Jamorama - Book 2

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title page bk2


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Copyright, 2004 Rock Star Recipes Ltd.

All rights reserved. No part of this book may be reproduced, stored in a retrieval

system, or transmitted in any form or by any means, electronic, mechanical,

photocopying, recording, scanning, or otherwise, without the prior written

permission of the publisher.

C


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Contents

Lesson:

1. The importance of sight reading, D Minor chord, bass note runs......

2. A passion for music, major seventh chords, F major 7th, C

major 7th, 16th note rhythm patterns..................................8

3. Knowlede is power, A major 7, D major 7, G major 7,

chromatic notes - first position........................................11

4. B minor chord, triplet rhythm............................................15

5. Major six chords, A6 chord, E6 chord, the A major scale.............. 17

6. Barre chords, F barre chord, root six barre chord.......................20

7. Percussive strum............................................................22

8. Root 6 minor bar chord................................................... 24

9. Key signatures and scales................................................. 26

10. F dominant 7 chord (Root six), music rests............................ 28

11. Deadening, eighth note rest within a strum........................... 30

12. Major root 5 barre chords, staccato strumming....................... 33

13. Chord progression concepts, blues pattern 1, blues pattern 2........ 35

14. Root 5 minor barre chord, 12 bar blues pattern 3..................... 37

Preface............................................................................... 5

6


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15. Palm muting............................................................ 40

16. Advanced rhythm techniques.......................................... 42

17. Root 5 dominant 7 barre chord, blues in D........................... 44

18. Reggae strum........................................................... 46

Supplementary Chord Reference..........................................47

Index.........................................................................50


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5

Welcome to the Jamorama Rhythm Guitar series of books. This series is

designed to take the guitar student from a beginner level through to an

advanced standard of playing. The series was constructed on the premise

that learning should not be an arduous task. Therefore, each book is written

in a step by step lesson plan with instruction that is both easy and enjoyable

to follow.

Book two of the series takes the student beyond open guitar chords and on

to barre chords. This book also covers intermediate rhythm and picking

skills and introduces further articulation techniques.

The aim of this book is to give the student the best grounding from which to

progress on to advanced rhythm guitar technique. By the end of this book,

the student will have a broad understanding of rhythm guitar technique and

music theory.

While this book is a valuable tool and resource for learning, the guidance of

an experienced guitar teacher is recommended as this will accelerate learning

greatly.

Preface


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6

Lesson OneLesson Outline: The Importance of Sight Reading The D Minor Chord

Bass note runs

The Importance of Sight ReadingImagine that you are filling in for Pearl Jam as they record a new version of the song

Betterman in the studio. Their second guitarist is sick. They hand you a sheet of music and

on it are the chords and solos you are to play for the song. You calmly put the sheet of music

on a stand and pick up the guitar. The sound engineers ask if you want a practice run to which

you coolly reply, No thanks. The sound guy hits record and you play the whole song perfectly,

first time through, from off the page in front of you. Your track is ready for the mix. Does

this situation sound real to you?

I want to ask you, did you pick up this book and read the above section through perfectly

without any mistakes? Whats the difference then between reading the English language and

reading music?

Consider that youve grown up reading the English language and by now, you are quite good at

it. Compare that to sight-reading music. Theres no trick to sight-reading, it just takes time

and practice. It will get harder as you progress, just as the English language gets harder the

more you study it. In the end, you will be able to pick up a sheet of music and know what to

play, first time with out mistakes.

Start today. Build a collection of books, especially piano, sax or brass instruments. Remember,

memorizing a song isnt sight-reading. You need to have a large selection of music to read so

that you dont get a chance to familiarize yourself to it. Mistakes are O.K. to start with. Try

to keep the flow and speed and perfection will come.

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

1

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1


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AmAmAmAmAm Dm GDm GDm GDm GDm G C C C C C3

4

Exercise 1.0Play the following chord progression using the suggested strum.

Bass note runsSometimes the sound of the movement between two chords in a particular progression can

become boring or cliche. Bass note runs can help bridge two chords together, lending anelement of interest to a piece. A bass note run is a bridge constructed of single notes played

on the bass strings.

Strum:

Count: 1 + 2 + 3 +

AmAmAmAmAm Dm Dm Dm Dm Dm

T

A

B

34

02

GGGGG C C C C C

T

A

B

3 0

32 3

00

3

Exercise:Play the following:

2

3


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Lesson TwoLesson Outline: A Passion for Music

Major Seventh Chords

The F Major 7th Chord

The C Major 7th Chord

16th note rhythm patterns

A Passion for MusicThe people who really succeed at getting under way with their development are people who

stick at it no matter what. These people have a real passion for their music. Passion is an

attribute that will serve you well, if you can harness it. If you watch these people progress youwill see that they immerse themselves in music. They begin to walk, talk and breathe music.

They capitalize on their strengths and thoroughly work their weaknesses. Above all, these

people love the music that they play and are never phased by what other people say. With

passion, you will continue to improve every day.

Major Seventh ChordsIn chapter seven of book one we looked at dominant seventh chords. Now we will take a look

at a different type of seventh chord; the major seventh. The major seventh chord is very

closely related to the dominant seventh chord. The difference between the two chords is that

the major seventh chord adds the major seventh note instead of the minor seventh note tothe major triad.

The major seventh is commonly used in jazz and blues.

The F major 7th ChordThe F major 7th chord is like the F major chord but with one finger less! It consists of the

notes F, A, C and E.

12

3

4


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4

4

Cmaj7 Fmaj7 G Cmaj7 Cmaj7 Fmaj7 G Cmaj7 Cmaj7 Fmaj7 G Cmaj7 Cmaj7 Fmaj7 G Cmaj7 Cmaj7 Fmaj7 G Cmaj7

Strum:

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

one ee and ah two ee and ah etc.....

Sixteenth Note Rhythm PatternsSo far we have used either quarter or eight note rhythms. If we take an eighth note and halve

its value, we create a sixteenth note. From this we can create sixteenth note rhythms.

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

(eight notes to a bar)

(Sixteen notes to a bar)

Exercise:

Play the following progression using the suggested strum:

32

The C major 7th ChordThe C major 7th chord is like the C major chord but also with one finger less! It consists of the

notes C, E, G and B

Example:

Eighth note:

Sixteenth note:

Strum:

Count:

say:

6

5

One eighth note = Two

sixteenth notes.


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Exercise:

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

Strum:

Count: 1 2 3 e + a 4

C major 7thC major 7thC major 7thC major 7thC major 7th

4

4

4

4

F Fmaj7 C Cmaj7 F Fmaj7 C Cmaj7 F Fmaj7 C Cmaj7 F Fmaj7 C Cmaj7 F Fmaj7 C Cmaj7

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

Strum:

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

7

8


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Lesson ThreeLesson Outline: Knowlede is Power

The A major 7 Chord

The D major 7 Chord

The G major 7 Chord

Chromatic notes - First Position

Knowledge is PowerIts not all about playing as you may have realised by now. The market is saturated with

information that is valid and reliable. Music magazines are good reading as they often refer

you onto books and videos that will aid your learning. Autobiographies of artists are always agood read also. They illustrate the luck and hard work that it takes in finding rock stardom.

Anything can be found in a book. Whether it is the history of the guitar or how to buy a good

amp, you should read a lot. The musicians that make it big are normally the musicians that

have the most knowledge. Knowledge is power.

1

2

3

1

2

111

The Amaj7 Chord

The Dmaj7 Chord

The Gmaj7 Chord

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10

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Exercise: Major 7 ProgressionPlay the following chord progression using the suggested strum.

GGGGGmajmajmajmajmaj7 D7 D7 D7 D7 Dmajmajmajmajmaj7 G7 G7 G7 G7 Gmajmajmajmajmaj7 D7 D7 D7 D7 Dmajmajmajmajmaj777774

4

A AA AA AA AA Amajmajmajmajmaj7 A A7 A A7 A A7 A A7 A Amajmajmajmajmaj77777

Strum:

Count: 1 2 3 4 e + a


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

Example:

C#C#C#C#C#

#


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Here are the chromatic notes in the first position:

E F F# Gb G G# Ab A A# Bb

# b #b # b

T

A

B0 1

1104432 2

2 3 4 40 1 1 2 3 4

T

A

B

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

# #b

#

b

T

A

B

2 44

01

11 332

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

b # b #

b

#

3 40 1 2T

A

B

22 3 44

b

#

b #

#b

Db D D# Eb E F F# Gb G G#


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You may have noticed that all flat notes share their position on the fret board with a sharp

note. These notes are enharmonic. They have the same pitch but have different names.

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

3

4

T

A

B

0 0 42

E E E E E A A A A A

# #

#

T

A

B 0

0 0

1 2 3 1 2 3 1 2 3+ +

DDDDD AAAAA3

4

1 2 3 1 2 31 2 31 2 3

0 0 2 4

1

13


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

Exercise:Play the following progression using the suggested strum.

Strum:

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

Triplet RhythmA triplet is three notes played in the time of two. In music a triplet is indicated by a beam or

a curve with a number 3 placed above the notes on the staff.

The B minor chord

Triplet Rhythm

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4

4

D Dmaj7 Bm GD Dmaj7 Bm GD Dmaj7 Bm GD Dmaj7 Bm GD Dmaj7 Bm G

3

=

3

=

3

=

Lesson Outline:

Lesson Four

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Exercise: Eighth Note Triplet StrumTo play an eighth triplet strum, tap your foot to a quarter note pulse (count 1 2 3 4). Now, for

every beat that you tap with your foot, play three evenly spaced downward strums (use a

chord that you are comfortable with).

Note:

Strum:

Foot: 1 2 3 4

3

3

3

3

Exercise:

Strum:

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

D A Em Bm D GD A Em Bm D GD A Em Bm D GD A Em Bm D GD A Em Bm D G4

4

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

3 3 3 3

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Exercise:The following progression uses the A6 and E6 chords with major and seventh chords. Use your

little finger to slide between sixth and seventh chords so that the progression is smooth and

flowing. This symbol- -means that you repeat the last written bar

A A6 A7 A6A A6 A7 A6A A6 A7 A6A A6 A7 A6A A6 A7 A64

4

E E6 E7 E6 D A A6 A7 A6 EE E6 E7 E6 D A A6 A7 A6 EE E6 E7 E6 D A A6 A7 A6 EE E6 E7 E6 D A A6 A7 A6 EE E6 E7 E6 D A A6 A7 A6 E

DDDDD A A6 A7 A6 A A6 A7 A6 A A6 A7 A6 A A6 A7 A6 A A6 A7 A6

The A Major ScaleEach scale contains its own number of flats or sharps. The A major scale has three sharps.

T

A

B

0 2

4

1

0 2 42

Note Number: I II III IV V VI VII VIII

Step Pattern: tone tone semi tone tone tone semi

tone tone

##

#

Strum:

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

20


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Exercise:Play the A major Scale from the previous page. Play from start to end and then play the scale

in reverse back to the starting point at A on the 4th string. Use down/up picking.

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Lesson SixLesson Outline:

Barre chordsThe chords that we have covered so far have all been in the open position and they all contain

at least one open string, hence they are sometimes referred to as open chords. Bar chords do

not contain any open strings because the first finger holds a barre across the fret board.

Take the F major root six barre chord for example:

The F Major Root Six Barre ChordHold the barre down solid. This may be hard at first, but keep trying. Make sure each string

is sounding.

Looking at the F major chord above you can see that apart from the first finger across the

first fret, the chord shape is that of the open E chord. The root note is the note played on the

sixth string (in this case it is F) and that is where the chord gets its name from, hence the

term root 6 barre chord. If you move this chord shape down the fret board the chord

changes. You will find that the name of the chord is the same as the sixth string note (root

note). So it is important to know these notes. They are written below on the fret board

diagram:

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1

1

4

3

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

Gb Ab Bb Db Eb

Barre Chords

The F Major Root Six barre chord

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

Note:

The root 6 bar chord concept means that you now have some new chords to play with, like the

F# chord on the 2nd fret.

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Exercise:When playing the following chord progression, try to maintain contact with the strings at all

time with your left hand. The chord shape should be held firm.

FFFFF 1st Fret A#A#A#A#A# 6th Fret G#G#G#G#G# 4th Fret C# C# C# C# C# 8th Fret

4

4

Strum:

Count: 1 + 2 + 3 + 4 +

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Lesson SevenLesson Outline: Percussive Strum

Percussive StrumThe percussive strum is achieved by deadening all six strings whilst playing a chord. There are

two techniques of percussive strum, one for barre chords and one for open chords. The

percussive strum is written as an x placed above or below the strum indicator, like this:

1 + 2 + 3 + 4 +

Strum:

Count:

x

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

Percussive Strum for Barre ChordsHold the barre chord G with yor left hand, but do not apply any pressure to the strings. Your

fingers on your left hand should be touching the strings, but the strings should not be touching

the fret board. When you strum this, you are playing a percussive strum.

Exercise:Try playing the following percussive strum over the chord G root six Major. It may be hard at

first. The key is to keep trying at it so that it flows.

GGGGG

Strum:

Count: 1 + 2 + 3 + 4 +

x

x

x

x

x

24


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Percussive Strum for Open ChordsThe open chord percussive strum is a little trickier to master than the barre chord version.

Firstly, hold the open chord C major, but do not apply any pressure to its notes. You will see

that the 1st, 2nd and 6th strings are not deadened. To deaden them you must tilt your left

hand to cover the 1st and 3rd strings. Use your thumb to deaden the 6th string.

Exercise:

CCCCC

Strum:

Count: 1 + 2 + 3 + 4 +

Exercise:

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

Play the following chord progression using the percussive strum provided.

F Bb C BbF Bb C BbF Bb C BbF Bb C BbF Bb C Bb4

4

Strum:

Count: 1 + 2 + 3 + 4 +

G B C AG B C AG B C AG B C AG B C A4

4

Strum:

Count: 1 + 2 + 3 + 4 +

x

x

x

x x

x

25

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Lesson Eight

Root 6 minor barre chordThe root 6 minor bar chord is very much like the root 6 major bar chord in that it uses one

chord shape that can be moved along the fret board to play different chords. The shape of the

root minor 6 chord is the same as the Em open chord, the only difference being that it is

barred by your first finger. Take the Fm root 6 bar chord for example:

Fm Root 6 Barre Chord

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

Like the major chord, the root 6 minor bar chord takes its name from the sixth string that it

barres. If your first finger is barring the first fret, the chord would be Fm, if it were the

second fret: F#m, the third fret: Gm etc.

Exercise:Play the following chord progressions using the suggested strums.

Strum:

Count: 1 + 2 + 3 +

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111

1

Gm Cm D# DGm Cm D# DGm Cm D# DGm Cm D# DGm Cm D# D3

4

x

x

Root 6 minor bar chord

Lesson Outline:

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Am G F EAm G F EAm G F EAm G F EAm G F E open4

4

Strum:

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

30


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###

##

Lesson Outline: Key signatures and scales

Lesson Nine

Key SignaturesFor the most part, melodies are built from notes within a scale. So far, we have looked at the

C major and a major scale. You will remember that the C major scale has the following

motes:

C D E F G A B

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

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

A B C# D E F# G#

The A major scale has three sharps (#s). They are C#, F# and G#. On stave, instead of writing

a sharp in front of every C, F and G, a key signature is used. A key signature is written at the

beginning of a piece of music, on the stave. It indicates the scale you are playing by giving you

the sharps or flats used in the piece.

A major scale

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

Here are some more scales with their key signatures:

D major scale

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#

G Major Scale

E Major Scale

#

#

##

Exercise:Play each major scale from this lesson. Play from start to end and then play the scale in

reverse back to the starting point. Use a down/up picking motion.

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Lesson TenLesson Outline: F dominant 7 Root six Barre Chord

Music Rests

F dominant 7 Root Six Barre Chord

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1

3

1

1

Exercise:

4

4

C Bb F F7 C Bb F F7 C Bb F F7 C Bb F F7 C Bb F F7

Strum:

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

The F dominant 7 chord can be made as a root six barre chord (see the chord diagram below).

This shape can be played right along the fret board.

2

1

3

1

1

F dominant 7 alternative fingering:

Play the following chord progression using root six chords and the suggested triplet strum.

3 3 3 3

x x x x

35

37

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Music RestsA rest is a section of silence. Every note value has an equivelent rest value as shown in the

table below.

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

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

9 = \00

Number

of beats

note is

held:

4 2 1 1/2 1/4


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Lesson Eleven

DeadeningDeadening is a term used by guitarists to describe the act of silencing the guitar whilst

playing. There are two types of deadening. One is done with your fretting hand and is called

fret hand deadening. The other is done with your strumming hand and is called palm deadening.

Fret hand deadening is achieved by lightly holding the fingers of your fret hand across the

guitar strings so that all of the strings are deadened. This type of deadening is used when you

play a percussive strum (you covered this in chapter 8 of this book).

Palm DeadeningPalm deadening is where you rest the palm of your picking/strumming hand against the bridgeof the guitar so that any ring from the strings is silenced. It is the best way to silence your

guitar strings and so this is the method that we will use to play rests.

Fret Hand Deadening

Lesson Outline: Deadening

Eighth note rest within a strum


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Exercise: Palm Deadening Open ChordsPlay the following progression using the strum provided. The strum requires you to palm

deadenon beat two and hold that rest for beat 3. You will need to play this slowly at first as

the concept is new and can be a little difficult to learn.

D A E E7D A E E7D A E E7D A E E7D A E E7

Strum:

Count: 1 2 3 4

4

4

9 9

Exercise: Palm Deadening Barre ChordsPalm deadening can also be used with barre chords. Try the following barre chord progression

with the suggested strum. You will have to deaden the strings on 3 and hold the rest for the

+ of 3.

GmGmGmGmGm CmCmCmCmCm D#D#D#D#D# D D D D D

Strum:

Count: 1 + 2 + 3 4 +

4

4

9

Playing Eighth Note Rests

So far, you have either played each eighth note within a strum or you have let the chord hold

for the duration of the eight note. Now, we are going to learn how to play the eighth note

rest.

The eighth note rest is hard to master because it involves quick palm deadening technique to

silence the strings for the length of the eighth note. Work through the following exercise

slowly, it may take some practice to get this skill down.

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Exercise: Eighth Note RestPlay the following strum over an open E chord. Palm deaden the guitar strings on beat 2.

Strum:

Count: 1 + 2 + 3 + 4 +

=

EEEEE (open)

Exercise:Play the folowing chord progression using the suggested strum.

Strum:

Count: 1 + 2 + 3 + 4 +

=

GGGGG root 6 DDDDD open BmBmBmBmBm root 6 CCCCC root 64

4

=

40

41


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Lesson Twelve

3

3

13

1

1

A# / Bb (Root 5)

This chord shape is called root 5 because the root note of the chord is taken from the fifth

string. In the example above, the fifth string note being played is A sharp or B flat, which is

the root note of both the A sharp and B flat chord that we are playing. As a refresher, the

notes on the fifth string are listed below.

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

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

4

3

12

1

1

Or alternatively:

Major Root 5 Barre ChordsWeve covered the root six barre chord formation. Lets now take a look at the Root 5

formation. Root 5 Barre Chords are based upon the open A major chord. You basically take the

open A major chord shape and apply the first finger barre to it. This enables you to play the

same A shape all the way down the fret board. See the example of the A sharp / B flat root 5

barre chord below.

Lesson Outline: Major Root 5 Barre Chords

Staccato strumming

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Staccato StrummingIn music, staccato is a term that means to cut short or to play crisply. Staccato strum

then, is a strum that is crisp and cut short. It is indicated by a dot placed above or below the

note or the strum mark that you want to play as staccato.

Example staccato notes:

Count: 1 2 3 4 1 2 3 4

Exercise: Staccato StrumBefore you can play a staccato strum you must be able to palm deaden (covered in the lastlesson) as you use this technique to cut short each strum.

Using the A#/Bb chord that you have just learnt in this lesson, play the following staccato

strum. You will need to deaden the strings with your right hand immediatly after each strum.

Make sure that you are cutting the strum very short.

Count: 1 2 3 4

C C C C C root 5

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

Strum:

Count: 1 2 3 4 e + a

GGGGG Root 6 CCCCC Root 5 DDDDD Root 5 C C C C C Root 5

4

4

Strum:

43

44


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Lesson Thirteen

Chord Progression ConceptsIf you take the simple 12 bar blues chord pattern and analyze it, you find that, regardless of

key, it consists of chords I, IV and V of the major scale. These chords are known as primary

chords and they are what most popular music is based upon.

44

I

IV I

V IV I V

Any Fret

Up 5 Frets Original Fret

Up 7 Frets Down 2 Frets Original Fret Up 7 Frets

Example: A

D A

E D A E

Take a look at the progression below. It outlines the pattern that you follow when playing a 12

bar blues using root six barre chords. Blues in A has been given as an example.

Blues Pattern 1- Root 6 barre chords

You can use this pattern all the way along the fret board enabling you to comfortably play a 12bar blues in six keys; E, F, Gb, G, Ab and A.

Lesson Outline: Chord Progression Concepts

Blues Pattern 1

Blues Pattern 2

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Another way to play a 12 bar blues is to use your root six and root five barre chords together.

This pattern is outlined below.

4

4I

IV I

V IV I V

Any Fret (Root 6)

Same Fret (Root 5) Same Fret (Root 6)

Up 2 Frets (Root 5) Original Fret (Root 5)Original Fret (Root 6) Up 2 Frets (Root 5)

Blues Pattern 2 - Root 6 and Root 5 barre chords

Exercise:Using the progression diagrams that you have just learnt, practice playing 12 bar blues using

both root six and root five barre chords. Practice the 12 bar blues in the following keys: E, F,

Gb, G, Ab, A, Bb, B and C. Use this exercise to revise the strums that you have already learnt.

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Lesson Fourteen

Root 5 Minor Barre ChordThe root 5 minor chord is played very similarily to the root 5 major chord except that the

middle note (the third note of the scale) is flattened. Take a look at the B minor chord below.

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

anywhere along the fretboard.

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

Sixteenth note strum makes the progression a little harder to land, because of the rhythmfalling at the start of the changing note.

4

31

2

1

1

Strum:

Count:

BbmBbmBbmBbmBbm Root 5 AbAbAbAbAb Root 6 Db Db Db Db Db Root 5 Gb Gb Gb Gb Gb Root 6

4

4

x

=1 + 2 + 3 + 4 +

Lesson Outline: Root 5 minor barre chord

Blues pattern 3

48

47


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38

Exercise:

Strum:

Count:

EEEEE Root 5 G# G# G# G# G# Root 6 C#m C#m C#m C#m C#m Root 5 B B B B B Root 64

4

Play the following chord progression using the strum provided.

Blues Pattern 3In lesson fourteen we covered two blues patterns that enabled us to play in the key of E, F, Gb,

G, Ab. A, Bb, B and C. If you had tried to play the remaining keys, Db, D and Eb you probably

would have run out of fret board. We will now look at another pattern that enables you to play

in these remaining keys. D has been given as an example:

4

4I

IV I

V IV I V

Any Fret (Root 5)

Down 2 Frets (Root 6) Original Fret (Root 5)

Original Fret (Root 6) Down 2 Frets (Root 6) Original Fret (Root 5) Original Fret (Root 6)

Example: D

G D

A G D A

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

= =

49


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39

Exercise:Play the 12 bar blues progression that you have learnt. Practice playing it in the key of Db, D

and Eb. Use the following strum pattern:

Strum:

Count: 1 + 2 + 3 + 4 +50


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40

Lesson FifteenLesson Outline:

Palm Muting

Palm MutingPalm muting takes the palm deadening technique that you learnt in lesson twelve uses it to create a thick

and heavy sound from the strings. When you palm mute, you place your palm against the strings close to

the bridge of the guitar and play the strings. You will hear that the strings dont ring as much as when you

strum normally and that they have a thicker sound. The closer to the bridge your palm is, the thicker the

strings sound.

Palm muting is indicated in tab notation by

the letters P.M. above the tab staff and a dotted

line that indicates how long to mute the strings.

T

A

B

O1

2

O

O

2

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

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

AAAAA

Strum:

Count:

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

m

mExample:

m m m m

1 2 3 451


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41

Palm Muting is most often used with picking and power chords. We look at power chords in

book three of this series, but for now we will look at palm mute picking.

Exercise: Palm Mute PickingPlay the following picking progression whilst palm muting the strings.

EEEEE (open) F#F#F#F#F# AAAAA

T

A

B

4

4

0

2

12

2

12

0

4

34

2

7

6

5

7

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

52


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42

Lesson SixteenLesson Outline: Advanced Rhythm Techniques

Advanced Rhythm TechniquesIn lessons thirteen and sixteen we covered the techniques of staccato and palm muting. These

techniques can be combined to form some interesting new rhythm patterns.

Exercise:Play the following rhythms over an open G chord. When you play the palm mute down strums,

only play strings 4, 5 and 6. When you play the staccato up strums, play only the first two

strings.

GGGGG

Strum 1:

Count: 1 + 2 3 + 4

Strum 2:

Count: 1 + 2 + 3 + 4 +

Strum 3:

Count: 1 + 2 + 3 + 4 +

m m

m m

m m

m m

m m

m m

m m

m m

53

55

54


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43

C#mC#mC#mC#mC#m Root 5 A7A7A7A7A7 Root 6 Ab7Ab7Ab7Ab7Ab7 Root 64

4

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

Strum: (1) (2) (3)

56


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44

Lesson Seventeen

Dominant 7 Root 5 Barre Chord

Blues in D

3

31

3

1

Dominant 7 Root 5 Barre Chord

4

The root 5 dominant 7 barre chord is based upon the root 5 major barre chord shape. The

chord is the same as the major shape except that the seventh is added on the first string. See

the example of the Bb7 chord below:

Bb7 (Root 5)

31

4

1

1

Or Alternatively:

1

Lesson Outline:

57

58


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45

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

DDDDDRoot 5 G G G G G Root 6 DDDDD Root 5 D7D7D7D7D7 Root 54

4

GGGGG Root 6 G7 G7 G7 G7 G7 Root 6 DDDDD Root 5 D7 D7 D7 D7 D7 Root 5

Strum:

Count: 1 + 2 + 3 + 4 +

m m

m m

m

A7A7A7A7A7 Root 6 Ab7Ab7Ab7Ab7Ab7 Root 6 G7 G7 G7 G7 G7 Root 6 DDDDD Root 5 A7A7A7A7A7Root 6

59


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46

Exercise Eighteen

Reggae Strum

Reggae StrumReggae strum differs from the regular 4/4 strum. In a normal 4/4 rhythm, the 1st beat is

normally accented (accent means that you play with more attack) which gives the rhythm a

straight up and down feel. Reggae on the other hand places emphasis upon beats 2 and 4 of

the rhythm.

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

Strum:

Count: 1 2 + 3 4

9 9

GmGmGmGmGm Root 6 CmCmCmCmCm Root 5 D#D#D#D#D# Root 5 DDDDD Root 5

4

4

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

Lesson Outline:

60

61


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47

Dominant Seventh chords in open position.

2

3

1

1

2

1

2

1

2

1

4

2

1

1

1

1

1

A6A6A6A6A6 A#6/Bb6A#6/Bb6A#6/Bb6A#6/Bb6A#6/Bb6 B6B6B6B6B6

C6C6C6C6C6 C#6/Db6C#6/Db6C#6/Db6C#6/Db6C#6/Db6 D6D6D6D6D6

D#6/Eb6D#6/Eb6D#6/Eb6D#6/Eb6D#6/Eb6 E6E6E6E6E6 F6F6F6F6F6

F#6/Gb6F#6/Gb6F#6/Gb6F#6/Gb6F#6/Gb6 G6G6G6G6G6 G#6/Ab6G#6/Ab6G#6/Ab6G#6/Ab6G#6/Ab6

1

4

3

1

2

1

1

2

3

4

1

3

4

2

3

1

4

1

1

1

1

1

3

4

3

4

1

3

Supplementary Chord Reference


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48

Minor Seventh chords in open position.

2

1

3

2

2

1

2

1

2

1

4

Am7Am7Am7Am7Am7 A#m7/Bbm7A#m7/Bbm7A#m7/Bbm7A#m7/Bbm7A#m7/Bbm7 Bm7Bm7Bm7Bm7Bm7

Cm7Cm7Cm7Cm7Cm7 C#m7/Dbm7C#m7/Dbm7C#m7/Dbm7C#m7/Dbm7C#m7/Dbm7 Dm7Dm7Dm7Dm7Dm7

D#m7/Ebm7D#m7/Ebm7D#m7/Ebm7D#m7/Ebm7D#m7/Ebm7 Em7Em7Em7Em7Em7 Fm7Fm7Fm7Fm7Fm7

F#m7/Gbm7F#m7/Gbm7F#m7/Gbm7F#m7/Gbm7F#m7/Gbm7 Gm7Gm7Gm7Gm7Gm7 G#m7/Abm7G#m7/Abm7G#m7/Abm7G#m7/Abm7G#m7/Abm7

1

3

4

1

4

3

4

2

3

4

4

3

1

1 1

2

2

1

1

1

1

1

1

1

1

1

1

1

1


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49

Major Seventh chords in open position.

2

1 1

1

1

1

3

1

1

1

1

3

Amaj7Amaj7Amaj7Amaj7Amaj7 A#maj7/Bbmaj7A#maj7/Bbmaj7A#maj7/Bbmaj7A#maj7/Bbmaj7A#maj7/Bbmaj7 Bmaj7Bmaj7Bmaj7Bmaj7Bmaj7

Cmaj7Cmaj7Cmaj7Cmaj7Cmaj7 C#maj7/Dbmaj7C#maj7/Dbmaj7C#maj7/Dbmaj7C#maj7/Dbmaj7C#maj7/Dbmaj7 Dmaj7Dmaj7Dmaj7Dmaj7Dmaj7

D#maj7/Ebmaj7D#maj7/Ebmaj7D#maj7/Ebmaj7D#maj7/Ebmaj7D#maj7/Ebmaj7 Emaj7Emaj7Emaj7Emaj7Emaj7 Fmaj7Fmaj7Fmaj7Fmaj7Fmaj7

F#maj7/Gbmaj7F#maj7/Gbmaj7F#maj7/Gbmaj7F#maj7/Gbmaj7F#maj7/Gbmaj7 Gmaj7Gmaj7Gmaj7Gmaj7Gmaj7 G#maj7/Abmaj7G#maj7/Abmaj7G#maj7/Abmaj7G#maj7/Abmaj7G#maj7/Abmaj7

1

3

3

1

2

1

3

2

3

2

2 3

3

2

1

3

4

3

1

1

1

4

1

3

1

3

4

2

1

x


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51/51

M

Major scale

- A, 18

Major seventh chords, 8

Major seventh progression, 12

Major six chords, 17

Major root 5 barre chords, 33

P

Palm deadening, 30- barre chords, 31

- open chords, 31

Palm muting, 40

- picking, 41

Percussive strum, 22

- for barre chords, 22

- for open chords, 23

R

Reggae strum, 46

Rests, 29

Root five minor barre chord, 37

Root six minor barre chord, 24

S

Sixteenth note rhythm patterns, 9

Staccato strumming, 34

T

Triplet

- eighth note, 16

- rhythm, 15

Documents

Jamorama - Book 2