Sound Innovations for Guitar

soundinnovations

™

guitar

BROCHURE & SamplER

for GUitaR

2

™

A Revolutionary Method for Classroom Guitar

si for guitar method overview

Sound Innovations for Guitar™ is a revolutionary method that utilises solid pedagogy and modern technology to provide students and teachers with the skills needed to play modern guitar—with a focus on real-world guitar skills. The method follows state and national music education standards and was built with feedback from guitar teachers across the country.

No matter what level you’re working through, the Sound Innovations for Guitar™ method features the following: Musically satisfying lessons that focus on core guitar skills like strumming and fingerpicking chords, playing pivotal rock and blues riffs, improvising, reading music, and applying music theory

Emphasis on group and ensemble performance as students simultaneously learn rhythm and melody parts

Innovative pedagogy that develops proper technique for both hands, and allows students to play chords and perform essential guitar parts early on

Clear, focused goals and benchmarks Clean page layout for quick identification of concepts Video lessons on DVD to explain and demonstrate all concepts and techniques MP3 recordings that demonstrate every example in the book, and include specialised instructional tracks

Software that allows tracks to be slowed down and sections to be looped for continuous practice

Method Features

Authors

The Sound Innovations authors bring years of extensive teaching and performing experience.

Aaron Stang is a GRAMMY® Award-winning guitarist, the author of numerous guitar methods, and a recipient of Duquesne University’s Lifetime Achievement Award for guitar education. He also oversees the arranging and production of guitar songbooks for Carlos Santana, Pantera, Jackson Browne, Green Day, Led Zeppelin, Rush, Dream Theater, The Rolling Stones, and many others.

Bill Purse is the chair of the guitar and music technology departments at Duquesne University (Pittsburgh). He also heads the Guitar and Accessories Marketing Association Guitar Education Team, which has trained more than 3,200 teachers, who in turn have taught more than 680,000 young guitarists. He has written many music texts and has produced and recorded numerous albums ranging from classical to jazz genres.

Aaron Stang Bill Purse

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Recorded MP3 Tracks

Book 1 Features

“ “Sound Innovations for Guitar engages your interest and harnesses your intuition, various senses, and different modes of learning, as well as the latest digital technology, to get you playing things that you will be eager to practice and proud to show off.

Jimmy BrownGuitar World Senior Editor

introduction book 1 si for guitar

The DVD features more than 40 chapters that guide you through new concepts and techniques. Plus, virtually all songs and music examples from the book are demonstrated and performed on the DVD.The DVD Includes: Hours of full-video demonstrations and explanations of all concepts, techniques, and songs

Live performances of full songs and ensemble pieces by the authors and an actual student

Up-close examples of playing techniques

The DVD also includes an MP3 folder that contains recorded accompaniments and demonstrations to correspond with music from the book. These professionally recorded examples range in style from classical to rock, blues, jazz, and traditional music.The MP3 Tracks Include: Recordings for every line of music in the book Tracks in both full demonstration and play-along (without guitar) versions Explanations of notes, chords, concepts, and techniques

Track NumbersDVD and MP3 track numbers are clearly notated with their corresponding exercises.

Scan here to watch the traileralfred.com/SiGuitarTrailer

Bonus Features Include: Guitar types, setup, tuning, and warm-ups Right- and left-hand technique for pick and fingerstyle Software that allows students to slow tracks down and loop examples for continuous practice

“ “

The DVD packaged with the written text makes the lessons come alive.

Douglas Harper, Ph.D.Pittsburgh, PA

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si for guitar book 1 Features

GoalsEvery exercise includes a brief statement identifying what the student should learn. Counting

Divided counting aids rhythmic understanding and prepares for introduction of quavers.

Note IntroductionSequential introduction of notes from low to high

Sound CheckThe Sound Check sections provide assessment rubrics at the end of each level for teacher, self, or peer evaluation.

Notes are taught beginning on the low E string: Encourages solid left- and right-hand technique Promotes fretboard understanding through sequential introduction of notes from low to high

Provides immediate introduction of guitar chords from the root tone Allows students to begin playing fundamental bass-line type rock and blues patterns right away

student Book Features

Assessment

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Features book 1 si for guitar

Real-World SkillsChords, strumming, and accompaniment concepts and techniques are taught from the beginning.

Ear TrainingStudents will be guided on choosing correct chords “by ear.”

Fingerpicking PatternsFingerpicking patterns applied to chord fingerings are introduced early on using tablature to emphasize the simple intuitive nature of guitar patterns.

Students learn the melodic and rhythmic functions of the guitar as they perform two- and three-part ensembles throughout the book.

Accidentals & QuaversEarly introduction of quavers and accidentals allows students to play rock and blues bass-line figures right away.

“ “I am a band director teaching

guitar. I really like the way this book

is laid out, incorporating all aspects

of guitar playing from the first

couple of pages.

Tony PolzienDirector of Bands & OrchestraOverton, NV

Comprehensive Musicianship

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AppendicesThe Appendices contain all of the basic information about playing guitar, including guitar body types, holding the guitar, technique, picking, warm-ups, reading music and TAB notation, a chord chart, and more.

Performance Opportunities

Appendices

Ensemble ArrangementsStudents will play two- and three-part ensemble arrangements suitable for concert and recital performances, including “Minuet in G,” “Agaudo Study,” “One Finger Blues,” “Romanza,” and more.

Exploring GenresStudents perform diverse music selections from classical to rock.

““Rather than isolate skills and techniques

into dry exercises, the authors present

everything in the form of usable musical

vocabulary—riffs and commonly used

patterns, chords and rhythm playing

techniques—all within the context of

exciting repertoire.

Jimmy BrownGuitar World Senior Editor

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teacher book Features book 1 si for guitar

Teacher Book Features 36 complete lesson plans that directly correlate with the student book and work hand-in-hand with the DVD and MP3 components

Review prompts and observational assessments provided throughout each lesson

Guidance on students’ expected outcomes

Formal assessments and assessment tools provided at the end of each level Each lesson lists the National Standards for Music Education that are addressed Supplemental units, appendices, and teacher aids

Teacher Help LineThe Sound Innovations for Guitar authors, Aaron Stang and Bill Purse, are available to answer teachers’ questions about using the method or implementing a guitar program. Email them at [email protected].

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si for guitar book 1 digital Formats

From the same great creators of SmartMusic, Finale enhances your program by offering easy, flexible tools that help produce personalised curriculum quickly.Enjoy: 1,500 customisable worksheets, flashcards, and pieces of repertoire Ability to add and create fretboards and chord symbols Translating between standard notation and tablature

And don’t forget: Only Finale can create accompaniments to work seamlessly with SmartMusic!

smartMusic

Available on iBooks for iPad and Mac

Finale 2014: own the Future

New to SmartMusic?SmartMusic transforms the way students practice and learn. As they play along with music onscreen, it gives students immediate feedback on their performance by showing correct pitches and rhythms in green and incorrect in red. Plus, with new polyphonic technology created specifically for the guitarist in mind, SmartMusic can now identify guitar chords and provide instant feedback. With SmartMusic, you also have the ability to create and send assignments to each of your students. You can easily follow, document, and grade their progress, allowing for individualised instruction for each student.

NoW AvAILABLE oN iPAD®!

The Sound Innovations for Guitar, Book 1 Student Book is now available as an interactive textbook for iPad® and Mac®! For students on the cutting edge of technology, or for students who prefer to use an iPad for practice, this multi-touch format brings the pages of Sound Innovations for Guitar to life.

This 3-volume, multi-touch textbook features: Easy and immediate one-touch access to audio

samples, play-along tracks, and video lessons throughout

Instructional tracks with concise explanations and demonstrations of new concepts and techniques

Fill-in-the-blank review quizzes after each level Ability to email quiz results to teachers

Now More Flexible and Easier to Use

Sound Innovations for Guitar, Book 1 Is the First Guitar Product Available in SmartMusic!

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Book 2 Features

Expanding upon the concepts covered in Book 1, Book 2 of this revolutionary method introduces new topics including: Moving up the neck Semi-quavers Speed picking Playing power chords in higher positions Practical music theory to support the learning and command of chords and rhythm playing

Classic guitar riffs Barre chords (major, minor, and seventh) taught in context

Barre Chord IntroductionBegin exploring the 5th and 6th strings as a prelude to using moveable barre chord forms.

&

TAB

44

œ œ œ œ0 1 1 1

0 1 3 5

œ œ œ œ1 1 1 1

7 8 10 12

œ œ œ œ1 1 1 1

12 10 8 7

œ œ œ œ1 1 1 0

5 3 1 0

Page 6

Example 1: Notes on the 6th string.

Level 1: Moving Up the NeckIt is very important to learn the notes on the low 6th and 5th strings. Most of our chord, scale, and arpeggio positions on the guitar are based on either a 6th or 5th string root note.

The following diagram indicates the notes on string 6 from open E to the 12th fret E. Please note:

• Play and say the name of each natural note on the 6th and 5th strings. Memorize the location of these notes on strings 5 and 6.

• Fret markers: Most guitars have fret markers at the 3rd, 5th, 7th, 9th, and 12th frets. Use them as your signposts for locating notes. Pay special attention to which notes fall at the fret markers and which fall in between.

• Sharp and flat notes can be located by raising or lowering the natural note by one fret.

• Starting at fret 12, the notes repeat again—one octave higher.

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2

NOTES ON STRING 6—Play and say the notes in the example below. Use your index finger for every note. Repeat this until you can do it easily and without making any mistakes. It may also help to watch the corresponding video on the provided DVD.

ROMANZA—In Book 1 there was an arrangement of the beautiful Spanish folk melody “Romanza.” Following is that same melody played entirely on the 6th string. The purpose of this is to help familiarize you with note locations on the 6th string. Use the TAB if you get stuck, but try to read the notes and get used to their locations on string 6.

• Guitar 1: Use the suggested fingerings. Notice which notes fall at the same frets as the markers and which fall in between them. All F notes are sharp, and watch out for the D# in bar 10 as well.

• Guitar 2: Strum chords as indicated.

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The included DVD contains explanations and demonstrations for all concepts and techniques. The MP3 folder contains performances of every example and song in the book, plus specialised instructional tracks that explain and convey all new concepts and techniques. The included software also lets students slow tracks down and loop sections for continuous practice.

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Practical TheoryPractical music theory is taught to support the learning and command of chords and rhythm playing.

Contextual Learning“Moveable” barre chord forms are taught and used in authentic context.

Chords and FingeringsPivotal rock and blues rhythm riffs are used to teach chords and fingerings and to practice transitions.

F

3211

Fm

1113

pg 34 F and Fm frames

32 F TYPE BARRE CHORD—The following diagrams illustrate the chord tones in the F-type four-string major and minor barre chords. The root—the name of the chord—is on both the 1st and 4th strings. For this type chord we tend to focus on string 1 to locate the fingering at the chord fret.

Important: Notice that the 3rd is in the middle of the major chord. Dropping it down one fret creates the b3rd for the minor chord. All other notes stay the same.

MAJOR MINOR

CHORD THEORYThe “F-type” barre chord used in the previous example is a major chord.

MAJOR CHORDS have three notes—the root, the 3rd, and the 5th. For example:

F Scale: F G A B b C D E F

1 2 3 4 5 6 7 8

F Chord: F A C

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

1 2 3 4 5 6 7 8

G Chord: G B D

C Scale: C D E F G A B C

1 2 3 4 5 6 7 8

C Chord: C E G

MINOR CHORDS have three notes—the root, the b3rd, and the 5th. For example:

F Scale: F G A B b C D E F

1 2 3 4 5 6 7 8

Fm Chord: F A b C

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

1 2 3 4 5 6 7 8

Gm Chord: G B b D

C Scale: C D E F G A B C

1 2 3 4 5 6 7 8

Cm Chord: C E b G

– – – – – – –

– – – – – – –

– – – – – – –

– – – – – – –

– – – – – – –

– – – – – – –

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34

45 THE ROOT 5 “HERE THERE” PROGRESSION (IN C)—Let’s play this progression again, except with the root 5 barre chord forms. It’s also now in the key of C, not G.

MERCY ME—Here is a very common R&B chord progression, utilizing the root 5 dominant 7th chord and both versions of the root 6 dominant 7th chord. This pattern is similar to a riff from the middle of the jazz/blues classic “Mercy, Mercy, Mercy.”

& 44 Û Û Û Û

C

1 1333

3fr.

Dm

1 1342

5fr.

Û Û Û Û

Em

1 1342

7fr.

F

1 1333

8fr.

Û Û Û Û

C

1 1333

3fr.

Dm

1 1342

5fr.

Û Û Û Û

Em

1 1342

7fr.

F

1 1333

8fr.

| Ó

C

1 1333

3fr.

&

&

TAB

#

#

44

44 ..

..

..Ó

‰ jœ œn œ#

0 1 2

Palm mute throughout

Û ÛJÛ Û

JÛ

œ. œ.œ œ œ œn

3 3

2

3

2 3

G7

1 1 113 2

3fr.

C7

1 1 13 4

3fr.

G7

1 1 13 24

3fr.

Û Û ÛJÛ .Û

œœ

œn œœ œn œ#

3

3 2

0 1 2

C7

1 1 13 4

3fr.

&

&

TAB

#

# ..

..

..3

Û ÛJÛ Û

JÛ

œ. œ.œ œ œ œn

3 3

2

3

2 3

G7

1 1 113 2

3fr.

C7

1 1 13 4

3fr.

G7

1 1 13 24

3fr.

Û Û ÛJÛ .Û

œœ

œn œœ œn œ#

3

3 2

0 1 2

C7

1 1 13 4

3fr.

Û Û Û Û Œ

œ. œ.œfl

œfl

Œ

3 33 3

G7

1 1 113 2

3fr.

C7

1 1 13 4

3fr.

Û Œ Ó

œ.fl

Œ Ó

3

G7

1 1 13 24

3fr.

Page 44Example 45: Here, There example

Example 46: Mercy Me

& 44 Û Û Û Û

C

1 1333

3fr.

Dm

1 1342

5fr.

Û Û Û Û

Em

1 1342

7fr.

F

1 1333

8fr.

Û Û Û Û

C

1 1333

3fr.

Dm

1 1342

5fr.

Û Û Û Û

Em

1 1342

7fr.

F

1 1333

8fr.

| Ó

C

1 1333

3fr.

&

&

TAB

#

#

44

44 ..

..

..Ó

‰ jœ œn œ#

0 1 2

Palm mute throughout

Û ÛJÛ Û

JÛ

œ. œ.œ œ œ œn

3 3

2

3

2 3

G7

1 1 113 2

3fr.

C7

1 1 13 4

3fr.

G7

1 1 13 24

3fr.

Û Û ÛJÛ .Û

œœ

œn œœ œn œ#

3

3 2

0 1 2

C7

1 1 13 4

3fr.

&

&

TAB

#

# ..

..

..3

Û ÛJÛ Û

JÛ

œ. œ.œ œ œ œn

3 3

2

3

2 3

G7

1 1 113 2

3fr.

C7

1 1 13 4

3fr.

G7

1 1 13 24

3fr.

Û Û ÛJÛ .Û

œœ

œn œœ œn œ#

3

3 2

0 1 2

C7

1 1 13 4

3fr.

Û Û Û Û Œ

œ. œ.œfl

œfl

Œ

3 33 3

G7

1 1 113 2

3fr.

C7

1 1 13 4

3fr.

Û Œ Ó

œ.fl

Œ Ó

3

G7

1 1 13 24

3fr.

Page 44Example 45: Here, There example

Example 46: Mercy Me4633D

VD

44

14

15

THE “BAD” RIFF—Here is another popular variation on the previous pattern. This one is similar to the early blues classic “I’m a Man” by Bo Diddley. The riff was revived later by George Thorogood in “Bad to the Bone.” Notice how similar the chord structure here is to the one in the previous pattern. The second chord in the triplet figure on beat 4 of each measure is just the open 4th and 5th strings played together. That makes the transition from the D5 to the C5 pretty easy.

DRIVING ZZ—This is a really powerful variation on the “Catching ZZ” riff. Stay in 2nd position and hold the A5 chord the entire time; keep your 1st finger down on the 4th string E throughout. The C and D notes are played on string 5 with a very short pull-off to the open A. This gives the pattern its extremely driving rhythm. Use your 2nd and 4th fingers for the pull-offs.

&

TAB

44 œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ≥

œœ

≥œœ≥3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.

Blues shuffle (ŒÂ = ŒÇ‰)

œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ≥

œœ

≥œœ≥3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.

&

TAB

..

..

3

œœ œœ œœ œœ œœ œœœœ œœ

œœ3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.


œœ3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.

&

TAB

44 œœ

≥œœ

≤ ‰ jœœ

≤ ‰ jœœ

≤ ‰ jœœ

≤

20

20

20

20

20

A5

1


‰ jœœ

≤ ‰ jœœ

≤œ≥

2œ œ

≥

4œ

20

20 3 0 5 0

œœ œœ‰ jœœ

‰ jœœ‰ jœœ

20

20

20

20

20

‰ jœœ‰ jœœ œ œ œ œ

20

20 3 0 5 0

&

TAB

5

œœ œœ‰ jœœ

‰ jœœ‰ jœœ

20

20

20

20

20


20

20 3 0 5 0

œœ œœ‰ jœœ

‰ jœœ‰ jœœ

20

20

20

20

20


20

20 3 0 5 0

Page 16Example 14: One Bad Riff

One Bad Riff

Driving ZZ

Example 15: Driving ZZ

&

TAB

44 œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ≥

œœ

≥œœ≥3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.


œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ

≥œœ≥

œœ

≥œœ≥3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.

&

TAB

..

..

3


œœ3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.


œœ3

20

20

20

20

20

20

75

00

53

A5

1

D5

13

5fr.

C5

13

3fr.

&

TAB

44 œœ

≥œœ

≤ ‰ jœœ

≤ ‰ jœœ

≤ ‰ jœœ

≤

20

20

20

20

20

A5

1


‰ jœœ

≤ ‰ jœœ

≤œ≥

2œ œ

≥

4œ

20

20 3 0 5 0

œœ œœ‰ jœœ

‰ jœœ‰ jœœ

20

20

20

20

20


20

20 3 0 5 0

&

TAB

5

œœ œœ‰ jœœ

‰ jœœ‰ jœœ

20

20

20

20

20


20

20 3 0 5 0

œœ œœ‰ jœœ

‰ jœœ‰ jœœ

20

20

20

20

20


20

20 3 0 5 0

Page 16Example 14: One Bad Riff

One Bad Riff

Driving ZZ

Example 15: Driving ZZ

8DVD

9DVD

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original CompositionsOriginal solo compositions use easy-to-play guitar fingerings to create intriguing, harmonically interesting pieces appropriate for concerts and recitals.

&

TAB

#44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3

p i

2

m i p i m i p i m i p i m i

œ œ œ œ

43

03

23

03

03

03

23

03

4 2 0 2

Em7

32

let ring throughout

P 2nd position

œ3

œ2

œ œ œ1

œ œ0

œœ œ œ œ œ œ œ œ

p i m i p i p i p i m i p i m i

œ œ œ œ œ

43

03

23

03

2

00

0

2

00

04 2 0

2 2

Em

2

&

TAB

#3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ

443

03

23

03

03

03

23

03

4 2 0 2

Em7

32

Cont. simile

2nd position cont. simile

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ

43

03

23

03

2

00

0

2

00

04 2 0

2 2

Em

2

&

TAB

#5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ

21

01

21

01

21

01

21

01

2 2 0 2 2

Am

21


43

03

23

03

2

00

0

2

00

04 2 0

2 2

Em7

32

Em

2

&

TAB

# ..

..

7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ

21

01

21

01

21

01

21

01

2 2 0 2 2

Am

21


43

03

23

03

2

00

0

2

00

04 2 0

2 2

Em7

32

Em

2

To Coda fi

Page 10Example 6: Adagio in E minor

Adagio in E minorAaron Stang

6 ADAGIO IN E MINOR—Here is an original, solo guitar composition featuring sixteenth note arpeggios (an arpeggio is when a chord is played one note at a time). Let all the notes ring, and strive to “pull” the melody from the bass line. Play at a medium slow tempo (“adagio” means to play slowly), and make it pretty!

The song is played fingerstyle and is based on simple, three-string chords. The whole song is played from within chord shapes, so your left hand fingerings are dictated by the chord fingerings. Use the TAB and the chord diagrams to find all the correct fingerings.

Important: Though they use different fingerings, notice that the Em7 fingering that begins the song is at the 3rd fret and is the exact same chord shape as the partial Am (bars 5 and 7). Use your 3rd and 2nd fingers to play the Em7, and keep your 2nd finger on the D note for the entire first measure. Also, remember finger numbers and fret numbers are often the same in 1st position, but once we leave the 1st position they are totally unrelated.

Adagio in E MinorA.S.

5DVD

10

Exploring GenresThe songs throughout the book span a wide variety of genres that include Spanish, classical, new acoustic, folk, pop, rock, R&B, jazz and swing, roots blues, and Texas Blues Rock. Various genres are also combined to create fun ensembles.

48

&

&

TAB

44

44 ..

..

..∑

œœœœœœ

œœœœœœ

œœœœœ# œœœœœ

555775

555775

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79797

Am

1 11134

5fr.

E7

1 1 13 4

7fr.

Moderately slow shuffle (ŒÂ = ŒÇ‰)

Ó ‰ jœ œ œ

1. I was down

œœœœœœ

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1 11134

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&

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5

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7fr.

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u -cold

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42113

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Page 46

St. James Infirmary Blues

Example 48: St. James Infirmary Blues

Traditional

&

&

TAB

44

44 ..

..

..∑

œœœœœœ

œœœœœœ


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555775

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Am

1 11134

5fr.

E7

1 1 13 4

7fr.

Moderately slow shuffle (ŒÂ = ŒÇ‰)

Ó ‰ jœ œ œ

1. I was down

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OldJoe

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&

&

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5

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Page 46

St. James Infirmary Blues

Example 48: St. James Infirmary Blues

Traditional

&

&

TAB

..

..

..9

1.

˙b œ œcrowd was

œœœœœb œœœœœ


œœœœœœn

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there. 2.When up stepped

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saw my ba - by there,

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out on a cold white

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Am

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go, let her go God

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œ œ ˙ ‰ Jœ

bless her; where -

Am

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Page 47

35DVD

ST. JAMES INFIRMARY BLUES—This is a traditional folk-blues song that has been passed down through generations. The song has its roots in eighteenth century England, but it became a jazz-blues standard after it was recorded by Louis Armstrong. This song is an opportunity to both strum and sing. Listen to the provided recording to get familiar with the melody and the rhythmic feel.

Guitar: The entire rhythm part is based on just a few barre chord forms. Don’t be intimidated by the full notation of the chords. It is good to get used to seeing how these chords are notated, even though we tend to play the chords from memory and not by reading the full notation.

St. James Infirmary BluesTraditional New Orleans

46

Solo & Ensemble ArrangementsStudents perform solos, duets, and trios throughout the book, encouraging individual and ensemble practice.

22

&

&

#

#

43

43

..

..

Gtr. 1

Gtr. 2

œ œ

Œ

F

Medium waltz

˙ œ œa

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p iam

.˙

Em

23

P

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p i ma

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C

32 1

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G

32 4

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Œ œ œœ.˙

D

132

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Em

23

1.

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32 4

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&

#

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132

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32 1

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32 4

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14

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Am

231

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132

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23

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32 1

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D

132

œ œ œ

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Em

23

&

&

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21

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32 1

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32 4

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132

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23

˙

˙̇̇

˙

Page 25

Star of the County DownExample 22: Star of the County Down

Traditional

STAR OF THE COUNTY DOWN—This is a beautiful traditional Irish melody. Listen carefully to the recorded example. Use the TNT 2 player to isolate and play along with both parts. Once you are comfortable with the accompaniment part (Guitar 2), begin improvising your own accompaniment patterns and variations of the written part—just never lose the steady

3

4 beat. Also, if you prefer, the accompaniment part may be played with a pick, rather than fingerstyle.

Star of the County DownTraditional Irish

15DVD

25

28

&

&

&

#

#

#

42

42

42

Gtr. 1

Gtr. 2

Gtr. 3(D = 6)

œ3 œ2

Œ

Œ

Adagio

F

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œ1

œ4 Œ

˙4

‰ .œP

%

P

œ4 œ2 œ1

œ4 œ4 œ2

˙4

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œ2 œ4 œ3

œ1

˙4

˙3

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œ2 œ3 œ2

˙4

˙3

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&

&

&

#

#

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5

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œ

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˙4

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10

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3

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To Coda fi

Page 30

Evening in the Meadow(Second position study)

Example 28b: Evening in the MeadowSecond position study

Vladimir Rebikov arr. BP

NEW TIME SIGNATURE: 2

4

2 = Two counts per measure

4 = A quarter note receives one count

EVENING IN THE MEADOW—This song is arranged for guitar trio. Listen carefully to the recording before you play it.

• Guitar 1: This is in 2nd position. Once you can play it smoothly, feel free to experiment with some hybrid harp-like effects as in the previous examples. (Hint: Stay in 2nd position but use open E instead of the fretted E for a more harp-like sound.) The last note is a natural harmonic (indicated by the diamond-shaped notehead). To play this harmonic, lightly touch the 2nd string at the 12th fret, don’t press the string to the fret, then pluck the string with your pick and immediately remove your finger. You should hear a bell-like sound.

• Guitar 2: This part lies best in 1st position.

• Guitar 3: This is the bass part. Tune your 6th string down one whole step to D. the low D is written on the fourth ledger line below the staff. This tuning is often called Drop D tuning. Watch the DVD for a tuning explanation.

Evening in the Meadow(2nd Position)

Vladimir Rebikov

20DVD

30

&

TAB

&

&

43

43

43

Gtr. 1

Gtr. 2

Gtr. 3

œœ œ# œ œ œ

i i i

œ œ œ

p p p

2

0

1

00

0

21

0

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.|

E

231

E5

13

7fr.

(Gtr. 3 enters on the repeat)

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i i i

œ œ œ

p p p

2

0

1

00

0

21

0

Û Û Û Û

| Û Û

œ œ œ œ œ œ

i i i

œ œ œ

p p p

2

01

00

0

21 0

Û Û Û Û

.|

Fflamenco

231

F5

31

8fr.

œ œ œ œœ

œ

i i i

œ œ œp p p

2

0

0

0

3

0

2 03

Û Û Û

.|

Gflamenco

231

4fr.

G5

13

10fr.

&

TAB

&

5

œœ œ# œ œ œ

œ œ œ

2

0

1

00

0

21

0

ÛJÛ Û

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E

231

E5

13

7fr.

Gtr. 2 cont. rhy. simileGtr. 1

Gtr. 3

œœ œ# œ œ œ

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0

1

00

0

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0

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0

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231

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31

8fr.

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2

0

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0

3

0

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231

4fr.

G5

13

10fr.

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2

0

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00

0

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0

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231

E5

13

7fr.

Page 22

Spanish MetalExample 20: Spanish Metal

&

TAB

&

10

œœ œ# œ œ œ

œ œ œ

2

0

1

00

0

21

0

Û Û ‰JÛ ‰

JÛ

œœ œ œ œ œ

œ œ œ

3

0

2

01

0

32

1

Û Û ‰JÛ ‰

JÛ

Fflamenco

231

F5

31

8fr.

œœ œ œ œ œ

œ œ œ

3

0

2

01

0

32

1

Û Û ‰JÛ ‰

JÛ

œœ œ# œ œ œ

œ œ œ

2

0

1

00

0

21

0

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E

231

E5

13

7fr.

œœ œ œ œ œ

œ œ œ

3

0

2

01

0

32

1

Û Û ‰JÛ ‰

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Fflamenco

231

F5

31

8fr.

&

TAB

&

..

..

..

15

œœ œ# œ œ œ

œ œ œ

2

0

1

00

0

21

0

Û Û ‰JÛ ‰

JÛ

E

231

E5

13

7fr.

œœ œ œ œ œ

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3

0

2

01

0

32

1

Û Û ‰JÛ ‰

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231

F5

31

8fr.

œœ œ# œ œ œ

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2

0

1

00

0

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0

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231

E5

13

7fr.

œœ œ œ œ œ

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3

0

2

01

0

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1

Û Û ‰JÛ ‰

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231

F5

31

8fr.

......

˙̇̇˙̇˙

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001220

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231

E5

13

7fr.

˙̇̇˙̇˙

Œ

.|

&

TAB

.O21

Œ Œ œ œ œ œ

0 1 02

E

231

let notes ring throughout…

Outro (play freely)(optional: use as introduction also)

Gtr. 1 (Gtr. 3 tacet)

Gtr. 2 .OU

œ œ œ# œU

0

21

0

.O

œ œ œ œ œ œ

20 1 3 1 0

Fflamenco

231

.O

œ œ œ œ œ œ

20

2 03 2

&

TAB

.O25

œ˙̇̇#

001

E

231

.OU

œœœU

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001

0 1 02

0 1 3

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3 3 3

03 1 3 1 0 1 0

2

Fflamenco

231

! OU

œ œ œ œ œ# œ œU3 3

02

3 21

00

E

231

Page 23

Spanish MetalA.S.

22

Performance Opportunities

soundinnovations

™

for GUitaR

WHiCH lEVEl IS RiGHt FOR YOU?

BooK 1This revolutionary new method combines solid pedagogy with a focus on real-world guitar skills such as strumming and fingerpicking, pivotal rock and blues riffs, improvising, reading music, and music theory.

Book 1, Teacher Edition ........................................................................................ (39349)Book 1 .......................................................................................................................... (37177)

BooK 2Quickly reviews concepts taught in Book 1, then goes full-speed ahead with topics like moving up the neck, semi-quavers, speed picking, playing power chords in higher positions, classic guitar riffs, barre chords (major, minor, and seventh), and much more.

Book 2 ..........................................................................................................................(40868)

guitar

Both levels include a DVD with video lessons and MP3 tracks with instructional explanations, demonstrations, and performances of all concepts and techniques. The included software lets students slow tracks down and loop sections for continuous practice, and the video lessons on the included DVD explain and demonstrate all the concepts and techniques.

alfred.com/siAlSo AvAIlAble for

COnCERt Band and StRinG ORCHEStRa

aVailaBlE nOW from your lOCal mUSiC REtailER

Enquiries [email protected]

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