which is much more difficult than th up the neck is the name of the no

B ╒══╤══╤══╤══╤══╕ F7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

successive chords (and their form is the name of the note

B ╒══╤══╤══╤══╤══╕ F#m

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ F#7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

e E form. The name of each te played by the first finger on

AB B ╒══╤══╤══╤══╤══╕

Bb7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄▄▄▄▄▄▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

Bbm

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ ▄3 ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

32

Here are some commonly-used bar chords, and a shortened form with which to play them. You may use this form at first, but do not strum the 5th and 6th strings. Continue to work on the full bar chord, and know the complete fingering from which each shortened form comes. These shortened forms can also be slid up the neck as long as you do not play strings #5 and #6.

BAB B ╒══╤══╤══╤══╤══╕

m

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ ▄3 ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ Bx x ╒══╤══╤══╤══╤══╕

m

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ ▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ ▄3 ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

FB ╒══╤══╤══╤══╤══╕

m

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ Fx x B ╒══╤══╤══╤══╤══╕

m

│ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

FB ╒══╤══╤══╤══╤══╕

7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄4 │ ß Fx x B ╒══╤══╤══╤══╤══╕

7

│ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄4 │

The Capo

You may find a song that you enjoy the pitch in which the song is sung, but the chords are very difficult to play (i.e., the song uses a lot of bar chords, or sharped/flatted chords). You can transpose that song to use another set of chords but maintain the same singing pitch by the use of a “capo”. The capo performs the same task as your first finger does in a bar chord. The capo is placed just behind the desired fret, across all six strings, and acts as a new “nut” for the guitar. Then you are free to play simpler chords using your first finger as normally done. For example, suppose someone needed to sing a song where the chords were F, Bb, and C7, and you did not want to fret those harder bar chords. You could place your capo on the first fret, and use the chords E, A, and B7 to play the song. The singing pitch would be the same as if you were playing the F chord progression. The notation used for this type of transition is E(1), where E tells you the “key” or group of chords you would be using, and (1) tells you the fret behind which to place the capo. E(1) and F are the same singing pitch, but different chord groups. The simplest capo is a metal bar coated with rubber or plastic that is held in place by an elastic band around the back of the neck. This style capo is very inexpensive, and is probably the most practical to use when first beginning. However, this style capo will wear out eventually due to the loss of elasticity of the band, or tearing from stretching. Care must be taken when applying this capo to not stretch the strings out-of-tune. Other, more expensive, capos can be purchased which clamp onto the neck better, or are easier to place and remove (Such as the Kyser capo).

33

A more simple application of the capo is the situation where you know a song with a certain group of chords that you can play well, but the song is too low to sing comfortably. Then you may use the capo to raise the pitch, by sliding the capo up the neck until you find a comfortable pitch in which to sing (using the same chords to play the song). Try the following songs with your capo in the indicated position. As you apply the capo, try not to stretch the strings out-of-tune during application. Make certain that each string will sound clearly when played open after the capo is in place (i.e., the strings should not sound muted, nor should the strings buzz or rattle when played open). Sometimes you will have to re-tune after you place your capo, especially if you are placing the capo high up on the neck (above the third fret). Tuning is done using the fifth-fret method, and treating the capo as the nut. God Rest you Merry, Gentlemen A4 Am / / / / / E / God rest you merry, gentlemen, let nothing you dismay. Am / / / / / E / Remember Christ our Savior was born on Christmas Day. Dm / C / Am D G To save us all from Satan’s pow’r, when we are gone astray. / C / Am E Am D G O tidings of comfort and joy, comfort/ C A

and joy m E / Am / / /

O tidings of comfort and joy. Am / / / / / E / Now to the Lord sing praises, all you within this place. Am / / / / / E / And with true love and brotherhood, each other n D

ow embrace. m / C / Am D G

This Holy tide of Christmas all other doth deface. / C / Am E Am D G O tidings of comfort and joy, comfort/ C / E / A

and joy m / / /

O tidings of comfort and joy. There are also certain patterns of chords on the guitar which are associated with one certain key or main chord. When you would like to use this pattern or grouping of chords on a song, but the singing pitch is already fixed, then you can use your capo to play different chords. Example: Rather than play the group of chords built around Eb, it is much better and easier to capo to the third fret and play the chords built around C. This adjustment allows you to use better-sounding, more-versatile chords, and highlight the distinctive sounds of the guitar easier (much piano music is in Eb, which is difficult for the guitar). Hence, rather than play Eb, Gm, Cm, and Bb, you can now play the following pattern with your capo on the third fret:

C – Em – Am – G Accent the 5th string on the first beat of the first three chords, and the sixth string on the G chord. This progression is a familiar sound for the guitar that is difficult in other chord groups.

34

Angels We Have Heard on High C2 C / / / G / C / / (G) C / G / C / Angels we have heard on high, sweetly singing o’er theC / / / G / C / /(G)C / G / C /

plains.

And the mountains in reply, echoing their joyous strains. C / Am / Dm / G / C / Am / Dm / G / Glo - - - - - - - - - ria C (G) C (F) C/G/ In excelsis Deo. C / Am / Dm / G / C / Am / Dm / G / Glo - - - - - - - - - ria C (G) C (F) C/G/C In excelsis De-o. Let Us Break Bread Together C4 / C Am Dm G C / / Let us break bread together on our knees, / Em / Am D7 G / / Let us break bread together on our knees, / C / A7 / Dm / G When I fall on my knees with my / C A

face to the risin’ sun m Dm G C / /

Oh, Lord, have mercy on me. / C Am Dm G C / / Let us drink wine together on our knees, / Em / Am D7 G / / Let us drink wine together on our knees, / C / A7 / Dm / G When I fall on my knees with my / C A

face to the risin’ sun m Dm G C / /

Oh, Lord, have mercy on me. / C Am Dm G C / / Let us praise God together on our knees, / Em / Am D7 G / / Let us praise God together on our knees, / C / A7 / Dm / G When I fall on my knees with my / C A

face to the risin’ sun m Dm G C / /

Oh, Lord, have mercy on me.

35

BEGINNING CHORD THEORY. We have been talking about songs being built around one major chord or “key”. This “key” is determined by how high or how low you can sing, or predetermined by the author of the song. It tells you, the musician, what chord to start the song with (as well how to get the singing pitch), and what chords to expect in the song. The key usually has the same basic group of chords. These chords have a fixed relationship to one another so that if you know the main chord or key, you can predict what the other chords will probably be in the song and anticipate them. Knowing this helps you to “pick out” songs by “ear”. Most songs are built around three main chords. If you know or choose the first chord, then the second chord will be found by moving up to the note five frets higher than the first, and the third chord will be found seven frets higher (or five frets lower) than the first chord. For example, in the key of G, the chords would be G, C, and D. Make sure you understand this principle by finding the G note on your sixth string, then counting up the correct number of frets to see if you arrive at a C and D. Study the following groups of chords you would expect to find together. The first chord of each group is the key. C – F – G Use the chord grouping rules listed below to make certain you can

arrive at the same chord groupings shown on the left: 1st chord = key 2nd chord = 5 frets higher than 1st chord 3rd chord = 7 frets higher than 1st chord (or 5 lower)

D – G – A E – A – B G – C – D A – D – E You must be able to name the notes chromatically (fret by fret) to determine this pattern. Starting with the open sixth string, this chromatic progression would be as follows:

E – F – F# - G – G# - A – A# - B – C – C# - D – D# - E (12 notes, then repeats) A song in the key of “C” usually includes F and G. Remember that the “corresponding minor” chords you would expect to play in the key of C are C ⇒ Am, F ⇒ Dm, and G ⇒Em. Hence, in a song pitched in the key of C, you would anticipate the following six chords: C – Dm – Em – F – G – Am. Knowing this will help you be ready for the chord changes, and also help you discover the chords to a song for which you know the tune and key, but not the chords.

MORE COMPLICATED SONGS As you practice, you will grow in your ability to deal with harder songs, or to add more intricate and meaningful chords to the songs you can already play. You have learned some songs in a very simple version. Now you will be expected to add additional or slightly different chords to those songs you know, as well as learn some new songs along with the more advanced chords. If you can already play the following songs more intricately, go ahead, but still study the simpler version to understand the basic chord structure of the song.

36

Chord progressions are most easily understood and played in the key of C, mainly because it has no sharps or flats. However, this means one chord, F, will be rather hard at first, but the corresponding minor chords, Dm, Em, and Am, will be easy. For this reason, you may find some songs which are sung in the key of D written in C2 (chords of C with the capo on the second fret), while others are in the key of D. Which key you choose to use will depend on how many chords are used in that song, which ones they are, how easy to play they are, and which chord progressions sounds the best. C2 and D have the same vocal range and singing pitch. Experiment with both of the following songs to see which is easier for you. I have generally picked the easier key, but some are fairly equal in difficulty, so it becomes a matter of your choice and talents. Amazing Grace D D / / D7 / / G / / D /

beginning pitch: A to D

Amazing Grace, how sweet the sound, / D / / D7 / / A / / A7 / that saved a wretch like me. / D / / D7 / / G / / D / I once was lost, but now/ Bm / / A / / D

am found,

was blind, but now I see. Amazing Grace C2 beginning pitch: G to C with capo in place C / / C7 / / F / / C / Amazing Grace, how sweet the sound, / C / / C7 / / G / / G7 / that saved a wretch like me. / C / / C7 / / F / / C / I once was lost, but now/ Am / / G / / C

am found,

was blind, but now I see. You have already learned the songs “Trust and Obey” and “Just as I am” in the keys of C and D. Now, if you like the chords of the key of C, but it is too low for you to sing, you can raise the pitch of the song with your capo to the key of D, but maintain the chords of C by placing the capo on the second fret.

AAB B ╒══╤══╤══╤══╤══╕

m7

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

In the following song, you will be introduced to a new chord, called a MINOR SEVENTH. This chord takes the original major chord and changes one note to make it a minor chord. Then it adds the other note that makes it a seventh. It is ften used as a fancy substitute for the regular minor chord. o

37

This song will give you an example of the different chord arrangements you can use with one melody. The first verse of this song is written in the three basic chords of the song. This is good to use to understand the chord progression. The second verse is written using the basic chords and their sevenths. This is the way this song is most commonly played. The third verse of the song is written with a very complicated chord arrangement. This arrangement is good to use when accompanying a soloist.

What A Friend We Have In Jesus C2 Pitch A

C / / / F/ / / C / / / G / / / What a friend we have in Jesus, All our sins and griefs to bC / / / F/ / / C / G / C / / /

ear,

What a privilege to carry, Everything to God in prayer. G / / / C / / / F / C / G / / / Oh, what peace we often forfeit, Oh, what needless pain we beaC / / / F/ / / C / G / C / / /

r,

All because we do not carry, Everything to God in prayer. C / C7 / F/ / / C / / / G / G7 / Have we trials and temptations, Is there trouble anywhere, C / C7 / F/ / / C / G / C / / / We should never be discouraged, Take it to the Lord in prayer. G / / / C / / / F / C / G / G7 / Can we find a friend so faithful, who will all our sorrows share, C / C7 / F / / / C / G / C / / / Jesus knows our every weakness, Take it to the Lord in prayer. C / C7 / F/Dm/ C / Am / Dm7 / G / Are we weak and heavy laden, Cumbered with a load of care, C / C7 / F/Dm / C Am7 Dm7 G C / / / Precious Savior, still our refuge, Take it to the Lord in prayer. G / G7 / C / C7 / F / C / G / G7 / Do thy friends despise, forsake thee, Take it to the Lord in prayer, C / C7 / F / Dm / C Am7 Dm7 G C / / / In His arms He’ll take and shield thee, Thou wilt find a solace there. Now, learn these songs, using your capo as needed:

The Way Of The Cross Leads Home D Pitch: A-B- D

/ D (G)D / / / D7 / I must needs go home by the way G / / / D / /

of the cross,

Remember, if the change to the chord in () is too fast, you may repeat the previous hord at that beat. c

There’s no other way but this. / A / / / D / / I shall ne’er get sight of the G/ E / E7 / A / /

ates of Light,

If the way of the cross I miss. / D / / (G) D / / The way of the cross leads home, / D / / (G) D / / The way of the cross leads home, / A / / / D (G) D It is sweet to know as I onwa(G) D / A A7 D

rd go,

The way of the cross leads home.

38

Everyday with Jesus (C) Pitch: G

C / / / / / / / / / / /G / / / E J/ / / / / / / /G7 / / / C / / / veryday with esus is sweeter than the day before,

Everyday with Jesus, I love Him more and more. C / / / / / / / C7 / / / F / / / Jesus saves and keeps me, and He’s the one I’m waiting for, F / / / C / Am7/ Dm7 / G / C / / / Everyday with Jesus, is sweeter than the day before. He Keeps Me Singing (C2) Pitch: F# (E2) C / / /D7 / / / There’s within my heart a melody,G / / / C / G /

Remember to keep your first finger in place as you change rom C to D7. f

Jesus whispers sweet and low. C / / / D7 / / / Fear not, I am with thee, peace, be sG / G7 / C / / /

till,

In all of life’s ebb and flow. C / / / G / / /G7 / / /C / / / Jesus, Jesus, Jesus, sweetest name I know, C / / / D7 / / / G / G7 /C / / / Fills my every longing, keeps me singing as I go. Oh, How I love Jesus (C) Pitch: C-E C / / / G / C G There is a name I love to hear, I love to sing its worth, C / / / Dm7 G C / It sounds like music in my ear, the sweetC / / / G / C G

est name on earth.

Oh, how I love Jesus, oh, how I love Jesus, C / / / Dm7 G C Oh, how I love Jesus, because He first loved me. Sweet By And By (D2) Pitch: E (D2) / D / G / D / / There’s a land that is fairer than/ D / / / A / /

day,

And by faith we can see it afar. / D / G / D / / For the Father waits over the way, / D / A / D / / To prepare us a dwelling pl/ D / / / A / /

ace there.

In the sweet by and by, / A7 / / / D / / We shall meet on that beau/ D /D7 / G / /

tiful shore.

In the sweet by and by, / D / A / D / / We shall meet on that beautiful shore.

39

TRANSPOSING: You have seen how easy it is to raise the pitch of a song by the use of the capo when you can play the chords, but the song is too low to sing comfortably. This approach works fine when you need to raise the singing pitch by 1-4 frets. However, you must use a different method if the song is being played with no capo and is pitched too high to sing. In this instance, you must “transpose” the song to a different key that is lower. This different method also is needed if you must raise the singing pitch of the song more than four frets, because the capo is not easy to use high up the neck (the frets are too close together to finger the chords easily). The way to transpose a song from one key to another key is to first count the number of frets (or half-steps) from the original key to the new, desired key. Either do this by using the chromatic note names on one of the guitar strings (see page 35), or use the diagram of the piano at the beginning of this book (page 3). Then change each chord name in the song by moving that same number of frets from the original name of the chord on the diagram to locate the new name of the chord. A good example of this method would be when you are playing a song written in the key of C, where the chords in the song are C, Dm, F, and G. If this key is pitched too high to sing, then you might try transposing the song to the key of A. First test whether or not you can sing the song in the key of A by playing an A chord to find your starting pitch. Then continue to sing with no music to see if you can sing all the high notes. If that key is satisfactory, then you are ready to transpose the entire song to the key of A (if not, try singing in the key of G). Transposing will tell you what the other chords in the song will be in the new key. Using the following directions, write the new chords. Then you can decide whether or not they are easy for you to play. To transpose from C to A, first count the number of half-steps (frets) from a C note down to an A note. You will find there are three frets, or half-steps. Then, by dropping each other chord name by three frets, you will find the chords C, Dm, F, and G change as follows: Dm becomes a Bm; F becomes a D; and G becomes an E. Now your new chords in the key of A are A, Bm, D, and E. You may find Bm is too difficult for you to play, but the singing pitch of the key of A is good. In that case, you can further transpose the song down by two more frets to the key of G (a total of five frets from the original key of C), and place a capo on the second fret. Now your chords are G, Am, C, and D, but with the capo on the second fret, the singing pitch is still in the key of A. This method also works if you want to transpose up from a key with difficult chords to a key with easier chords, such as from E to G, and can sing in a higher pitch. Or this method can be used if you like the singing pitch of the song, but want an easier set of chords to play. A common example of this application is when using piano music with guitar chords written above. Many pieces of music for piano are written in the key of Eb. The guitarist should transpose these songs to the key of C, and place the capo of the third fret for the same singing pitch, but much easier chords (and better sounding chords).

40

Try singing this song in the key of C. When We All Get To Heaven C / / / / / / / Sing the wondrous love of JesG / / / / / C /

us,

Sing His mercy and His grace. C / C7 / F / F7 / In the mansions bright and blessedC / G / C / /

,

He’ll prepare for us a place. / C // / / / / / / / D / G// When we all get to Heaven, what a day of rejoicing that wil/ C // / F // / C / G / C / /

l be,

When we all see Jesus, we’ll sing and shout the victory. If C was too high to sing all the notes comfortably, then transpose the song to the key of A. Try it before you look at the next song to see if you arrive at the same chords that are written below: When We All Get To Heaven (A) A / / / / / / / Sing the wondrous love of JesE / / / / / A /

us,

Sing His mercy and His grace. A / A7 / D / D7 / In the mansions bright and blessedA / E / A / /

,

He’ll prepare for us a place. / A // / / / / / / / B7 / E// When we all get to Heaven, what a day of rejoicing that wil/ A // / D // / A / E / A / /

l be,

When we all see Jesus, we’ll sing and shout the victory. If this was a good key to sing in, but you do not like to play in it because of the difficult B7 chord, then transpose the song to the key of G and place your capo on the second fret. When We All Get To Heaven (G2) G / / / / / / / Sing the wondrous love of JesD / / / / / G /

us,

Sing His mercy and His grace. G / G7 / C / C7 / In the mansions bright and blessedG / D / G / /

,

He’ll prepare for us a place. / G // / / / / / / / A / D// When we all get to Heaven, what a day of rejoicing that wil/ G // / C // / G / D / G / /

l be,

When we all see Jesus, we’ll sing and shout the victory.

41

Now try this song in the key of E. Decide if E is a good key in which you can sing and play. If you like the chords, but the key is too low to sing comfortably, then use your capo to raise the key until you find a comfortable key for singing. When The Roll Is Called Up Yonder (E) / E / E7 / A / E When the trumpet of the Lord shall sound and time / E / / / B

shall be no more, 7 / /

When the morning breaks eternal bright and fair. / E / E7 / A / E When the saved of earth shall gather over on the o/ E / B

ther shore, 7 / E / /

And the roll is called up yonder, I’l/ E / / / / / /

l be there.

When the roll is called up yonder, / B

7 / / / / / /

when the roll is called up yonder/ E / / / A / /

,

When the roll is called up yonder, / E / B7 / E / / when the roll is called up yonder I’ll be there. If the song was too low to sing comfortably, and you did not enjoy playing the chords in the key of E, then transpose the song up to the key of G. Again, try to do this first without looking at the following arrangement to see if you arrive at the same chords. Then use the following arrangement to verify your chords. When The Roll Is Called Up Yonder (G) / G / G7 / C / G When the trumpet of the Lord shall sound and time / G / / / D

shall be no more, 7 / /

When the morning breaks eternal bright and fair. / G / G7 / C / G When the saved of earth shall gather over on the o/ G / D

ther shore, 7 / G / /

And the roll is called up yonder, I’l/ G / / / / / /

l be there.

When the roll is called up yonder, / D

7 / / / / / /

when the roll is called up yonder/ G / / / C / /

,

When the roll is called up yonder, / G / D7 / G / / when the roll is called up yonder I’ll be there.

42

When the Saints go marching In D (or D2, or E) / D / / / / / / Oh when the saints, go marching in, / / / / / A / / Oh when the saints go marching in. / D / (D7) / G / / Oh Lord I want to be in that numbe / D / A / D / /

r,

when the saints go marching in. Jesus in the Morning C2 or D, C4 or E C /// (C7)/// F / / / C / (F) G Jesus, Jesus, Jesus in the morning, Jesus at the C /// (E)/(A

noon time, m)/C / G / C (F) / /

Jesus, Jesus, Jesus when the sun goes down. (praise Him…, Serve Him…, love Him…, thank Him…) Peace like a River / G / G7 / C / G I’ve got peace like a river, I’ve got peace/ G / E

like a river, m A7 D(A7)(D7)

I’ve got peace like a river in my soul (repeat 1st line) / G Em A7 D7 G// (Chords of 2nd line repeat) (love like an ocean…; joy like a fountain…) Often the words to a very familiar song can be sung to a variety of tunes. Additional tunes for the words to “Amazing Grace” are “Joy to the World” (pg 28), “I’d like to teach the world to sing,” “The House of the Rising Sun”, “Gilligan’s Island”, “Ghost Riders”, “Don’t Worry, be Happy” or “Peaceful easy feeling”. If you are familiar with these tunes, try them with this song. Amazing Grace (I’d like to teach the world to sing) D / / / E7 / / / Amazing Grace, how sweet the sound, that saved a wretch li A

ke me. 7 / / / G / D

I once was lost, but now am found, was blind, but now I see. Amazing Grace (Am4) (House of the Rising Sun) Am / C / D / F / Am / C / E/E7 / Amazing Grace, how sweet the sound, that saved a wretch like m A

e. m / C / D / F / Am / E7 / Am /

I once was lost, but now am found, was blind, but now I see. Amazing Grace (Gilligan’s Island) Em / D / Em / D / Amazing Grace, how sweet the sound, that saved a wretch li E

ke me. m / D / C B7 Em

I once was lost, but now am found, was blind, but now I see.

43

Amazing Grace (D) (Peaceful Easy Feeling) D / / / G / / / D / / / G /// D/ / / G / / / A/////// Amazing Grace, how sweet the sound, that saved a wretch like me.D / / / G / / / D/ / / G /// D / / / G / / A/////

I once was lost, but now am found, was blind, but now I see. / / G / / /// / / D / / /////G/ / / / / // A (8) And I get a peaceful easy feeling, I kno D///Em// / G / / / A/ / / D

w Christ won’t let me down.

Cause I’m al-----ready standing, on Holy ground. Amazing Grace (Don’t Worry, be Happy: number of strums in parens) D(8) Em (8) Amazing Grace, how sweet G(4) A(4) D (8)

the sound, that saved a wretch like me.

Don’t worry, be happy. D(8) Em (8) I once was lost, but now G(4) A(4) D (8)

am found, was blind, but now I see.

Don’t worry, be happy. Amazing Grace (Ghost Riders in the Sky) Em / / / G / / ///// Amazing Grace, how sweet the sound, that saved a wretch like me E

. m / / / G / ///////

I once was lost, but now am found, was blind, but now I see. Em / / / / / / / Twas Grace that taught my heart to fear, and Grace my fears relieved C / / ///// / / Em /// How precious did that Grace appear, the hour I first believed. Some songs also take a familiar melody and chord progression, but add new words to it. If you know the tunes to these familiar songs, try learning the chords to them along with the new words. God the Father Has a Son (and Jesus is His Name-Oh) G (tune of Bingo) G / C G C D7 G / God the Father has a Son and Jesus is His name-Oh, G / C / D / G / Em/ Am / D7 / G / J E S U S, J E S U S, J E S U S and Jesus is his name-oh. (Repeat chorus, each time leaving out a letter of Jesus, and adding a clap) Home on the Range G / / / / / C / / / / Well, I’ve got a Home, through no work of my / G / / E

own, m / / D / / D7 /

That the Lord has prepared in the sky. / G / / / / / C / / / / Through Grace I’ve been saved, through His Po/ G / / D / / G / / / / /

wer I’ll be raised,

To go home to that sweet bye and bye.

44

G / / D / / G / / / / Home, Home o’er the range, / G / / A / / D / / D7 / I will be with the Lord in the sky. / G / / / / / C / / / / Through Grace I’ve been saved, through His Po/ G / / D / / G / / / / /

wer I’ll be raised,

To go home to that sweet bye and bye.

MUSIC NOTATIONS Although with this manual it is not necessary to read musical notations to learn to play the guitar, you may find it useful to learn some basics. This is especially true if you are trying to learn an unfamiliar song from sheet music or a songbook, or if you are playing with another musician. The following information will provide a foundation for your musical growth. In a song, different notes have a different length of time that they are sustained before going on to the next note. The names of the different notes (and the corresponding “rests” or pauses) are as follows:

The way they relate to one another is as follows:

Two sixteenth notes = one eighth note Two eighth notes = one quarter note Two quarter notes = one half note Two half notes = one whole note

Written music is divided by vertical lines into “measures”. These measures have a certain number of “beats” (or times you would pat your foot, clap your hands or strum the guitar). You are told what this number of beats per measure will be by two numbers found at the beginning of the music, one on top of the other, called the “time signature”. The top number tells you the number of beats in each measure, and the bottom number tells you which notes gets one beat. 4 = four beats per measure 4 = quarter note (1/4) gets one beat Looking at the time signature will help tell you how many strums are in each measure. Later you will be able to learn on what beat to strum. The time signature also helps determine what would be the best pattern for your strumming. For example: 4 = four strums per measure, or bass note plus three strums, or bass-strum-bass (or alt.)-strum 4

45

4 = three strums per measure, or bass note and two strums ( called “waltz” time) 4 2 = two strums per measure, or bass note, strum, bass- strum (called “march” time or “cut” time) 4

Additional notations: Music is written on a staff consisting of five lines and four spaces.

The lines in the top section (Treble clef) are named alphabetically as follows: 1=E, 2=G, 3=B, 4=D, 5=F. The names of the lines are easily remembered by the phrase “Every Good Boy Does Fine” which names the lines from bottom to top by the first letter of each word. The spaces in the treble clef are also named as follows: 1=F, 2=A, 3=C, 4=E, and are easily remembered by the word FACE, which names the spaces from bottom to top. The name of the pitch of the different notes is determined by their position on the staff (horizontal lines and spaces). Notes are called by one of the letters of the alphabet from A to G.

The treble clef, is the name for the top part or upper register of the piano. The staff on which the musical notes are written is denoted as the treble clef by a funny shaped S located at the beginning of the music staff. If you see a funny-shaped backwards C at the beginning of the music staff, then the notes are in the bass clef. Singing melody lines are often written in the treble clef, with guitar chords over them. Bass guitar parts are often written in the bass clef.

The names of the lines and spaces of the bass cleft, or lower register, are different from the normal treble clef. In the bass clef, the letters naming the lines and spaces drop down by one space in their name, and by one octave in their pitch (they are lower notes). Hence, looking at the figure above in the bass cleft, the lines would be 1=G, 2=B, 3=D, 4=F, 5=A, and the spaces would be 1=A, 2=B, 3=E, 4=G.

46

As you get more comfortable with chords, you will want to “lead in” to a chord with some single note picking, or finish a song with a “run,” or a “hammer-on.” The “lead in” for a C chord, using the tablature style of notation is written as follows: Left Hand Fingers-> 3 0 2 3 The last note of the run is the 1st

note of the beat and note for the main chord. Hence the run starts before the 1st beat of the song called a “pick-up”). (

(to C chord) E ---3--------------------------- A ---------0------2------3------- STRINGS-> D ------------------------------- G ------------------------------- B ------------------------------- E ------------------------------- Note Name -> G A B C For an “A chord”: Left Hand Fingers-> 0 1 3 0 (to A chord) E ---0-----2------4-------------- A -----------------------0------- STRINGS-> D ------------------------------- G ------------------------------- B ------------------------------- E ------------------------------- Note Name -> E F# G# A A “hammer on” is the effect achieved when a string is played open, then immediately sounded again by “hammering” it down at the desired fret with a finger of the left hand. For a “D” chord, after playing it regularly, lift your 2nd finger and strum it again, then quickly hammer the 2nd finger back down in place so the string sounds. x AB B ╒══╤══╤══╤══╤══╕

D

│ │ │ │ │ │ ├──┼──┼──┼──┼── ┤ │ │ │ ▄1 │ ◙(H-2) ├──┼──┼──┼──┼──┤ │ │ │ │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

A AB B ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 ▄1 ◙(H-3) ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

H-2 means “hammer down” with the 2nd finger. For an “A”, do likewise with he 3t

rd finger.

For a “C”, use both the 1st and 2nd fingers – at the same time on their respective frets for a “C”. Try this “lick” on a “C” chord: Left Hand Fingers-> 3 0 2 0 2 1 (C chord) E ----------------------------------------- A ---3------------------------------------- STRINGS-> D ---------0-----H-2----------------------- G -----------------------0-----H-2--------- B -------------------------------------1--- E ----------------------------------------- Note Name -> C D E G A C Beat -> / / /

C x B ╒══╤══╤══╤══╤══╕ │ │ │ │ ◙1 │ ├──┼──┼──┼──┼──┤ │ │ ◙2 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

47

Bar Chords and Variations As you become more proficient with chords on the guitar, you will start to see that all chords are derived from one of three basic forms: the “E”, “A” or “C” chord. The forms, along with the ability to use your first finger of the left hand as a substitute for the nut on the guitar and “bar” across any given fret, allow you to construct or locate any chord you need for a given song. Chords that you are familiar with which do not seem to be of these three root forms are really simplified derivatives which are possible due to the arrangement of strings at 5-fret or 4-fret intervals. Hence “D” is really a “C” chord barred at the second fret, and “G” is an “E”chord barred at the third fret. Played this way, you can then find whereone string played at the 5th fret equals the next highest string open, so thefingering is re-arranged accordingly. This does not mean you will nowplay the harder fingering, but rather it may make it easier to see how toplay the other forms of the chord and remember them (such as Gm,Gm7, Gmaj7).

E B AB ╒══╤══╤══╤══╤══╕ │ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ Note then the different forms of “E”:

If you then finger these variations by u(i.e., let 1⇒2, 2⇒3 and 3⇒4), then ylast three fingers of your left hand. Tfinger to be able to bar across all six stthe way up the neck to get all other chfret and play an “E” chord with the othchord.

2nd fret = F# {or Gb} (plus F#m3rd fret = G (plus Gm, Gm7, G4th fret – G# {or Ab} (plus G#m5th fret = A (plus Am, Am7, A7

Bar Chord Rule: The name of the chnote that the first finger is playing on

B ╒══╤══╤══╤══╤══╕

E7

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

sing one finger higher in numbeou can play them using only thhis adjustment frees up the firsrings, and hence use this form aords. Example: if you bar the 1er three fingers, you have an “F

, F#m7, F#7) 7) , G#m7, G#7) )

ord when using the E-form is the E string.

B ╒══╤══╤══╤══╤══╕ Em7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B AB ╒══╤══╤══╤══╤══╕

Em

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

retllst

”

F B ╒══╤══╤══╤══╤══╕ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ F7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ Fm7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ Fm

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

found by the name of the

48

Once you have reached the fifth fret with the bar form of E (your first finger is fretting just behind the fifth fret), then you are playing an “A” chord using an E-form. For higher chords, you can now either continue up the neck with your E-form, or go back to the nut and begin to use the A-form of bar chord.

Here are the fingerings for the various derivatives of A:

A AB B ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 ▄1 ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

A7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

A7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ ▄2 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

Amaj7

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AAB B ╒══╤══╤══╤══╤══╕

m

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 ▄3 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

Am7

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

A

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄▄▄▄▄▄▄▄3│ ├──┼──┼──┼──┼──┤ │ │ │ │ │ ──┼──┼──┼──┼──┤

│ │ │ │ │ │

│ ├

When you use the A form of the bar chord to play the major chord, you have to fret all three strings with one finger. To do so, the first joint of your third finger will have to bend backwards some.

Try the complete bar chord on the first fret. You will have to use the side of yourfirst and third fingers that faces your fourth finger to get enough pressure to fretthe desired strings without dampening the others. The chord you are forming is aB-flat chord. The name of the major chord formed from the A-form of bar chord isfound by naming the note that the first finger is playing on the A string.

B AB B ╒══╤══╤══╤══╤══╕ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

│ │ ▄▄▄▄▄▄▄3 │ ├──┼──┼──┼──┼──┤

b

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1

├──┼──┼──┼──┼──┤

│ │ │ │ │ │

The other chord forms of A besides the first one use fingers 2, 3, and 4, as youdid on the E-form of bar chord. As you slide these up the neck of the guitar, youform B, C, C#, D, etc. by moving one fret at a time.

BAB B ╒══╤══╤══╤══╤══╕

b7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄▄▄▄▄▄▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │

│ AB B ╒══╤══╤══╤══╤══╕

Bbm

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ ▄3 ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

Bbmaj7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

├──┼──┼──┼──┼──┤ │ │ │ │ │ │

AB B ╒══╤══╤══╤══╤══╕

Bbm7

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

49

When you have reached the third fret of the A-form of bar chord, you are then playing a C chord. Now you could move back to the nut of the guitar and play the C-form of the bar chord to get the next higher chords. However, this is the most difficult form to use, and should be used only when no other alternatives exist. These are the forms of a C chord that can be used further up the neck.

x B ╒══╤══╤══╤══╤══╕ C

│ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄4 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x B ╒══╤══╤══╤══╤══╕ C7

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

The C and the Cmaj7-forms are useto bar across all six strings, while th Since you seldom use the 6th stringthree strings with your first finger, raplay the alternating bass note as yo

As you advance the C-form of bar cC# and C#maj7, D and Dmaj7, Eb a Since all four fingers are already bebe treated as a bar chord. Howeveyou are careful not to strum the firslimitation is when you are playing afret). Since E is a note in the E7 chthis E7 chord fingering. (see Contem

x B ╒══╤══

│ │ ├──┼── │ │ ├──┼── │ │ ├──┼── │ ▄4 ├──┼──│ │

Cx B ╒══╤══╤══╤══╤══╕

#

│ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄4 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Understanding these chord-forms wdifferent locations on the neck and weasily played or sound better, especusing one, or at the most two, forms

x B ╒══╤══╤══╤══╤══╕ Cmaj7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ ▄4 ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

d just as the E and A-forms were used. The first finger is used e second, third, and fourth fingers are used to form the chord.

in the C-form of bar chord, it is much easier to only fret the first ther than try to fret all six. You can still use your fourth finger to u did on the regular C chord should you desire.

hord up the neck, you will form nd Ebmaj7, etc..

ing used in the C7 chord, then it cannotr, C7 can be used further up the neck if

t and sixth strings. The exception to this E7 chord using the C7-form (at the 5th

ord, then you can strum all six strings forporary Chords Section)

EB ├──┼──┼──┼──┼──┤

7

│ │ │ │ ▄1 │5th ├──┼──┼──┼──┼──┤fret │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

In the case of Emaj7, since the sixth string is an E and is part of the chord, then you can strum all six strings.

B (B) │ │ │ │ │ │ Emaj7

├──┼──┼──┼──┼──┤ │4th fret▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄4 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

╤══╤══╤══╕ C#maj7

│ ▄▄▄▄▄▄▄1 ┼──┼──┼──┤ │ │ │ │ ┼──┼──┼──┤ ▄3 │ │ │ ┼──┼──┼──┤ │ │ │ │ ┼──┼──┼──┤ │ │ │ │

ill generally give you three ways to play any given chord, just at ith different fingerings. However, certain fingerings are more ially on an acoustic guitar, so you will usually find yourself only for any given chord.

50

Advanced Chord Theory Throughout our discussion, we have built on the idea of chord construction from the basic 8-note scale, where the basic chord is built up from the 1st, 3rd and 5th (and 8th or octave) notes in this scale (i.e., 3 different notes). This basic chord is altered by moving certain specific notes a specified amount to create the other variations of that chord. Understanding this will help you remember chords and also help learn songs “by ear”. The basic rules for chord theory are as follows:

Drop the octave by one fret = major 7th chord Drop the octave by two frets = 7th chord Drop the octave by three frets = 6th chord Raise the octave by two frets (or add this note to the chord) = 9th chord

Here are some familiar examples. Notice how each

G B ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ Gmaj7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ ▄1 ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x AB B ╒══╤══╤══╤══╤══╕

D

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄1 │ ▄2 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x AB B ╒══╤══╤══╤══╤══╕

Dmaj7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Cx B ╒══╤══╤══╤══╤══╕

9

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 │ │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x AB B ╒══╤══╤══╤══╤══╕

D9

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

rule is applied.

B ╒══╤══╤══╤══╤══╕ G7

│ │ │ │ │ ▄1 ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x AB B ╒══╤══╤══╤══╤══╕

D7

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ ▄ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B AB ╒══╤══╤══╤══╤══╕

E9

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ ▄ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

│ │ │ │ │ │

B╒══╤══╤══╤══╤══╕ G6

├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

3

x AB B ╒══╤══╤══╤══╤══╕

D6

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ ▄3 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

4

x x B ╒══╤══╤══╤══╤══╕

F9

│ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

51

When forming a “major 7th” chord from the E-form of a bar chord, you cannot bar and play all six strings, but rather you must only play the four strings that you finger.

One exception to the above exampfound with Fmaj7. Since, in this chyour fingers and be able to strum albass note, and use the other four fin

FB ╒══╤══╤══╤══╤══╕

#

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕ F

▄T │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

When using the other forms of bar best to bar all six strings, while the C Both chords generally only strum thform anywhere on the neck, but yochord.

BAB B ╒══╤══╤══╤══╤══╕

maj7

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x x B ╒══╤══╤══╤══╤══╕

F#

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

le for forming major 7th chords fromord, the #1 E string will be played ol six strings. Do this by wrapping yogers as you would do

chords for a major 7th chord, you w-form is best used when you bar oe bottom five strings. However, yo

u can only do this with the C-form w

x x B ╒══╤══╤══╤══╤══╕

F#maj7

│ │ │ │ │ ▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ │ ▄3 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

an E-form of bar chord is pen, you can use all five of ur thumb around to play the

on an F chord.

B ╒══╤══╤══╤══╤══╕ Fmaj7

▄T │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

ill find that the A-form works nly the three highest strings. u can strum all six on the A-hen you are playing Emaj7

Major 7th form B │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄4 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B (B) │ │ │ │ │ │ Emaj7

├──┼──┼──┼──┼──┤ │ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤4th fret │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄4 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

52

The fingering of a “diminished” chord (noted a “-“) operates in the same manner as a bar chord. The diminished chord also has one form, but the name of the chord is called by any note played in the chord. This chord-form repeats itself in sound every four frets, so five positions will form every possible diminished chord.

x x ╒══╤══╤══╤══╤══╕

F-;B-;D-;G#-

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄1 │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ │ ▄3 │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x x ╒══╤══╤══╤══╤══╕

E-;Bb;C#-;G-

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄1 │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ │ ▄3 │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Ex x ╒══╤══╤══╤══╤══╕

b-;A-;C-;F#-

│ │ ▄1 │ ▄2 │ ├──┼──┼──┼──┼──┤ │ │ │ ▄3 │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Now try your diminished chord on this familiar song:

x x ╒══╤══╤══╤══╤══╕

F-;B-;D-;G#-

│ │ │ ▄1 │ ▄2 ├──┼──┼──┼──┼──┤ You may also use only half of the form, and play the B and D strings open as noted here. This fingering also forms an Fdim (and B-, D-, or G#-) chord.

JUST A CLOSER WALK WITH THEE G / / // / Gdim / Am7 /// D7 /// Just a closer walk with Thee, Am7 /// D / C / G /// Am7 / D7 / Grant it Jesus, is my plea, G /// G7 / / / C /// C#dim / Daily walking close to Thee, / / G // / D7 / / / G /// D7 /// Let it be, dear Lord, let it be. “Ninth” chords have two basic forms that slide up the neck.

The name of the chord when using the C9-form is the note fretted on the "A" string.

x B ╒══╤══╤══╤══╤══╕

C9

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄1 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ ▄▄▄▄▄▄▄3 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

The name of the chord when using the E9-form is the note fretted on the "D" string.

EB X AB ╒══╤══╤══╤══╤══╕

9

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ ▄3 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

53

A SIXTH CHORD (6th) takes the major chord and adds the 6th note of the scale.

x x B ╒══╤══╤══╤══╤══╕

F6

│ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

F x x B ╒══╤══╤══╤══╤══╕ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

“Minor 6th” chords take the minor and add the 6th. One form is as follows:

Fx x B ╒══╤══╤══╤══╤══╕

m

│ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

An “augmented” chord takes the 5th note of thechord uses the symbol “aug” or “+”.

F x x B ╒══╤══╤══╤══╤══╕ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Sometimes you will hear these familiar progressioone slowly at first. F ⇒ Faug (F+) ⇒F6 ⇒F7 (all leading to a Bb cho C ⇒Cmaj7 ⇒C7 (and sometimes C6) leading to a A ⇒Amaj7 ⇒A7 ⇒A6 Dm ⇒ Faug ⇒Dm7 ⇒Dm6 (or a G) D ⇒Dmaj7 ⇒D7 ⇒D6

x x B ╒══╤══╤══╤══╤══╕

Fm6

│ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

chord and raises it one-half step. The augment

x x B ╒══╤══╤══╤══╤══╕

F+

│ │ │ │ │ ▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 ▄3 │ ├──┼──┼──┼──┼──┤ │ │ ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

ns in songs to which you are listening. Try each

rd)

n F or Dm7

54

A “sustained” chord adds the note found by taking the name of the chord and counting five frets higher, i.e., Asus = A chord + D note. The symbol for a sustained chord is “sus”.

A AB B ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 ▄1 ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

And likewise, Dsus = D chord + G note. It is important to see the sustained chord in relation to thadded or subtracted by a “hammer-on” or “pull-off,” rathechord.

x AB B ╒══╤══╤══╤══╤══╕

D

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄1 │ ▄2 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

G B ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Here is a song you already have learned which adds a su Onward Christian Soldiers D / A / A7 / Onward Christian soldiers, marching as to / / Asus A E / A /With the cross of Je-sus, going on before./ / D / D7 / Christ the royal Master leads against the / / / / / / A / Forward into battle, see His banners go. D / A / A7 / Onward Christian soldiers, marching asD A D / G A D

to

With the cross of Jesus, going on before.

AB B ╒══╤══╤══╤══╤══╕

Asus

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄2 ▄1 ▄3 │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄4 │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

x AB B ╒══╤══╤══╤══╤══╕

Dsus

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄1 │ ▄2 ├──┼──┼──┼──┼──┤ │ │ │ │ ▄3 ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

e major chord because that note is often r than simply played alone as a sustained

B ╒══╤══╤══╤══╤══╕ Gsus

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄3 │ │ │ │ ▄4 ├──┼──┼──┼──┼──┤

stained chord:

D / w ar,

G / foe,

D / war,

55

Finger-Picking/ Tablature Once you are familiar with your chords, you can add a fuller sound by “finger-picking” the various strings in the chord, rather than strumming them. This style gives a very busy, exciting sound to your playing, and sounds like more than one person playing. In finger-picking, you may choose to hold a flat pick between your first finger and thumb, as in strumming, and use your second and third finger to occasionally pick other strings, either simultaneously or alternately with the pick. For more sustained picking, you can use a thumb-pick and two finger-picks, much like a five-string banjo player does. A plastic thumb pick (Earnie Ball-thin) will give you a good bass sound along with the flexibility to strum if you desire. Metal finger-picks (Dunlop 25 gauge) will give you the volume and brilliance you need on the smaller strings. The basic picking pattern for guitar is called a “traveling thumb pick”. In this pattern, the first finger is assigned to pick the second or B string, the second finger is assigned to pick the first or E string, and the thumb “travels” among the remaining four strings (usually only between two or three of them, depending on whether the song is in 2/4, 3/4, or 4/4 time). The thumb will start with the bass note of the chord on the first beat. Then the thumb goes to the G string, the D string, and the G string again before returning to the bass note for the first beat again. Alternating with the thumb during this pattern, the second and first fingers will pick their respective strings, E and B, in the following pattern: T – 2 – T – 1 – T – 2 – T – 1 . The strings that you would be picking while doing this, if you assume that the A string is the bass note, would be as follows: A – E(l) – G – B – D – E(l) – G – B. A standardized method to write this is in “tablature form”. Tablature is a diagram of the strings, with the largest on top. The string you are to play, and which finger with which to fret it, is identified by a number written on that string. The finger of your right hand which you should use is written below the strings. To determine the order in which to play the strings, you read the diagram from left to right, playing each note (or notes) as it appears on the tablature. When all strings are played open, the pattern for the traveling thumb pick looks like this: largest E 6 ------------------------------------------------------ A 5 ---0-------------------------------------------------- STRINGS-> D 4 ------------------------------0----------------------- G 3 ----------------0---------------------------0--------- smallest B 2 -----------------------0---------------------------0— E 1 ---------0---------------------------0---------------- Right hand Fingers-> T 2 T 1 T 2 T 1 When a chord is fingered, such as a C chord, the frets played by the left hand are written on the strings, while the number of the finger used on the left hand is written above the diagram as follows: Left Hand Fingers-> 3 0 0 1 2 0 0 1 (C chord) E ------------------------------------------------------ A fret ---3-------------------------------------------------- STRINGS-> D ------------------------------2----------------------- G ----------------0---------------------------0--------- B -----------------------1---------------------------1— E ---------0---------------------------0---------------- Right hand Fingers-> T 2 T 1 T 2 T 1

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Practice this pattern on a C chord until it is smooth and even. Always have a “finger-rest” with fingers #3 and #4 of the right hand on the pickguard of the guitar for a reference point and for stability. After you have mastered the pattern on the C chord, then you are ready to begin to change chords while keeping your right hand picking steadily and in rhythm. Notice that the bass note of the chord, the note on which the picking pattern starts, is not always the A string. When you play a G chord, the bass note is the E string, and conversely, when you play a D chord, the bass is the D string. Hence, on some chords, you will have six possible strings to pick (as in a G chord), some five or six (as in a C chord, depending on whether you use the alternating bass note), and some may be limited to only four strings. You should always note which strings can be played in any given chord, and which string is the bass note (refer to your previous chord diagrams for bass, alternating bass, and no-play (x) notations). Now, practice the picking pattern by starting on a C chord and going to a G chord. The only change in your right hand picking pattern will be to switch from picking the fifth string for the bass on the C chord to the sixth string for the bass note on the G chord. The other fingers and strings are picked identically. Also, you should practice switching from a G chord to a D chord, and back again. You should notice that with the D chord, there are only four strings from the bass note to the highest string which you have available to pick. However, there is another available string which is one of the notes in the chord but it is not fretted. This is the alternating bass note, A, which is five frets lower than a D note. The pattern of picking the D chord could then be written in tablature form as follows (using the open A-string for the alternating bass note): Left Hand Fingers-> 0 2 1 3 0 2 1 3 (D chord) E ------------------------------------------------------ A ------------------------------0----------------------- STRINGS-> D ---0--------------------------------------------------

G ----------------2---------------------------2--------- B -----------------------3---------------------------3—

- E ---------2---------------------------2--------------- Right hand Fingers-> T 2 T 1 T 2 T 1 Notice that the bass note is always played on the first beat of a measure or at a chord change. The alternating bass note is played as an alternative to that bass note at the place you would normally repeat the original bass note. This style gives the effect of having two guitars playing, or of having a bass guitar playing along. Even though there may be enough notes available in a chord to complete the 8-note picking pattern (such as in a C chord), the alternating bass note is often inserted to achieve this effect. To accomplish this style, you must be sure that the alternating bass note is available in the original fingering of the chord, or that it is fingered at the time it needs to be picked. The best example for “fingering at the time it needs to be picked” is in the C chord. The alternating bass note of this chord is a G note, which is played by fingering the third fret of the sixth string. In order to use this, you must either finger the C chord to include the sixth string, or finger it the regular way and move your third finger from the fifth string to the sixth string and back each time the alternating note needs to be played. Although this latter method may sound rather difficult, with practice it becomes very easy. This approach lends itself to a lot more versatility and mobility.

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C AB B ╒══╤══╤══╤══╤══╕ │ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ ▄4 ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

With a G chord, there is no available string below tnote. In this case, you may choose to let the thum(alternating note one octave higher) to the fifth susing the third string. As you get more proficientwith that chord and the others you are playing, asyou may be using. You may have noticed that a continual picking pator be difficult to follow the beat. For this reason, yofollowing manner. You may pick the bass note, pnote, then pick three strings simultaneously for thcomplete the last four notes of the picking pattedemonstrated on a C chord as follows: Left Hand Fingers-> 3 - (C chord) E ----------------

fret A ---3------------- STRINGS-> D ---------------- G ---------------- B ---------------- E ---------------- Right hand Fingers-> T -

To add a new dimension to your picking pattern, yowhich is fretted on the second fret in the regular chand hammer down the regular note before the nextpattern, and gives it a more active sound. Of courspicking pattern even though the hammer-on is addto get the hammer-on fretted before the right hand Left Hand Fingers-> 3 0 (C chord) E ---------------- A fret ---3------------- STRINGS-> D ---------------- G ---------------- B ---------------- E ---------0------ Right hand Fingers-> T 2

AB B ╒══╤══╤══╤══╤══╕

C

│ │ │ │ ▄1 │ ├──┼──┼──┼──┼──┤ │ │ ▄2 │ │ │ ├──┼──┼──┼──┼──┤ ◘3 ▄3 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

he bass string to be used as the alternating bass b travel from the sixth string to the fourth string

tring and back to the fourth string, without ever , you will choose the pattern which sounds best well as fits into any other runs or hammer-ons

tern can sometimes produce a vague bass note, u may choose to alter your picking pattern in the

ause where you would normally pick the second e third count. Pause for the fourth count, then rn as you normally would. This style can be

0 1 0 - 2 0 0 1 -------------------------------------- ------------------------------------- --------------2-----------------------

0---------------------------0---------1----------------------------------1—

- 0--------------------0--------------- - T 2 T 1 T

1 2

u may also add a hammer-on. Look for a string ord fingering. You can then pick this string open string is picked. This adds an extra note to your e, the right hand keeps a constant rhythm in the ing an extra note. Therefore, you must be sure

picks the next string.

0 1 0-2 0 0 1 -------------------------------------- ------------------------------------- ------------0-2----------------------- 0---------------------------0--------- -------1---------------------------1— ---------------------0---------------- T 1 T 2 T 1

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Left Hand Fingers-> 3 4 0 0 0-2 4 0 0 (G chord) E ---3-------------------------------------------------- A ----------------------------0-2----------------------- STRINGS-> D ------------------------------------------------------

G ----------------0---------------------------0--------- B -----------------------0---------------------------0—

- E ---------3---------------------------3---------------Right hand Fingers-> T 2 T 1 T 2 T 1

Fitting these picking patterns in your songs while following the chord notation and slashed may be done in a number of ways. Remember that the picking pattern is made up of eight notes. On the slow songs, you may take G / / / to go through the pattern once. However, on most songs of a moderate tempo, you will need to complete this eight-note pattern every second slash. For example, G / / / C / / / would take you through the pattern of all eight notes four times (G / - / / - C / - / / ). All of the patterns and examples given so far are only applicable to songs written in 2/4 or 4/4 time, not to those with the waltz style or 3/4 time. Songs in 3/4 time either use the first six notes of the pattern before starting over, or pick the bass note followed by two instances of picking two string simultaneously. Two-String Lead-Ins One advantage of using finger picks to learn to play is that you can pick two strings simultaneously that are not next to another. You have already learned the lead-in to a C chord from a G. Left Hand Fingers-> 3 0 2 3 (to C chord) E ---3--------------------------- A ---------0------2------3------- STRINGS-> D ------------------------------- G ------------------------------- B -------------------------------

- E ------------------------------ Right Hand Fingers-> T T T T Now you can add a harmony part to that lead-in, which is played on the B string by the 1st finger of the right hand. The last note of this duet-run is the first beat of the “C” chord. Left Hand Fingers-> 3 0 2 3 -> 0 1 4 1 (to C chord) E ---3--------------------------- A ---------0------2------3------- STRINGS-> D ------------------------------- G ------------------------------- B ---0-----1------3------1-------

- E ------------------------------ Right hand Fingers-> T T T T

-> 1 1 1 1 Now using this same fingering, start the run from the fingering of a full G chord, and end it in the fingering of a full “C” chord. This is the way you will use this run in a song.

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Playing “By Ear” So far we have been playing songs for which we already have the chords. But suppose you have a song for which you only have the piano music, the melody line, or just know the tune by heart, and you want to determine the guitar chords? There are a number of ways to do this, but we will look at just one for now. If you have the piano music, then you must first determine the “key” in which the song is played. Key determination is done by looking at the “key signature”. The key signature is the group of flats (b) or sharps (#) which appear at the beginning of the music, written on the staff. Count the number of flats or sharps that you see, and apply the following rules. Flats and sharps are always added in the same pattern. That is, if you have one flat, it is

always Bb; two flats will always be Bb and Eb. Flats are added in the following sequence: B E A D , and sharps are added similarly: F C G D .

The corresponding keys that are represented by the number of sharps or flats would be as follows:

ount the number of flats or sharps, and go to that column to determine the key.) (C Number: 0 1 2 3 4 Flats: 0 Bb Eb Ab Db Key: C F Bb Eb Ab Sharps: 0 F# C# G# D# Key: C G D A E Rather than have to remember this entire chart, it is easier to just remember the order in which the flats and sharps are added. Then you can apply the following rules:

For flats, you must remember that one flat, Bb is always the key of F, the first sharp that you would find. The name of the other keys when you have two or more flats are determined as follows: The key (in flats) is one letter back from the last flat written (use the word BEAD to remember the flats). If you have a song with three flats at the beginning, then these flats are Bb, Eb, and Ab, and the key is Eb.

For sharps, you would determine the key by going one fret higher than the last sharp that is written. If the song has three sharps, then they will be F#, C#, and G#. One fret (one half step) higher than G# is A. The key is A.

Once you have found the key, then you can use this as the starting chord for the song. You may apply the rules you have learned earlier to determine which chords are most likely to be used in that key, and try those different ones until you find the correct sound. Or you can proceed with the following technique of using the melody line to determine each chord. If the piano music is a difficult key in which to play the chords on the guitar, such as Ab or Eb, then use your capo to move (transpose) the song to an easier key before you try to figure out the chords. For example, rather than play in Ab, place your capo on the first fret and play in G. Similarly, rather than play in Eb, place your capo on the third fret, and play in the key of C. Then proceed with learning the chords from the melody line.

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If you have no music, but you know the melody line, then you must establish a key in which to play the song. It is best to choose a key in which you can sing the song comfortably, as well as play it easily. To determine your singing range, you may have to try several keys. Choose one of the keys in which the group of guitar chords are easy to play, such as C, D, G, or A. Play one on these chords, and find your singing pitch from that chord. Before looking for any other chords, just sing through the song with no chords, using the starting pitch you found from the first chord you choose. This test will determine if you can comfortably sing the song in that key. If not, try another key to get your starting pitch until you are comfortable singing. If the first key you picked is good, then that is the key in which you will learn the song. Once you have established the key, then you need to pick out the first few notes of the melody on the guitar strings, and be able to find the name of each of these notes. Of course, if you are using piano music, you can read the note names from the written music (but only if the key that in which the piano music is written is the key in which the guitar chords are easy to play). If you do not want to write out all the notes to the melody, you will at least need to be able to identify the note that is being sung at each major chord change. Usually it is best to find these notes as needed on strings 1 through 4. Now let’s use the song “Amazing Grace” as a model for finding the chords. Assume that you are given the notes to be the following:

Since the note D is really a “pick-up” note, and occurs before the first beat of the song, we won’t look for a chord for it. However, notes that are held longer than other parts of the melody are often key indicators for determining the chord that is played with them. In this case, the first note that fits that description is the G note. Remember that a basic chord only contains three different notes, so one of these notes in our first chord must be a G. Other notes on either side of that long note are often contained in the chord. In this case the notes are D and B. If you could name a chord from knowing the three notes the chord contains, you could use this information to name the first chord. However, naming chords from notes requires considerable more music knowledge than we are assuming you have at this point, so we will approach the problem in another manner. The most obvious chord to try for the first chord is the name of the note that is being sung, the G. If you do that, you should hear that the G chord sounds correct. This gives us the first chord, which is played on the syllable “maz”, to be a G. Often times, the first chord of the song is also the key in which the song is played. Knowing this would allow us to predict what some of the other chords might be. Also, if we looked at the key signature, and saw the one sharp, we know that is an F#. Using our rules, then we would know that this song is in the key of G.

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But suppose we did not have all this information about the key, and the chord by the name of the note, the G, did not sound correct. How would we know what other chords to try? Let’s look further in the song to find an example of this type of situation, and see how we would handle it.

d … Words: A-maz-ing Grace, how sweet the sounnotes: D G B-G B A G E D As you listen to the song, or strum along while singing, you should listen for a time when the note you are singing is no longer in the chord, or when you hear a change in the sound of the chord. If that change is very subtle, it could be that you should merely be adding the 7th of the chord, such as on the word “Grace.” If the change sounds sad, mystical, or melancholy, then you should consider a minor chord for that note. However, if the change sounds like a major chord change, then let’s look at how we would find that new chord. This method will work when the note of the change is no longer in the original chord, as well as when it is. If the note of the change is not in the original chord, then you will have to explore three possibilities for your new chord. If the note of the change is still one from the original chord, then you will only need to consider two other chords (you have already used one choice as the original chord). This is the case on the word “”sweet.” Now let’s look at our technique. We will use the four highest stringsof the E-form of a bar chord to findour other chords. Since we knowthat the first chord is a G, let’s lookat it in the bar chord form:

G B ╒══╤══╤══╤══╤══╕ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

Notice that the three different notes of the chord are the notes playby the 1st, 2nd, and 3rd fingers. By knowing how the notes go fretname the note played by each finger, and we see that the G-note by the 3rd finger, and by the 1st finger on the 1st string. For this exe2, 3, and 4. x

╒══ │ ├── │ ├── │ ├── │ ├── │ ├── Not

A 1 2 3 4 5 (D→D#→E→F→F#→G)

x x B ╒══╤══╤══╤══╤══╕

G

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

ed on the 2nd, 3rd and 4th strings by fret (chromatically), we can is being played on the 4th string rcise, we will just look at strings

G x B╤══╤══╤══╤══╕ │ │ │ │ │ ┼──┼──┼──┼──┤ │ │ │ │ │ ┼──┼──┼──┼──┤ │ │ │ ▄▄▄▄1 ┼──┼──┼──┼──┤ │ │ ▄2 │ │ ┼──┼──┼──┼──┤ │ ▄3 │ │ │ ┼──┼──┼──┼──┤ e: G B D G

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To find the chord that goes with “sweet,” which is a G-note, we must explore the other two chords where the G-note is played either on the G-string (#3) or on the B-string (#2). To do this, we first slide our E-form of the bar chord up the neck until the G-note is being played by the 2nd finger. This does not occur until you reach the 12th fret, which is rather difficult to fret on some guitars. However, with your 2nd finger on the 12th fret, form the E-form of the bar chord and play it. To hear whether it sounds correct or not, start with your G chord again, and sing the song. When you reach the word “sweet,” play this chord. You should be able to hear that this chord does not sound correct.

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤12th fret │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ G note

Now we need to find the chord where the G-note is being played on the 2nd string by the 1st finger. Counting up on the 2nd string chromatically from a B, you will find that this occurs when you are at the 8th fret. Keeping your first finger at this fret, finger the E-form of the bar chord and play the chord. Now, to hear how this chord sounds in the song, start singing with your G-chord again, and then use this chord for the word “sweet.” You should recognize it as the correct chord.

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤ 8th fret │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ G note

Now we need to find out the name of this new chord, so we can see if it can be played at another position on the neck, hopefully easier to fret. There are a number of ways to find the name of this chord. We will use the knowledge that, with the E-form of a bar chord, the bass note is the name of the chord, and it is played on the 6th string. We will extend our first finger across all six strings as in a full bar chord, and then find the name of the note played on the sixth string.

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Counting the frets, we see that the fret played by the first finger is the 8th fret.

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ ▄▄▄▄1 ├──┼──┼──┼──┼──┤8th fret │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ G note

Counting up chromatically to the 8th fret from 0 1 2 3 E→F→F#→G→ Therefore, the name of the note being playeand name of the E-form of the bar chord, thechord. G (G7) A-maz-ing Grace, Using the same method, you find that the chnote for the word “sound” turns out to be a Dnote on the second string turns out to soundthis position turns out to be a G chord, so the You should continue in this manner, writingcompleted the song. Of course, this processa song, but after you understand the methodmost of the chords by knowing what chocorresponding minor chords, and use this pchord or chord progression, or when playing As mentioned earlier, if the key in which youvocal limits, but it is a difficult key in which your capo. Move the song to a key in whichthe same. For example, Eb songs will be re3rd fret and play the song in C; a song in thsinging pitch but with a different set of chochords in the key of G.

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 8th ├──┼──┼──┼──┼──┤ │ │ │ ▄2 │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

open E string, we find the following:

4 5 6 7 8 G#→A→A#→B→C

d by our first finger is a C. Since this is the bass note n the chord we need to play on the word “sweet” is a C

C (?) how sweet the sound

ord again changes on the word “sound.” The singing -note. The E-form of the bar chord which plays a D- correct. The name of the chord which is fingered at

correct chord for the word “sound” is a G chord.

down each chord as it is determined, until you have may seem to you to be a rather slow way to figure out , it operates rather quickly. You will usually figure out rds are used in a given key, both the major and reviously-described, involved method for an unusual

in an unfamiliar key.

are to play is already fixed by the piano music or your to play the guitar chords, such as Eb or Bb, then use the chords are easy to play but the pitch for singing is main the same singing pitch if you place a capo on the e key and singing pitch of Bb will still be in the same rds if you place the capo on the 3rd fret and play the

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The keys of G and C seem to be the easiest keys in which to determine chords, but you may also prefer the keys of D or A. Some songs will sound better with one set of chords than with another set because of certain notes that are accentuated by the different forms of the chords, or due to special sounds or chord progressions contained in the song. For example, a song in the key of Eb which contains a Db chord will be easier to play in the key of D with the capo on the 1st fret than in the key of C with the capo on the 3rd fret. This note-method of picking out songs gives you the basic major chords. Minor chords use the same formula and format for location of the chords from the melody line, except that you use the E minor form of the bar chord as follows:

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ ▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ↑ ↑ ↑notes of the minor chord

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄1 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

As the songs that you learn become more intricate, and use more forms of the chords, such as major 7th, 6th, minor 7th, etc., you will need to also listen for the bass note of the chord as an additional clue, along with the melody, for determining when to change chords, and what are the names of the chords.

Adjusting your Guitar

There are several areas of your guitar that may allow adjustment to make the guitar easier to play. 1. The neck may have a truss rod which is adjustable. The nut is located either under a plastic

plate in the head, or through the sound hole. An allen wrench may come with your guitar to adjust the neck. Tightening the neck nut will straighten the neck; loosening the nut will bow the neck. Ideally, if you hold the large E string down at the first and last frets, a properly adjusted neck should have about 1 thickness of an index card of space between the string and the fret at the midpoint. Having the neck adjusted helps the “action” or ease of depressing the strings.

2. The bridge may be adjusted to “lower the action” of the strings. Plastic saddles in acoustic guitars can be removed and sanded from the bottom to lower the height of the strings. Often you may purchase several saddles; then adjust one until the strings buzz on the frets. Mark that point on a new saddle, and adjust the new saddle just short of the previous one to prevent fret buzz.

3. Occasionally the nut will need replacement, or a fret will need to be filed lower to prevent buzzing or improve the action. However, this adjustment is best left to an advanced guitar repair person.

4. Electric guitars often can be adjusted for intonation through out the neck. On the bridge, an adjustment will allow a portion of the bridge to slide forwards or backwards. The proper position is found by comparing the harmonic of the string at the 12th fret with the fretted note at that same fret. The two notes should match. The fretted note is “tuned” by moving the bridge.

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MUSIC MINISTRY SCRIPTURES: Eph. 5:19 "speaking to one another in psalms and hymns and spiritual songs, singing

and making melody with your heart to the Lord" Col. 3:16 "Let the Word of Christ richly dwell within you, with all wisdom teaching and

admonishing one another with psalms and hymns and spiritual songs, singing with thankfulness in your hearts to God"

Psa. 92:1 "It is a good thing to give thanks to the Lord, and to sing praises unto Thy Name, O Most High"

Psa. 95:1 "O come, let us sing unto the Lord; Let us make a joyful noise to the Rock of our salvation"

Psa. 95:2 "Let us come before His Presence with thanksgiving, and make a joyful noise unto Him with psalms"

Psa. 149:1 "Praise ye the Lord. Sing unto the Lord a new song, and His praise in the congregation of saints"

Mark 14:26 "and when they had sung an hymn, they went out into the Mount of Olives" ... Jesus and His disciples after the Last Supper.

PURPOSE OF MUSIC Praise: to glorify God, thank God, and exalt His Power. Worship: to set the mood and guide the thoughts of people, to add emphasis to the Word. Teaching and Admonishing: to teach the Word, and principles of Christianity; also as a

memory aid. Fellowship and Unity: to unify the body in one accord and generate enthusiasm. Comfort and Remembrance: To remind those who are hurting of a loving God. GIFT OF MUSIC 1. Everything we have is from God, not of ourselves. 2. Everyone has a gift (1 Peter 4:10) ... recognize yours. 3. God gives us gifts for a purpose, not to be buried. 4. Your responsibility is to develop and use your gift to further God's Kingdom. 5. Our stewardship of Gods' gift to us is our gift to God. 6. You will never feel fulfilled and happy about using your gift until you are using it the way

God intended it to be used.

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WORDS FOR SINGING As you begin to use your talent for playing the guitar, you often will need to have words available for singing. If words are needed, make certain that everyone can easily see the words. It is generally best to use words only, not words with music notes. To have words for everyone, you can use song books, a printed songsheet, or overhead transparencies. IMPORTANT CONSIDERATION ON THE USE OF ANY SONG: The only songs which can be used on songsheets or on transparencies are songs which are in public domain, or for which you have obtained permission. Any song which has the copyright notice © cannot be used without permission from the owner, and sometimes the payment of a fee for use. To do otherwise is to steal. When examining a piece of music, notice that the copyright for the words may be different from the copyright for the music. Often the arrangement only will be copyrighted, but the words are not. In these situations, you can copy the words legally. The songs in this book are all in public domain. This copyright restriction is true for church groups, bible studies, vacation bible school, church bulletins, revivals, etc.. No situation is excluded, whether or not the singing is done freely with the best interest of serving mankind or in public charity. The law considers copying songs stealing, and the both the christian and the secular world recognizes this as such. Anytime you copy or produce some copyrighted words or music which avoids your purchasing it, you are violating the law. Some of us who have been in a church with a xerox machine have probably been guilty of doing this, thinking that as long as we did not sell the material, it was OK, but it's not. If the song has a copyright notice (later than around 1916), then you either must get permission, or not use it. Further information may be obtained in a pamphlet entitled "The church musician and the copyright law" from CHURCH MUSIC PUBLISHERS ASSOCIATION, P.O. Box 5239, Washington, DC 20912-0239. A list of publishers can be obtained for $1 from CMPA. Most publishers can tell you over the telephone whether or not they will grant permission, and whether there is a cost involved. One time use often does not incur a charge, but you must contact the copyright owner to determine this. Rather than call each publisher for permission, there are several other options for obtaining permission. The options are ever-expanding as more people become aware of the law. Some song books also include the transparencies for the songs (The GROUP Songbook, from GROUP, Box 485, Loveland, CO 80539, (303)669-3836, ext. 427, is an example of one such company). Other companies sell a back-up accompaniment tape which can be joined with the live guitar, as well as the transparencies (Songs from the Loft, Word Music, by Amy Grant has various accompaniment tapes of new songs). If you have a large group, and want to use overheads, consider paying an annual fee based on your group size to a company which has secured permission for popular christian songs (Christian Copyright Licensing International {CCLI}, 6130 NE 78th Court, Suite C-11, Portland, Oregon 97218. 800-234-2446, is a good example, as well as ASCAP, 6255 Sunset Blvd. Hollywood, CA 90028 (213)466-7681). SONG BOOKS: The quickest, simplest solution for both words and copyright permission is to use a songbook. There are many songbooks with words only, and a separate tune-book for the accompanist. However, songbooks can be expensive for large groups, and have a limited number of songs available. There are often songs in the book which are never used by the group. Many different song books are found at Christian book stores, or good music stores. One book which

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may not be in local stores is "SONGS", by Yohann Anderson. SONGS is published by SONGS AND CREATIONS, P.O. Box 7, San Anselmo, CA 94960. (1-800-227-2188) This book has over 700 songs (words only) for under $10.00. SONGS has a wide selection of songs for which permission has been obtained to print the words, including Contemporary praise and worship songs, Christmas songs, classic hymns, and traditional christian favorites for adults and children, as well as popular folk and country songs. The books are very durable, small enough to fit inside a guitar case, and have the chords for most of the songs. SONGS is excellent for any guitar player to have available, even if the group does not use this book. Also available is a separate tune book, a large print words edition, and tapes of the songs in the book. SONGSHEETS: A songsheet is easy to carry and generally inexpensive. With a songsheet, you can customize the songs for the particular group. However, you must always be concerned with having enough songsheets for everyone, and it may be hard to add new songs. Also, people tend to sing with their head down to read the sheet, or must hold the paper so they cannot clap easily. There must be enough light to read the words. In order to place songs on a printed sheet, the songs must be either in public domain, or the copyright permission must be secured. OVERHEAD PROJECTOR: If you have access to the equipment, an overhead projector, transparencies, and a screen is excellent for moderate to large groups. All other lights in the room can be dimmed or out, which creates a good singing environment. The advantages are that the overhead is very versatile for moving from one song to

another. With the overhead, it is easy to introduce new songs, and change or eliminate verses. When singing, everyone tends to face the leader and sing out more, since their hands and bodies are free to move and interact/clap. It is easy for the song leader to see who is participating, and what are the strong and weak areas of the group. Transparencies can be colorful, and work well in both a dark or light room. Words can be copied from paper to a transparency and vice-versa with some copiers. Also the overhead can be used to make announcements during the singing time and displaying the details.

Disadvantages are that the overhead is bulky, and some equipment is needed, including electricity. You usually need a 3-prong plug or an adapter, and an extension cord. You must be able to see the screen from anywhere in the room, so the leader must be mobile. If the song is on more than one sheet, you need a person to be free to change the transparencies. If the songs are copyrighted, you must secure permission (and possibly pay a fee for use of the song on a yearly basis), and this should appear on the transparency.

Notes on custom-making transparencies: -Use different color ink for different verses or parts. -Use permanent ink, not water colors for songs. -Store each sheet in a separate manilla folder (labeled) to avoid sticking together. -Write the key to the song on the sheet and the folder. Only put chords when needed on the

folder or a separate sheet for the guitar player. -Use two separate transparency sheets on top of each other to teach a song with different

parts or a round. -Introduce a new song in short segments, and add to it or delete it as needed. -For transitory announcements, use water colors. These can be washed off and the sheets

re-used later. -A flat box will hold the music, pens, and extra sheets easily, and it travels well. A cloth bag

is also handy.

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APPENDIX: Contemporary Christian Chords

More recent acoustic guitar praise music employs chords that have a distinctive sound in the key of E. The “B” and “E” strings are not fretted, but are strummed when a certain chord fingering is moved to a different location. This technique allows a sustained sound to occur during chord changes One easy example of this technique is to slide the E chord to different locations. Although you may not know the portions of these son

B AB ╒══╤══╤══╤══╤══╕

E

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

E Open the eyes of my heart Lor A(E on 5th fret) I want to see you, I want t Another chord fingering that uses this tewhich is a difficult bar chord. The G#msong with this new fingering to hear the s

E F#m

F#m ├──┼──┼──┼──┼──┤2nd │ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄3 ▄4 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

I could sing of your lovA B

e for

I could sing of your love for

gs, try these chord sounds: B ├──┼──┼──┼──┼──┤5th

A

│ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B(E on 7th fret) d, Op E

en the eyes of my

o see you….

chnique (allowing the B and E can also be fingered in this mound:

G#m ├──┼──┼──┼──┼── │ │ │ ▄1 │ ├──┼──┼──┼──┼── │ │ │ │ │ ├──┼──┼──┼──┼── │ ▄3 ▄4 │ │ ├──┼──┼──┼──┼── │ │ │ │ │

ever,

ever…

B X ├──┼──┼──┼──┼──┤7th │ │ │ ▄1 │ │ ├──┼──┼──┼──┼──┤ │ ▄2 ▄3 │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

heart

strings to be open) is F#m, anner: Try this portion of a

┤4th │ ┤ │ ┤ │ ┤ │

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Also, for the difficult C#m chord, as well as the B, the following fingerings can be used to allow the B and E strings to ring:

C#m ├──┼──┼──┼──┼──┤4th │ ▄1 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ├──┼──┼──┼──┼──┤2nd │ ▄1 │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄3 ▄4 │ │ ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

E A (E on 5th) In the secret, in the quiet C#m B A

place

In the stillness You are there… E B C#m A (E on 5th) I want to know You, I want to see Your face… Finally, playing in the key of G and using the traditional fingering, the sustained notes are D and G. In this key, those notes must be fretted as follows:

B ╒══╤══╤══╤══╤══╕ G

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ ▄1 │ │ │ │ ├──┼──┼──┼──┼──┤ ▄2 │ │ │ ▄3 ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

B ╒══╤══╤══╤══╤══╕

C

│ │ │ │ │ │ ├──┼──┼──┼──┼──┤ │ │ ▄1 │ │ │ ├──┼──┼──┼──┼──┤ │ ▄2 │ │ ▄3 ▄4 ├──┼──┼──┼──┼──┤ │ │ │ │ │ │

G C D C Lord I lift Your name on High… G D C D I stand to praise you, but I fall on my knees… There is an incredible amount of excellent contemporary Christian music available for the guitar, and the use of guitar in Praise and Worship is ever expanding. Check your local Christian bookstore, and Christian web sites for further material. “Open the Eyes of my Heart”, “I could sing of your Love forever”, “In the Secret”, “Lord I lift your name on high” and “Light the fire” are copyrighted songs, so the entire song is not used. This use is only for teaching of the chord progression sounds for those and other similar songs. Complete lead sheets can be found on www.Face2faceministries.org (2003) using the Trinity-on-the-Hill UMC CCLI. Your church can use those lead sheets and replace the Trinity CCLI license with your churches CCLI to save re-tryping. Powerpoint versions for words are also available on that site.

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Index of Songs used in this book (alphabetical order) (all complete songs are in Public Domain) Amazing Grace.................................. 28,36,42 Away in a Manger........................................ 18 Angels we have heard on high.................... 34 Battle Hymn of the Republic........................ 10 B-I-B-L-E ........................................................ 8 Blessed Assurance...................................... 16 Blest be the Tie that Binds........................... 15 Count your many Blessings......................... 18 Deep and Wide.............................................. 9 Do Lord ................................................... 12,23 Down by the Riverside................................. 15 Everyday with Jesus.................................... 38 Give me oil in my lamp ............................. 9,10 God is so Good............................................ 19 God rest ye Merry, Gentlemen............... 25,33 Go, tell it on the Mountain............................ 13 Hallelu, Hallelu ............................................. 26 He keeps me singing................................... 38 He's got the whole world in His hand ............ 6 Home on the Range .................................... 43 If you're happy and you know it ................... 15 I have decided to follow Jesus .................... 29 It came upon a Midnight clear ..................... 24 Jacob's Ladder............................................. 22 Jesus in the Morning ................................... 42 Jesus loves me....................................... 14,28 Jesus loves the little Children...................... 15 Joy, Joy.......................................................... 7 Joy to the World........................................... 28 Just a closer walk with Thee ....................... 52 Just as I am............................................. 22,29

Kum by ya.....................................................19 Leaning on the Everlasting Arms.................10 Let us break bread together.........................34 Love, Love....................................................26 Michael, row the boat ashore.......................30 Now let us Sing ............................................19 O, Holy Night ................................................30 Oh, How I love Jesus ...................................38 Old Time Religion.........................................26 Onward Christian Soldiers ......................16,54 Peace like a River ........................................42 Silent Night .....................................................8 Sing Hosanna............................................9,10 Standing in the need of Prayer ....................12 Stand up, stand up for Jesus .........................8 Sweet bye and bye.......................................38 Swing low, sweet chariot..............................19 The way of the Cross leads home...............37 This little light of mine................................7,23 This train is bound for Glory.........................16 Trust and Obey........................................24,29 We three kings of Orient are........................25 We wish you a Merry Christmas..................18 What a Friend we have in Jesus..................37 What Child is this..........................................24 When the Saints go marching in..................42 When the roll is called up yonder.................41 When we all get to Heaven..........................40 Contemporary Examples:…………………69