INTRODUCTION

The Acoustic Guitar Primer with audio CD will quickly transform you from an absolute
beginner into a studentlguitarist with a full understanding ofthe fundamentals and techniques
of guitar playing. This elear, step by step method includes many photographs, large easy to
read notation and tablature, and a sequence oflearning that has been meticulously developed
and testcd over a 20 year periodo With each new song, you willlearn new techniques to
establish a firm foundation that will enable you to enjoy playing guitar for many years. No
wonder the Acoustie Guitar Primer is the first choice of over 2,000 stores throughout the
United States and Canada.

TREAUTROR
Bert Casey, the author of this book, has been a professional performer and teacher in the
Atlanta area for over 30 years. He plays several instruments (acoustic guitar, electric guitar,
bass guitar, mandolin, banjo, and flute) and has written 6 other books (Aeoustie Guitar Book
2, Electric Guitar Primer, Bass Guitar Primer, Mandolin Primer, Flatpieking Guitar Songs,
and Bluegrass Fakebook) and has made five DVDs/videos (Introduction to Acoustic Guitar;
Aeoustie Guitar Part 2, Introduction to Eleetrie Guitar, lntroduetion to Bass Guitar; and
lntroduction to Mandolin ). Bert perforrned many years in Atlanta and the Southeast with
his bands Home Remedy and Blue Moon. His talent and willingness to share have helped
thousands of students learn and experience the joy of playing a musical instrument.

WATCR & LEARN PRODUCTS REALLY WORK

25 years ago, Watch & Learn revolutionized music instruetional courses by developing
well thought out, step by step instructional methods that were tested for effectiveness on
beginners before publieation. These products, which have dramatieally improved the under-
standing and suceess of beginning students, has evolved into Watch & Learn products that
continue to set the standard of musie instruction today. This has resulted in sales of almost
2 million products since 1979. This easy to understand course will significant1y increase
your success and enjoyment while playing the guitar.
CD, DVD, AND VIDEO COUNTER mW~.2 :15 2

1
.::a== --.;_--'----'

The CD, DVD, and video counters are ineluded in this book to show where each lesson
is located on the companion CD, DVD, or video. Use your remo te control on the DVD or
CD player to skip to the traek you want. Check the counter number as it appears on sereen
in the video and then sean to the exact loeation on the video.
TABLE OF CONTENTS

Pa ge .!M ?
O ViDE O

rI12:151
CID
 1 2 5
Disc 1

.SECTION 1 - GETTING STARTED

Parts of the Guitar 1 1 2 2: 15
Holding the Guitar 2 3 2:35
Tuning 3 2 4 3: 15
The Pick 5 5 4:55
Right Hand Position 6 6 5:38
Strumming 7 6:09
Thumb Position 8 7-8 6:45
G Chord 8 3 10 8:22
C Chord 10 4 11 10:00
D Chord ]1 5 12-13 11 :05
TomDooley 12 6 14-15 13:25
He's Got The Whole World ... 13 7 16-17 15: 15
Going Down That Road ... 14 8 18-19 16:58
Tablature 15 18:50
G Scale 16 9-10 20 18:32
Practice 18 21 21 :13
Bass Strum 19 11-12 22 22:03
Tom Dooley - Bass Strum 21 13 23-24 24:10 3-5
Going Down Tbat Road ... 22 14 25-26 25:25 6-8
Altemating Bass 23 15-16 27 26:35
He's Got The Whole World ... 25 17 28-29 28:25 9-11
Worried Man BIues 26 18 30-31 29:30 12-14
Down Up Picking 27 19-20 32-33 31:10

SECTION JI - PLAYING

a
Ro 11In My Sweet Baby's Arms 32 21-23 34-36 33:35 15-17
Down Up Strum 34 24 37 36:00
Banks of the Ohio 35 25-26 38-39 37:23 18-20
DarkHollow 36 27-29 40-42 39:17 21-23
In The Pines 38 30-32 43-44 41:08 24-26
Amazing Gr ce 40 33-34 45-47 42:30 27-29
Page @)DV D
VIDE O
El 2:151 (ID
 2 3
Disc 2
Pallet On Your Floor 43 35-37 48-50 45:00 1-3
Way Downtown 44 38 51-53 47:00 4-6
Sittin On Top OfThe World 46 41-43 54-56 49:10 7-9
HammerOn 48 44 57 50:30
Wabash Cannonball 49 45-46 58-59 51:40 10-12
Crying Holy 51 47-49 60-62 53:40 13-15
Salt River 52 50 16-18
Billy In The Lowground 53 51 19-21
The G Run 54 52
Pull Offs 55 53 22-24
Little Maggie 56 54-55 25-27
Nine Pound Hammer 58 56-58

SECTION III - LEAD PLAYING

Slides 61 59
Wildwood Flower 63 60
John Hardy 64 61
Old Joe Clark 65 62
Blackberry Blossom 66 63
Will The Circle Be Unbroken 67 64
Scale Exercises 68 65-66
Music Theory 69
Circle of Fifths 71
Chord Chart 72

These icons or counters indicate the following products: .

The companion audio CD found inside the back cover of this book.

VI DEO
The companion DVD,lntro to Acoustic Guitar.
2

11 2: 151 The cornpanion video, lntro to Acoustic Guitar.

fAR\
WDisc 1
The companion practice CD set, Acoustic Guitar Jam CDs.
 SECTION 1
GETTING STARTED
THEGUITAR
; ! ?
VIDEO

=1 2:151
 We recommend that you use a steel string guitar for this course. Tt is important
that your instrumcnt is easy to play and is free from buzzes or rings. An inferior
instrument is often a handicap that forces the student to develop improper technique
and quickly lose enthusiasm.
To insure that you are starting correctly, take your guitar to a local music store,
a reputable teacher, or a guitar repair shop, and have them give it a quick check. If
you need to buy a guitar, it is usually safer to purchase your first instrument from a
reputable music store, who wiU make sure that the instrument is adjusted properly and
offer service after the sale. Leaming to play the guitar is a fun filled and rewarding
experience, particularly if you have the proper instrument to get started on.
The following diagram illustrates a steel string guitar, which we recornmend for
use with this course.

Peghead
o~
~ Tuning Keys

Nut

Neck

Frets

Sound Hole

Saddle Pick Guard

Bridge

Get to know the folks at your local mus store. 1

They can be a great help with supplies, lessons, & advice.
 HOLDING THE GUITAR .2:351 ~
3

Many guitarists are self taught and have developed their own unique and some-
times unorthodox sty1es ofholding and playing the guitar. We will be using the most
eornmon techniques that are approved and taught by instruetors.

At first you will be holding the guitar sitting down. Use a straight back chair
or stool so that you can sit with good posture and have free arm movement without
banging the guitar or your arms on the furniture.

Sit erect with both feet on the foor and the guitar resting on your right thigh. The
guitar should be braeed against your chest with the right forearm so that the neck of
the guitar doesn't move when you ehange hand positions.

This basic position allows both hands to move freely and allows your back to be
comfortable during praetice sessions.

Always use a case or gig bag when transport-

ing your instrument from one place to another. 2
 TUNING THE GUITAR
Before playing the guitar, it must be tuned to standard pitch. Ifyou have a piano
at horne, it can be used as a tuning source. The following picture shows which note
on the piano to tune each open string of the guitar too
 \\I!!
..

Note: lfyourpianohasn'tbeen
<,
tuned recently, the guitar may not MiddleC
agree perfectly with a pitch pipe or

/
tuning fork. Sorne older pianos are
tuned a half step below standard
pitch. In this case, use one of the ~ .......

following mcthods to tune.

EADGBE

6 5 4 3 2 I
PITCH PIPE
Pitch pipes are an easy and portable way oftuning a guitar, They may be
obtained at a local music store with complete instructions.

CDORDVD
It is recomrnended that you tune your guitar to the CD or DVD that accompanies
this book so that you will be in tune when you play along with the songs and exer-
cises.

ELECTRONIC TUNER
An electronic tuner is the fastest and most accurate way to tune a guitar. 1highly
recomrnend getting one. They are available for $20 - $50.

Never lea ve your instrument in a cat or

trunk during extreme heat o( cold. 3
 RELATIVE TUNING
Relative tuning means to tune the guitar to itself and is used in the following
situations:

1. When you do not have an electronic tuner or other source to tune from.
2. When you have only one note to tune from.

In the following example we will tune all of the strings to the 6th string of the
guitar, which is an E note.

1. Place the ring finger of the left hand behind the fifth fret of the 6th string to
fret the 1st note. Tune the 5th string open (not fretted) until it sounds like the 6th
string fretted at the 5th fret.
2. Fret the 5th string at the 5th fret. Tune the 4th string open (not fretted) until
it sounds like the 5th string at the 5th fret.
3. Fret the 4th string at the 5th fret. Tune the 3rd string open until it sounds like
the 4th string at the 5th fret.
4. Fret the 3rd string at the 4th fret. Tune the 2nd string until it sounds like the
3rd string at the 4th fret.
5. Fret the 2nd string at the 5th fret. Tune the 1st string open until it sounds like
the 2nd string at the 5th fret.
Now repeat the aboye procedure to fine tune the guitar. Until your ear develops,
ha ve your teacher or a guitar playing friend check the tuning to make sure it is cor-
recto

The following diagram of the guitar fret board illustrates the aboye procedure.
 """f" A E 6th String
"""f" D A 5th String
~ G D 4th String
...
~B G 3rd String
"""f" E B 2nd String
E 1st String

Note - Old dull strings lose their tonal qualities and sometimes tune incorrectly,
Check with your teacher or favorite music store to make sure your strings are in good
playing condition.

A/ways keep an extra set of strings in your 4

case. You never know when you will break one.
 THE PICK ~ 4:55 I !
V
rIDEO

5
SELECTING THE PICK
 When you visit a music store, you will notice that there are almost as many pick
styles and shapes as there are guitar players. A pick should feel comfortable in your
hand and produce a clear, clean tone when picking or strumming the strings. This is
the most popular pick shape.

HOLDING THE PICK

The grip on a pick should provide control while feeling comfortable. The most
common way ofholding the pick is to curl the right index finger (Figure 1), place the
pick in the first joint of the index finger with thc point facing straight out (Figure 2),
and then place the thumb firmly on the pick with the thumb parallel to the first joint
(Figure 3). Watch the DVD for further clarification.

Figure 1 Figure 2

Figure 3
Keep many extra pick5 around. They 5
like to di5appear, much like soos.
RIGHT HAND POSITION
11
5:341 2 '!
VID E

O?
6
 Position the right hand so that the pick strikes the strings between the bridge
and the fretboard. The right forearm should be braced against the body ofthe guitar
so that the right hand falls into a position towards the center of the sound holeo Too
close to the bridge produces a harsh tone and too far forward produces a tone that
is too mellow.

Too Harsh Correct Too MelJow

The right hand should be free with no part of the hand or wrist touching the
guitar.

Use a guitar cloth to dean your guitar and

wipe it dawn after you play.
6
 STRUMMING .6:091

When you strum the guitar, start with the sixth string and Jightly strum down on
all six strings, stopping just past the first string.

Start Strum Finish Strum

Don't use an exaggerated stroke that carries the right hand bcyond the body of the
guitar. Finish the strum according to the illustrations aboye.

Another common mistake is to bang down on the sixth string. Don't make any
onc string your point of attack. The correct way is to strum down lightly and evenly
00 all six strings so that it sounds like the DVD.

Don't store your guitar in the atuc or base-

mento Extreme dryness or dampness can be bad. 7
 THUMB POSITION ri 6:45 I ~
When playing the guitar, the position of the left thumb on the back of the neck VIDEO

is very important because it 1S used to brace and balance the left hand. We're going 7
to use what's called an elevated thumb placement.

ELEVATED THUMB PLACEMENT

The joint on the base ofthe left thumb is the bracc point on the back ofthe guitar
neck (FigureA). Place the base ofthe thumb on the center ofthe guitar neck (Figure
B).

FigureA Figure B

OUR FIRST CHORD

We will now make a G chord as shown in the following diagrams:
 G
Nut Frets

Fingers .J'

"\1
Strings

Check the following to make sure you are using good technique:

1. The bottomjoint ofthe thumb should be placed on the center ofthe guitar neck
(Figures A and B above).
2. The fingers should be arched so that the tips of the fingers fret the strings. Do
not touch an adjacent string with one of your fingers. Check the following
diagrams for the correct position.
8
 Correet - Fingers Arehed Ineorreet - Fingers Flat

EXERCISE 1
Form the G Chord and strum the guitar frorn the 6th string down (towards the floor)
in one smooth stroke. Do this several times while listening to the CD or DVD.

G-G-G-G-G-G-G-G-G-G-G-G-G-G-G-G

BUZZING, MUFFLED, & UNCLEAR NOTES ;19:121

If you aren't getting a clear distinct sound when playing, check the following
problem areas:

l. Not pressing hard enough with the left hand. Press the strings firrnly but not
so hard as to be painful. (We are assurning the guitar is properly adjusted).
2. Fingers too far from the fret wires or on top of the frets. The fingers of the
left hand should be directly behind the frets. Check the diagrarns on page 8.
3. Fingers touching an adjacent string. Make sure your fingers are arched prop-
erly.
4. Fingemailstoolong.Trim your fingernails so that the tips of the fingers can
press down on the strings.
5. The guitar is not properly adjusted.

Note - Sorne rnethod books use partial chords where only 3 or4 strings are played
because these are easier. In this book, we are using full chords becausc that is what is
used in playing rhythm. Unfortunately, it sornetimes takes 4 to 6 weeks for a begin-
ner to be able to use these chords, so be patient. Your hand and finger muscles will
strcngthen and stretch, making it more comfortable to forrn the chords.

9
WD CCHORD
The C chord is another
common chord. Position e
your fingers as shown:

X mcans don't
strum this string,

EXERCISE 2
Strum down lightly on the C chord from the 5th string down towards the floor..
Do this until you get a consistently clcar sound like you hear on the CD or DVD.

C-c-C-c-c-C-c-C-C-c-C-C-C-C-c-c

EXERCISE 3
Practice changing between the two chords you have leamed so faro Strum once
on the G chord, change to the C chord and strum once, go back to the G chord, etc.

G-C-G-C-G-C-G-C-G-C-G-C-G-C-G-C

Hint - Practice moving the left hand as one continuous movement. In this ex-
ercse concentrate on the middle and ring fingers. Thc index and little fingers will
fall in place.

Note - If you have questions regarding chording the guitar, we recommend that
you either purchase the DVD that accompanies this book or ask a qualified teacher.

Practicing a little each day is better than

practicing a lot all at once. 10
(VTHE D CHORD ;1JI : ! M
VIOO O

?
051
 12-13

The third chord is a D

chord. Position your fingers as
shown:

X means don't
strum this string.

EXERCISE4
Strum the D chord frorn the 5th string down towards the floor in one smooth
strokc.

D-D-D-D-D-D-D-D-D-D-D-D-D-D-D-D

EXERCISE 5
Practice changing between the G & D chords, strumming once for each chord
as follows:

G-D-G-D-G-D-G-D-G-D-G-D-G-D-G-D

EXERCISE 6
Now practice changing between all three chords.

G-C-D-G-C-D-G-C-D-G-C-D-G-C-D-G-C-D

Hint - One way to practice is to change from one chord to the other with the left
hand only, without strumming with the rght hand. When this feels cornfortable, add
the right hand strum.

oai new songs slowly and relaxed. 11

Work on speed after you can play it perfectly.
PLAYING OUR FIRST SONG 13:251 2 Y VID E

E
O

14-15
 Using the G, C, and D chords and a simple downstroke, we can now play our first
songs. We'll start with songs that everybody knows. Every time you see the follow-
ing mark (/), strum down one time. Play along with the CD or DVD.

TOMDOOLEY
Traditional

G
Hang down your head Tom Doo - ley
/ / / / / / / /
2 3 4 1 2 3 4

D
Hand down your head and cry
/ / / / / / / /
2 3 4 2 3 4

Hang down your head Tom Doo - ley

/ / / / / / / /

2 3 4 2 3 4

G
Poor boy you'rc bound to die
1 2 3 4 1 2 3 4
/ / / / / / / /

Kingston Trio - The Very Best of the Kingston Trio

Grateful Dead - Reckoning - Disc 2
Doc Watson - The Essential Doc Watson 12
 Now we'll use the C & G chords to play another songo Count in the same manner
and strum down on every beat. Again, play along with the CD or DVD.

HE'S GOT THE WHOLE WORLD1l15:151 .!

V

16-17
ro ?
ID E O
 Traditional
He's got the
e
whole world m his hands he's got the
/ / / / / / / /
1 2 3 4 2 3 4

G
whole world In his hands he's got the
/ / / / / / / /
1 2 3 4 1 2 3 4

e
whole world 111 his hands he's got the
/ / / / / / / /
2 3 4 1 2 3 4

G e
whole world 111 his hands
1 2 3 4 1 2 3 4
/ / / / / / / /

Isley Brothers - Shout - The RCA Recordings

Nina Simone - The Great Nina Simone
Statler Brothers - The Statler Brothers Sing The C1assics 13
 Next we'll use all three chords (G, C, & D) to play another songo Count in the
same manner and play along with the CD or DVD.

GOING DOWN THAT ROAD ... 1116:581 ~

18-

Traditional

G
Going down that road feeling bad
/ / / / / / / / / / / / / / / /
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

e G
Going down that road feeling bad
/ / / / / / / / / / / / / / / /
2 3 4 2 3 4 2 3 4 1 2 3 4

e G
Going down that road feeling bad Lord, Lord, and 1
/ / / / / / / / / / / / / / / /
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

D G
ain't gonna be treatcd this a way
/ / / / / / / / / / / / / / / /
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Grateful Dead - 1973-06-10 RFK

Stadium Doc Watson - The Essential Doc
Watson Johnny Cash - The Survivors 14
Uve
 TABLATURE
This book is written in both tablature and standard music notation. If you wish
to learn to read music, consult your local music store for a good book or ask your
music teacher for an explanation. We will explain tablature because it is easy to learn
ifyou are teaching yourselfand because a lot ofpopular guitar music is available in
tablature.

Tablature is a system for writing music that shows the proper string and fret
to play and which fingers to use. lt also shows the proper pick direction. In guitar
tablature, each line represents a string on the guitar. If the string is to be fretted, the
fret number is written on the appropriate lineo Otherwise a O is written. Study the
examples below until you understand them thoroughly.
 ", fl ", fl
11
,
.
~
~
'
f)
1st String
2nd Strinll!
- f) ....
\ ~
3rd Strin g
.L
~
{J.
4th Strin Cg ..... ~ ll'
,...
5th String
6th String , D r
\
\
'\ V
1 st string open 3rd string frette
(not fretted) @ 2nd fret

2nd string fretted 6th string open

@ 3rd fret (not fretted)

The music will be divided into either two sets of lines (staffs) or three sets of
lines.

Melody'---
",

'T
"
f'l
VI
-._
---,
-tJ
\7
--
,.,-/1 VI
f'l
, I
~Guitar Notation=-s- 'T
-r.

" f)" '"

"'" '-J "

t) { 7

.L
s-> Guitar Tab
.. .
A . A

[)

"
Learning music theory will help you 15
understand how muste ls written.
 GSCALE
At this point we'll start working on the G scale to help the coordination between
the left and right hands. Most students will find scales easier than leaming chords.

EXERCISE 9
Play the following scale exercise using all down strokcs. The numbers in paren-
thesis indicate the left hand fingering.
 I
- - o

.-
-'11'-
r
"
f.) - - ;f -=1- . ...
I I
v i ~ J-
....
(2) (3) (2) (3) (2) (4) (2) (1) (3) (2) (3)
f,;\
" '"' . ..J

IH"""l\----+--+----+--f---4--+---+-fAt-'-1-A-+-d:---:.
~ A ,.:..;, \. 4. "T
v1_+---+-_
4-
+--+--+- --+-
1~~-----R--2~3~~u~ _~~~~J ~_~-~--~

E FU G A BCD E FU G A B e D E F# G

Notes:

l. Practiee one string at a time, getting each note to sound clear1y before moving
on to the next string. Each note should be hcld an equal amount of time.

2. Use the same left hand finger as the fret you are playing. This is called "frets
and fingers the same". For example:

1st fret is played with the 1st finger ofthe left hand.
2nd fret is played with the 2nd finger of the left hand.
3rd fret is playcd with the 3rd finger of the left hand.
4th fret is played with the 4th finger of the left hand.

3. Practice this exercise 5 minutes each day until you can play all of the notes.

4. The 1 st and 2nd left hand fingers are much stronger than the 3rd and 4th fin-
gers. It will take a few months of practice before the 3rd and 4th fingers gain
strength.

Working with a metronome helps you 16

proake slowly and gradually increase speed.
CI D
o
EXERCISE 10

Play the reverse of Exercise 9 as follows:

.u -
..
,.; fl I
,
I

" ....._
 t) I I - -,J--:J_-r- -
-
7T : U
(3) (2) (3) (1) (2) (4) (2) (3) (2) (3) (2)

.. '" '4"- A

'T '"' A

-l J.. V _ft

P .
~
'"4- V :.
A ,., ~
_, ""~
D
G F# E D e B A G F# E D e B A G F 'i

Practice the exercises until you can play them with no mistakes and have com-
mitted them to memory. At this point, close your eyes and continue practicing.

Each practice session should be divided between practicing chord changes, play-
ing rhythm, and playing scales.

If your ptaaue sounds good 011 the time, 17

you're not challenging yourself.
PRACTICE 21:131 er
VID eo

e
21
 The most important part of leaming to play the guitar is to develop consistent and efficient
practice habits. The beginning student must have patience because playing the guitar requires
training the hands to do movernents they have never done before and to strengthen rnuscles not
normallyused. You should average 30 minutes ofpractice each day. With consistent practice you
should be comfortable with the guitar and be able to playa few songs within a couple of weeks.
Once you leam to playa few things on the guitar, you'll find the leaming process comes easier
and your progress will start to snowball.

Following are sorne helpful hints and pointers conceming practice:

1. Practice 30 minutes a day if you are a beginner and 45 minutes if you are an intermediate.
Divide this time into 15 or 20 minute segments.
2. Set up practice times to coincide with otber activities such as wben you wake up, when you
go to bed, or when you come horne at the end of the day. 10-15 minutes in the moming and
10-15 minutes at night works well for many people.
3. Go over your lesson assignment EVERY day. Even on days that it seerns impossible to
practicc, make yourself go over the lesson for 4 or 5 minutes to reinforce things.
4. If possible, set up a spccial practicc area. Buy an inexpensive music stand and keep your
lessons on it so you can start to work immediately with each practice session.
5. Avoid marathon 2 or 3 hour practice sessions on the weekends. The mind can only COD-
centrate for short periods and most marathon sessions accomplish about the same arnount
of leaming as a 15 minute practicc session. In addition, many students use the "Marathon
Practice Session" as an excuse to not practice every day.
6. Leam to identify and focus on the hard parts of each songo Put your efforts there as opposed
to playing a song from start to finish over and overo Sorne techniques and movements re-
quire several hundred repetitions over several weeks while others are leamed immediately
after a few tries.
7. Practice the guitar at first by looking in a mirror to make sure you are using the propcr
position.
8. Relax - if frustrated with a particular measure or technique, go to another or take a break
and come back after you feel better.
9. Ask your teacher or a friend to let you know bow you are doing every couple of weeks.
It is very encouraging beca use tbey notice your progress even though you think you are
standing still.
10.Record and listen to your own playing. This will help you locate afeas that need work and
also measure progress. Your tapes will improve as you practice more and more.
11.Rernernbcr always - Guitar playing is a lot offun no matter what your level of competence.
Relax and enjoy yourself.
18
 w BASS STRUM
~

At this point you should be fairly cornfortable with the G, C, & D chords and
be able to change between them while strumming. Now we'll add the bass string to
the strum.

The simplest rhythm involves playing one of the bass strings and strurnrning
down on the remaining strings.

EXERCISE 11
Forro a G chord, pick the 6th string with a down stroke, then strum down on the
G chord from the 5th string down through the 1st string, stopping the right handjust
beyond the 1st string.

EXERCISE 12
1. Count from 1 to 4 out loud. Each number must be evenly spaced. You may
pat your foot or use a metronome to make sure each number is even.

2. Form a G chord. Continue counting from 1 to 4. Play the 6th string by it-
self when you count 1 and 3. Strum on 2 and 4. Play along with the CD or
DVD.

1 2 3 4 1 2 3 4
6th Strurn 6th Strum 6th Strum 6th Strum
String String String String

In tablature the exercise looks like this:

~ ~ ~ G
_f
,'".
f.)
.... J -, J I~
-, J -
-,

Strum Down
..
Il.
~
I I
I

,3
I
-
:3 3 -3
1 234 234

19
Forro a e chord, pick the 5th string, and strum from the 4th string down.
 ~ 1\ .u
._._
e
-
JI ff_

...
1\ I
r'-"'"v
'" ~ ~ CIiL

~ -#J -#J I-#J

...
A I I I
~ '! :3 I
:3 I '! I

1 234 1 2 3 4

EXERCISE 14

Form a D chord, pick the 4th string, and strum from the 3rd string down.
~ f
. . ,.
.u D
- ~
.. ..
~

.. ..
~ C II .

\.
>-tJ

..
o.
..... 0 .( 10 L 0
D
-,
2 3 4 1 2 3 4

EXERCISE 15

Now combine al! three chords into one exercise.

Repeat signs

j
", f .~ G
e .... .. D
-
tJ
'# ..
CII.
t- _. _. .. .. CII.

~ J ~ J

....

A
. ... 1 I O (
:3 :3 :3 : I

234 1 234 234

Try to find friends who play. Playing with 2O

others is great fun & yau learn new things as well.
 This icon denotes tbe track numbers on the Acoustic Guitar Jam CDs. See page
29.
/
 fAJif\ TOMDOOLEY 11 ~ 24: ~ v I
o

101 o

\jV - - 23-24
Disc 1
Traditional
~ 1\ ~
.. ...

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-"
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tJ .. I I - ...,.

Hang down your head Tom Doo ley Hang down your head and
fl ~ G
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f CIio CIio ::I l:II. I ::I l:II.

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cry
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head
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...
Doo ley
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I

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poor hoy you're bound to die

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"
Kingston Trio - The Very Best of the Kingston Trio 21
Grateful Dead - Reckoning - Disc 2
Doc Watson - The Essential Doc Watson
CI
Disc 1
GOING DOWN THAT ROAD
I
Gil25 :251 g\@
2'5'-26
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Go mg down that road feel - ing bad
G 11 11

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Grateful Dead - 1973-06-10 RFK Stadium
22
Doc Watson - The Essential Doc Watson
Johnny Cash - The Survivors Uve
w ALTERNATING BASS RHYTHM 1126:351 ~
To put a little more variety in the strum, we'll alternate the bass notes. For instance
with the G chord, instead of playing the 6th string over and over, we'll play the 6th
string and strum, play the 4th string and strum from the 3rd string down. Remember
to start the strum with the string next to and below the bass string,
EXERCISE 18
,/ ~ J G
," l.
- - - 1..

.. ..
'1 '"

~ ~ ~
t) "'" '" =J t ~
t c.

'T
...
I I
( (J
3 3

EXERCISE 19
Form a e chord and alternate between the 5th and 4th strings as follows:

.... ..
-..
,/ ~'1 ~'"
,""'" l.

t)
'-

... ... - ...,

' T
~
2 I I
.~
:3

EXERCISE20
Form a D chord and alternate between the 4th and 5th strings as follows:
,/ ~ ~ D
- - - -
.
c

..
'1 '"
.11

t) 1-"
~

...
~
..
I

I ( I
J: 6 -

Purchase a music stand. People who use 23

one tend to pmai up to 30% longer.
C5V EXERCISE 21
Now practice using aH three chords
 G ._ e ._
~ ~
._.
",

.. ..
~ LA LA LA ~
"- lo.
'v
tJ J J 1"*
~ ~
I
~
I
., I
I.~
I
2 I
r
3 3
",

r
f1 ~
..
LA
..
LA
D
--.. --.. --.. --..
..
tJ"" "*
,..
,..
l

lOiit. lOiit. l3iL lOiit.
'# ..
~
~ ~
...
I
I
2 I
0 I I
-,3 I--.~
l. ()
_L
1t=B t)-I -

'"

Note - Sorne people have difficulty getting a clear sound on the alternate bass
notes because their fingers are too wide and touch adjacent strings or their fingers are
too short and can't be arched properly. If you have this problem, you can compensate
by:

1. Fretting the bass strings with the pad of the fingertip slight1y towards the top
side ofthe fretboard instead ofsquarely on the strings, i.e. on the G chord, move
the middle finger slightly towards the 6th string instead of placing it squarely
on the 5th string.

2. Lifting your finger off the primary bass note as you pick the alternate bass
note, i.e. lift the ring finger off ofthe 5th string ofthe e chord when you pick
the 4th string.

Now play the next song using the aJtemating bass rhythm. After you feel com-
fortable, play along with the Cl) or DVD.

Keep your guitar looking good with guitar 24

polish. Never use furniture polish or deaner.
w
~

Disc 1
HE'S GOT THE WHOLE WORLD lib:251 ~
 Traditional

r'.
e j
J
I
J m J. 1m J J f JJ
!
~ I
He's got the whole world In his hands he's got the
e
fl
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A

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whole world in his hands he's got the whole world
e
f.,l.
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cr;.

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in his hands he's got the whole world in his hands
e
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f.,l. G
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...
Isley Brothers - Shout - The RCA Recordings
Nina Simone - The Great Nina Simone
Statler Brothers - The Statler Brothers Sing The Classics 25
WORRIED MAN BLUES
; ~ VI

129:301 DEO

30-31
 song It

,/ fl J +
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takes a wor - ried Iman to sing a wor-ried song It takes a wor-ried
fl i e G


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1.- 1.- 1.- 1:10.

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13
I
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f-B---3 3 I
1
7
-3

Johnny Cash - At Madison Square Gardens 26

Carter Family - Can The Circle Be Unbroken
Woody Guthrie - Pastures of Plenty
 & =1 ~
CI D .
9
DOWN UP PICKING 31 VID'

o
32
101
 Up to this point the right hand has played all the notes and strums using only
down strokes. We will start mixing down strokes (towards the floor) with up strokes
(towards the eeiling). Play the following exereise to develop your down up pieking
teehnique.

EXERCISE 24
Starting with the 6th string, play the 5th, 6th, 7th, and 8th frets using the index,
middle, ring, and lttle fingers ofthe left hand. Play along with the CD or DVD.

CLASSICAL THUMB PLACEMENT

Notiee that we use the classical plaeement ofthe thumb on the back ofthe neek
to permit the fingers of the left hand to streteh more.

Keep your instrument from being knocked

over. Purchase a guitar stand.
27
CID EXERCISE 25
Continue on each string playing the 5th, 6th, 7th, and 8th frets using the
alternating down and up strokes with the right hand. The complete exercise looks
like this:

,
,_; f' I
- ..-
r
v
'f'\

tJ
"-

~ ,-. b;-J _.
I 1 I

.. 5--6--7--8-
A
)--6--'

28
 -.-.
)-6--7--8
-)-6--7-8
v /\ v /\ V /\ /\ v V /\ V /\ V /\ V /\

,
~, -fl- q-fl-
I~
Down Stroke Up Stroke
,_; f' _ ,U_
~
~
r 'f'\
v
t) I

.. 5-6--7-8
5-6--7-8
A
. ...

V /\ V /\ V /\ V /\
EXERCISE 26

Play the reverse of Exercise 25 by starting at the 1st string at the 8th fret and
I
coming back down.

~ ~

f. !'- ~'!'- ~ ,U_
.. --
... ,..
'
._ ,... ~
..
I I
t) r

-8--7--6--5
-8--7--6-5
4

ts:
-8 -7 ~ _o' ) 4
--1 I-

V /\ V /\ V /\ V /\ V /\ V /\ V /\ V /\
", f
Practice Exercises 25 & 26 along
t) I _. -,; ,-,; ~ with the G scale for at least 5 minutes
each day. You will notice a signifi-
.. cant improvemcnt in both right and
I.l.
_o' - )_.4 1eft hand coordination within the first
--8--7--6--) three weeks.
V /\ V /\ V /\ V /\

28
 AUTHOR'S NOTE
o
lt is time to stop and take a quick inventory ofwhere we are. You should have
accomplished the following:

l. Mastered the G, e, & D chords and change between them easi Iy.
2. Play an altemating bass rhythm to several songs.
3. Spend 5 minutes a day practicing the G scale and down up picking exercises.
4. If you are proficient at the first three, you will be able to play basic rhythm to
many songs.

Review each of the aboye to be sure that you thoroughly understand them. If
you have any questions, we recommend that you either talk to your teacher or review
the Cl) or DVD.

Most students find the following products useful as they progress through the
remainder of this course.

The Acoustic Cuitar Jam CDs is a two Cl) set that plays the first
18 songs in the Acoustic Guitar Primer at three speeds along with an
acoustic band (guitar, bass, mandolin, and vocals). All ofthe verses
are sung on each speed with harmonyparts where appropriate. Quickly
develop the ability to jam with others. 2 Cl) Set $14.95

The follow up course, Acoustic Guitar Book 2, takes you to the next
level of playing rhythm guitar by teaching a variety of rock & country
strums, arpeggios, bar chords, and how to play along with other guitar-
ists. The student plays and sings along with a full band on extended
versions of 17 popular songs. Book $14.95 DVD $14.95

Thelyrics to allofthesongs inthis book are in theBluegrass Fakebook.

It contains Iyrics, chord progressions, and melody lines to 150 ofthe
all-time favorite Bluegrass songs, including 50 gospel tunes as well
as many "new" bluegrass songs. Printed in large, easy-to-read type
with one song per page, this book is excellent for use on stage or in
jam sessions, because everyone can read along. Also includes chord
charts for the guitar, banjo, and mandolin and a listing of currently
available recordings of each songo Now all those obscure verses you
can never remember are right at your fingertips. $14.95

Strings should be replaced at least every

three months, sometimes sooner. 29
 SECTION II

PLAYING
Advanced Rhythm Techniques

30
 ADVANCED RHYTHM TECHNIQUES
From this point on, we'lI be applying the rhythm techniques we've studied to sorne
popular standards. With each new song, we will add new strums, chords, or runs to
make your rhythm playing more varied and interesting. At the same time, continue
spending at least 5 minutes a day on single string exercises (pages 16, 17 and 28).

You should note that each song can be played as simply or as fancy as desired.
The techniques leamed towards the end of the book can be used 00 the first songs and
likewise, the last songs can be played with the simpler strums we learned earlier, A
good bluegrass or country rhythrn player uses the basic alternating bass pattern about
90% ofthe time and uses the other techniques covered in this section to add variety to
the rhythm. When and where we deviate from the altemating bass pattem determines
our individual sound or style.

~ EXERCISE 27
W
We'll add the G7 chord on the next songo Practice
the following exercise: G7

G-G7-C-G-G7-C-G-G7-C

EXERCISE 28
We're going to add a third bass note to the G chord to give it more variety. Prac-
tice this before moving to the next songo

31
 G
." ~ ~

-
tIf

,""
..
r la la : :Ji
"- CI CI CI
V
t)
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J -,J

T
... I
I 'l.
~ -o
j j 2

32
~
~

Disc 1
ROLL IN MY SWEET BABY'S ... 1]34:30] ~
35-36

Traditional

,~
"'_
Ir
-
~ f1 ~ I

"- '"'
A
-
tJ
Ain't gon - na I w~rk on
I
the rail TOad
~.,_P

G
I I
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f1 ~
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I
I loA loA
Ir '" l.

'"
So So So CI CI So So
J
tJ
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J -,J =J I~
II
... I
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-O-
.-. I j_
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-3 -3 :3 :3
,;

J J ti J -
1-
Ain't gon - na
I
work
f f on the
i
I farm
u
~
Gon - na
~

I
I
f1 ~ D .-
CI
.-
CI CI
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lay round this shack Al] mail train comes back And

e
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lo.
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,
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CI CI "1 CI S

- o

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loA loA loA

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Flatt & Scruggs The Best of Flatt & Scruggs 32
Willie Nelson - Willie & Family Uve
Nitty Gritty Dirt Band Will The Circle Be Unbroken Vol 111
~
~ ..
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- ~
I

'"
r- f"'" ......

-T

~
foil
v
m

my
I
sweet b - by's arms

I-fI .u. D
.. .. . G II_

-- CIO.
CIO. CIO. CIO.

...
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toa toa toa

J-,J
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~

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3
"
Roll in my sweet baby's arms
Roll in my sweet baby's arms
Gonna lay around this shack till themail train comes back
And roIl in my sweet baby's arms

Where were you last Saturday night

While 1 was laying down in jail
You were out on the street with another man
Wouldn't even try to go my bail

Chorus

Your Mama was a beauty operator

Sister could weave and spin
Daddy owned a piece ofthat old cotton gin
Watch that money ro11in

Chorus

Note - Most of the songs on the CD or DVD wilI be played at two speeds, slow
for practicing and uptempo for performing. There will be a track number for each
version on the CD or DVD so that you can practice it over and overo

The Let's Jam! CD Country & Bluegrass contains 7 of the songs in this book,
extended versions played at 2 speeds. Check with your local music sto re.
33
w DOWN UP STRUM ~
VIDtO

37

36:001
 Another popular rhythm technique uses a down up strum in place of the down
strum. The down up strum takes the same amount of time as the down strum even
though the right hand moves twice as faro When using the down up strum, the down
stroke is the same as you have been playing, the up stroke is shorter because you only
hit the first 3 strings. The following pictures illustrate the up strokc.

Start of Up Stroke End o"Up Stroke

" '1 .~. G

e
EXERCISE 29 -,
- l-
- - . . ..
l-

.. ..
Count 1 2 & 3 4 &
out loud. The bass notes
t)
-

-- !.. - ..... - J -, '"

1" ... ....
A
1\
I
1\ I 1\

will be played on 1 and 3 \0 I /

-\2
I / 11 2 /
~.

o
_\
L :3
while the down up strum -, :3 :3
2&34& 12&34& 12&34&
is played on 2 & and 4 &
as follows:
,/

,
~
.. .. .. .. .. -- --
::10.
l:Ii. l
: :10.
:Ii.
- -
l :Ii. ::10.

--
l :Ii. ::10.

.. ..
D

""
l-
- l- .. ..

1- .... ~ ~
- --
--- --
t)
- - .. ~
1 1 ' \

.
Strum Up
------..
I
\.V

1\
--._
/ 1
/\
2 1
/\

\ 1 \ (
1 1
/\

\
I

LI1
1 1
1
//\
\ .

 B "j

EXERCISE 30 2 & 3 4 & 1 2 & 3 4 & 1 2 &3 4 &

x
Practice the D7 chord with the following
changes:

D-D7-G-D-D7-G-D-D7-G-D-D7-G

34
fW\ fR\
BANKS OF TRE ORlO ;137:231 ~
38-39
~ ~
 Disc 1
~ ~

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t)
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1 asked my love to take a walk Just a

f.,l ... G ID -
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-
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1.. LA

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CIIt. :lo CIIt. :lo CIIt.

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.,
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'T
.. 1\ 1\ 1\ 1\ 1\ 1\

Lf\
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..... I 11\ I \2 \ ) I I -6 1 I
j j

as we

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walked a - long we talked all a -

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LA

, CIIt. CIIt. CIIt.

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 t) I I I
bout our 'v~ed- day
ding

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fl ~ G D G
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1\
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-,
:3
I
3 3
Joan Baez
- Volume 2
35
Olivia Newton John - The Definitive Collection
Doc Watson/Earl Scruggs/Ricky Skaggs - The Three Pickers
CI D
7
EXERCISE 31 The 1stjointofthe left
index finger bars both the

j
1st and 2nd strings at the
Practice the following chords:
1st fret.
 x X

C-F-C-F-C-F-C-F

C-C7-F-C-C7-F-C-C7-F-C-C7-F
fW\ DARKHOLLOW 1139:171 ~
41-42
~ Traditional
Disc 1
'"
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hol-Iow Wherethe
l'd ra ther be in sorne dark
C G C
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sun don't e - ver shine than to

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36
~ ~ L
u ,,'
t'" u
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be here a - lone just know - ing that you're gone would

 ~ C7

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:.

J " " ""'"

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'"

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t) -# C It.

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-
1\ 1\ J 1\ 1\ J 1\
t.l.

2
J /\ J J
2 J L
2 1 I
u 3 J \ J I
2 J .\ 1-3 :3
-3 I

So blow your whistle freight train

Carry me further on down the track
I'm going away, l'm leaving today
T'rngoing, but 1 ain't corning back

T'drather be in sorne dark hollow

Where the sun don't ever shine
Than to be in sorne big city
In a small room with your love on my mind

Chorus

Note - At this point, you should start practicing the scaJe exercises on page 68
for at least 5 - 10 minutes per day.

Grateful Dead - Reckoning

String Cheese lncident - On The Road
David Grisman - Early Dawg 37
w 3/4 TIME
Quite a few bluegrass, folk, & country tunes are played in 3/4 or waltz tempo. This
means there are three beats per measure and it's counted 1 2 & 3 & 1 2 & 3 &.
 Bass Down Up Down Up Bass Down Up Down Up
1 2 & 3 & 1 2 & 3 &

G
,;' fl tU
,
V ""t

EXERCISE 32 ~
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1\ I 1\

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n
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2 & 3 & 1 2 & 3 &

fR\ EV Y'
~
INTHEPINES ~41:081

rE
~ ~ Traditional
Disc 1

!ga J c:r r t_ rr c_ r J JI
r

~ I
I I

I
In the pines in the pines where the sun ne - ver shines andyou
G71.
~ tU G e IG
-- -
...
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L. _

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D
"3 -3 "3

The longest train T ever saw

Went down that Georgia Line
The engine passed at six o'clock
And the cab passed by at nine

Chorus

Little girl, little girl, what have 1 done

That makes you treat me so
You've caused me to weep, you've caused me to moum
You've caused me to leave my home

Chorus

Dolly Parton - Heartsongs 1994

Grateful Dead - Birth ofthe Dead
Leadbelly - Where Did You Sleep Last Night? 39
.,
41 :451 g\!!?
VIDEO

45
 Practice these two chords with the following progressions:

G-Em-D-G-Em-D-G-Em-D

G-A7-D-G-A7-D-G-A7-D

~ (ftf\ AMAZING GRACE 0 I 42:3 g\!

46-47
VIOEO

S -
01 .
W \itW Disc 1
Traditional
,/ fl .u I

.. ..
I

f.) I
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I "-'"
A ma - zing grace how sweet the sound that

e
.. .. .. ..
~ G G7~
'" G
ti o "1

.,
~ VI loa
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- loa loa

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as lost but now I'm found was
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blind b ut"
1 see
now

~ ~ Em D
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...

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-
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ti

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tI
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 D
-6 3 3

Twas grace that taught my heart to fear When we've been hefe ten thousand years
And grace my fears relieved Bright shining as thc sun
How precious did that grace appear We've no less days to sing God's praise
The hour 1 first believed Than when wc first begun

Elvis Presley - Amazing Grace: His Sacred Songs

Aretha Franklin - Amazing Grace
Neville Brothers - Uve On Planet Earth 41
 You should have been practicing the single string technique and be able to play
it smoothly by now. If not, go back to Exercises 9 and 10 and review. We'll use these
notes out of the G scale as the basis for bass runs to connect the chords together.
 Play the following exercise using all down strokes for thc bass notes.

GD EXERCISE 34 .44:001 VI DEO

48

~ ~ ~ G ... e
,t)
If'
.1
fP
11.
- la

- .. J_ :ro

:ro
1-

--
J ~-J 1 ....

-
:ro
- 1 ....

:ro
-J~

"" '"
CIlio CIlio
"-
I~

o \
.L
1\ t.t.1\ 1 1\ 1 1\ 1\ 1\ 1 1\

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1 \
0-2- 3 1 1 \.2, 1 L
3 1 2,-

...-
1
:3 :3
~~ u G
e
la la

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,
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t)
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la la

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.... - - -
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\ ,2 //
.L

u.
1/\

/ \
3-3
,,_." - ~
1/\ 1/\
~
1\
/ \
,1 _

1 1-

EXERCISE 35 B7
x

Practice the B7 chord. The middle finger doesn't move when changing frorn G
to 87.

G - B7 - e - G - B7 - e - G - B7 - e - G - B7 - e
Note - The DVD contains a mistake in the 1st rncasure ofthe songo The tablature
should read like the 1st measure on the following page.

42
fAR\ PALLET ON YOUR FLOOR ;145: e
W v

Disc 2 001
Traditional
r
1 0.

e o
49-50
~ ~ ~ I

. -
l'

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J
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'-JI

Make me a pal- let 00 your floor

e
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Make me a pal - let on your floor Make it
e
.. .. .. .. .. .. .. ..
~ J~ G

I.a

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-
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CI. CI. CI. CI.

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-
 make it ne- ver know

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Make me a pal - let on your floor

h'
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-
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r ::ro I.a :- ::ro CJr. S. S.
....
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D
3 '2 I
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\
'6-1-
Bob Dylan - Befare the Flood & AfterThe Fire 43
Lucnda Williams - Ramblin'
Gillian Welch - Soul Journey
CSD EXERCISE 36
Next we'll use a bass run to go from G to D.
 .. .- .- - --
.....
--
~
,; I"
... l
G

CIIi. CIIi.
L.
l'!I:;
L. I!I::.
;;;

CIIi. CIIi.
L.
D -


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.

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f?!\
W WAY DOWNTOWN Gll 47:001 2Y VID EO

Disc2 Traditional E52-53

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Late last night when Wil- le carne horne T

..
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-2 / / 1 \
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-, -3 -3

r heard
r
him
f f
rap - ping
r "
on the
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door
:_
I

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6--2 :3 j

44
" 11
,... ~
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1
t'" ~
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'"f) 1 1 1
1

Slip-ping and sli - ding with his new shoes on

 1J1I
f\ ~
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.. .. .. .. .. ..
'"

..
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~ ~Wil-
D he don't
-.. .... ..- -..
you rap no Imore
G
r 1 --
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I

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1

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rt t)
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1 I I \ I I 1)-2-
-2-"-3 :3

Ohme,ohmy Gonna take nothing to rny

What's gonna become of me grave
Way downtown, fooling around Chorus
Mama, don't you cry for me

One old shirt is alll've got

And a dollar is all 1 crave
Brought nothing with me into this world
Wish 1 was down in Old Baltimore Wish 1 had a needIe and thread
Sitting in an easy chair As fine as 1 could sew
One arrn around my oId guitar And the Sew all the good looking girls to my back
other around rny dear Chorus And down the road lid go
Chorus

Nitty Gritty Dirt Band - Will The Circle Be Unbroken

Doc Watson - The Essential Doc Watson
Tony Rice - Tony Rice
45
W EXERCISE 37
" ~8:2U] VIOEO
 ~ 54

Here's a bass run for G to Em.

Em
~ ~ ~ G
-
--
..
'1 .. 1.. _
,
.. --
.11 1.. 1..

"""JI

-
c:. ~ c:. CI.

-
"'" '- Cilio :Ii...

-
tJ
i~ J - - -
:Ii..
.... -
-,J
.
.. ..
~
!:. -- ..... ti -
"""JI
-
... I 1\ I 1\ 1\
~
\
2,
I I \ I 1
,
I \ \ 2, I \ I \ \

:3 :3 3-'2-6 6

EXERCISE 38

When you have several measures ofG in a row, you can give your playing more va-
riety by using this lick. Use the middle finger to fret the 4th string at the 2nd fret.

~ (' ~ G
'I'!' c~ l.a 1..
I
1.._

tJ
-J t. --
... -,J .
.. .
... I
"
1\ 1\
ll.
I 1\ I

\
I 1 1 I
2
T'>

-,
D
:3

~
fAft!\ SITTIN ON TOP OF THE 1149:101 ~
55-56
~

WORL.D.
Disc 2 Traditional

-
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, ro..
...
"-
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 1
In the Spring one sun- ny day m y goo
I d l.
gir
1

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, ro.. '-
... - 1.. 1.. 1..
- 1.. 1..
111

f)
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-
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-t

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46
", r... ~ I
,....... ,........
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I
11

'V I

I Gway
t)
left me now she's gone a now she's
r... ~ e
,"
r la ..
la la la c:5. :10. . :10

_
"
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-

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I
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2-0 13 \ I
2 I
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r
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t) 1 1 1 1
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gone and 1 don't wor - ry cause I'm
r... ~
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I Em
.11 la I
r :10 CIi.

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I :10 :10 :10 c:5.

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11 '
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I 1\ 1\
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3 3 3-2-0 0
", r... ~ 1

..- .... I

,
~

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t) .1 I
sit - tm on top of the world

. . . . - . . -. .-
D
~ ~ G C Ii : 10 c :5 C Ii
G

JI
,"
la la la la

.. _ " .-.

- - --
r c:5. c:5. c:5. c:5.

....
11'
t)
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.. //\ I /\ I /\ I 1\ 1\ 1\

A \ \
O I \ I \ .- I

""'
I
2 I I O I \.2
3 I 3
She called my up from El Paso
Said come back Daddy, Lord 1 miss you so.
Now She's gone and Ldon't worry
Cause l'm sitting on top of the world.

Ashes to ashes, dust to dust

Show me a woman that a man can trust
Now she's gone and Tdon't worry
 Cause l'm sitting on top of the world
Willie Nelson - Milk Cow blues 47
Bob Dylan - Good As 1Been To Vou
LeAnn Rimes - The Best of LeAnn Rimes
0f ;150:301 ~
W HAMMERON 57

A hammer on is a relatively simple technique that will re-

ally spice up your playing. It is a two step process.
First Sound - Pick the open 4th string with the right hand
while holding a partial G chord. The middle finger is poised
aboye the 4th string 2nd fret, ready to pounce down on it.
Second Sound - Hammer down on the 4th string 2nd fret
with the left middle finger to produce a second sound. The
right hand does not move. You must move forcefully with a
lot of pressure to produce the second note. It will take several
attempts to perfect the hammer on.
 ~ --
EXERCISE 39

-_-
~,/ 1\ J.L
, -._ --
-
~
Pick the 4th string as shown. Hammer down on the '-~

4th string 2nd fret to produce a second sound. Do this

for two minutes each day until it becomes natural. -..:
11-
- -O :2-'0-...:2-
:"1 h
EXERCISE40 u

Form a G chord and practice

,- ~ G
,
~
.. !I:: !I::- !I:: !I:: ~ --
: : Iio

- - - -~ J_
-."
f.)
this hammer on. The little and ring
fingers remain stationary in the G ~ ~ ~ ~ ~
,.
I'~

chord position. The middle finger J ~

~
moves for the hammer ons on thc -ro
7\ 7\ 7\ \e
ll.
-( .-1 o\.
I I I

4th and 5th strings. -() -2
D
-3 h - h

EXERCISE41

Now practice the hammer on

with theechord. The ring and index
",.

t)
,...

.. ,
~ e
...
- - - - -
-- - - 1 ...

lo-

fingers rcmain stationary while the

1:;; 1:;;
1- -. .. r..;;: 1:;;
I I...
~L. . ..
....
L. L.
I

middle finger is used for the harn-

mer on.
... 1\ 1\
7\ _1 1\
-, O --i ,
A
-0 -
-
-:,..;-
-
.' " 77 '\
D
77

h h

48
rm fAR\ WABASH CANNONBALL 11= e
51 : v,

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Disc 2 401 of

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58-59
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l. r-

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From

the great Al - lan - tic
~
O-cean
I-!
to the I id e
WI Pa - ei- fie shore
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o'"
from the
e
fl ~ G
La

c:,
La

c:,

La

c:,
La

La La
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La
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CI ...,

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t)
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green & rol-ling moun-tains to the South down a-long the shore she's

... ... ...

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ji ~
1\ 1\ 1\ I 1\ 1\ 1\
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0--2 -3
"

She's known quite well by all a

7 e
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re-gu-Iar com bi na - tion on the Wa bash Can-non ball
fl ~ D
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,O I
-O tt \ O,
I I I I
O I \
0-2 J_~
I (1 / \(
-,
Roy Acuff - Greatest Hits 49 h

Johnny Cash - The Legend: The Great American Songbook

Nitty Gritty Dirt Band - Will The (irele Be Unbroken

i
 er
CI D
7
53:001

e
VIO lO

60
EXERCISE42
 This is a G ron that will be used at the end of a musical phrase for accent.

~ ~ ~
-~

f n '-
G
--
d
-- -
' ..,

...._....
I
-
t) -t J ~:tI ......,: --,J
~
1 O 1

--- "--"
..... i :
L _\_ 2
-, 3 h
h

EXERCISE43
Here's a new walk from G to D.

~J ~ ~
'"
~ ,.
'-
G D
I
:I._ ::r;.
- ..
:I. :I.
G
- .. - La
La

- - -
T :I. c:;.

t) -; -,J ... ~ ... 1" ~ I=;J -1-

I

-'"
I 1\ 1\ J 1\ I 1\
A
~ ~ I
I I \
1
\
"-~ - 0
3 3

Practice these two exercises until you are comfortable with thcm, then we'll use
them in the next songo

Note - Crying Holy is the last song on the DVD. The rest ofthe material in the
book will be on the CD. Make sure to listen to the CD as you practice the remaining
exercises and songs.
50
~ fAftt\ CRYINGHOLY ~53:401 ~
61-
~ ~
Disc 2 Traditional

-
t-

-
"" ~~"" ~
r I
~.
I
"
1

-
I ,_
-:

--
i

~
'"v I
t) 1

fl. ~ Cry mg G ho - ly un - to
the
Lord
G1. Cry-ing
'iI lIf "'1
::.
"
11&.
~

- :J !:.. ~-.J

-- - ... ...
:J
--
t)

--
... -.J

I l. l-l- l- l- l- l- l-

~
'T
~ ~ -.J
~
~ ,.. \ I \ I \ I \ I \
1\ I 1\ I 1\ ,.. I 1\ I 1\ ,.. I 1\ I I 1\
T">

3 I :3
I

:3 - 2---"i
) ,_fl ~
lIf
....
h
~ ~ ~ ~
t)
"""
ho -
--
lyun - to the
~
---...!:t..:---
Lord
!

e
..
-
fl .~ G
-
}# lIf : :.

~
::. ::.

11&. ~
l-
- LA _
LA

... -- - - --
... - -- _"
~ ~ J =:-.!.~ 11'

11&.
1"" l- l- LA LA 0&

t)
-- -.J
 ... I 1\ 1\ 1 11
1\ 1\
-Q I 1\
~
..,. I \ -0-2 I I I I
-0-2 o j. I I
:3 I
3 \
2--1) I I \ I
2 I
I

h :3 '"-" h
) fl .~. h
'iI lIf
,., ,.,
r
""
" "
-
-- - -- -
~f I c ou ld

ly
I sure -
-
would st and on that

t""'" -~ rJ
t- t""'" ~
t) 1 1
~

-_ - - -~:...
l- LA
_f

--
--,J
t)
I~ !:.. LA _

...
- ,-
1\ 1\ 1\ I 1\ I 1\ I 1\ 1\ 1\
~ I I
0-2 I -o I
-0-2 I
\
I 1\-2 o I I
2
I
\

-
:3 n
h :3
>~~ -
-
I -
,"v
I
..... _./
....
It)

~ ~
rock
In
where Mo-
- --
ses stood
G
....
-
l- _

..r
-~
I e, -1 !
=;!.~~
I
-
r
t)
V
- _"
... ... ~ 1- ~ ::I ~
_"
fJ
...
A
-o
1\
\
/ 1\
I I
1\

0-2 o I J \
1\
J I \

J:
3 51 3 - --- -

n
2-3-4 I I
(-
h h
Bill Monroe - The Music of Sill Monroe
Country Gentlemen - Joe's Last Train
JO Crowe & The New South - JD Crowe & The New South
 Next we'l1 play the rhythrn to a couple of
popular bluegrass fiddle tunes that have sorne x F
interesting chord progressions. In rneasure 3, use
the following fingering for the F chord:
~ fAR\ SALTRIVER
W \Y
Disc 2 Traditional

,; ~ ~ G L A e F 1.
D
-

- . 1 -- -
e
- -
LA
~ ~ '--

--
LA L A

J -,J
~

I~ -,J -*
... I
f7F ._

-- - -
1 1'

lO

~-
l.

1-

.. 1\ 1\ 1\ I -/\ I 1\ 1\
~n 3 -o
I I I I I \ TT -''1 I

-3
\_) \ -1-2-3 I \~ 7 ~-4 I

~ ~ ~ G e F 1.- _
-- D - - G


... _ ... -. ...
-~

_.
LA

:. _-::jJ -
" -,
--
CI
\.
e)
~J -,J 11"
,... ~
-,J J
-

'T'
&
I 1\ 1\ 1\ I 1\ I 1\
Q. I I
-3 -O \

-2 0-2-3 I
-3 I 7 -, \ 1
:3 3

.1 LA LA LA 1.- 1.- 1.- - -- -- -- -- -
--
--
G
~ ~ ~ F 1.._- - 1.-

- .... - ...
-- - -- _-
.....

v ..., -- -
 _tI' lO! -lifl'"

1"'\ CI. CI.

1:. 1:. CII. CII. ~ ----

,...
1'"
--- '"

--
-1
\. l'
t)
~ J
... 77\ J 1\
~
A .
. ... I I1\ -2 I I1\
-O I 1\\
-0-2~3 ;':--2 //\ \
:-3 7 I
I \ I \ I I I
-3
'=

n
-3

-- - --- -...- .
l1li I

-- -
1. G
-
- J
G F - D

,
,,/
~ ~


1.- LA
ti
~ ...,

..., In

l"'l'"

--
t) -
,... "...
1-' ..4.
-

ti ,...

". &

1\ 1\ 1\ {\ 1\ -1 -f\ (\

2 -O j_3
I I I \
-1 ,J
I \
7 J \_)
7
.~ I I I I \

3 3
Doc Watson - On Stage
Nickel Cree k - Random Songs
Norman Blake - Whiskey Before Breakfast 5
 Next we'l1 go to thc key of e to play rhythm to another fiddle tune. Payattention
to the repeat signs.
 fR\ BILLY IN THE LOWGROUND
~ Traditional
Disc 2

~ f1
I ". l.
e
.. ..
La La La
La .. .. La La
A
I
...... .. .. .. ..
t) ~-,J
... .... - .... 1'" .... "'-,J
~ - I~ ....
<::
.... I~ .... ~-,J
CI .. CI I La .. La

,

A.
1\ 1\ I 1\ I 1\ 1\ I 1\
A
\ 2 \ \
\C -i \ \
.,..,.
D :3 6-2- r-:3 I
I
:3 I
3-i-6 I
I I .: :----
n
e
.. .. .. .. .. .. e
- -..
~~ Am G
I
r La

""

... .... ...

- - '~ 0
- ~-,J'"
-
t)

..
1 ...
-,J
.... .. :I

1\ I 1\ I 1\ 1\


-
6-2
A I .)
\ 1 I I
~ I \
3 i-3
\
:3 I I \ I
:3
yo.,
_.)
'-
h

e
.. -.. .. .. .. .. --.. .. . -.. -..
~ fl F ~

-

-

:I
La
..
La
CI .. -.:

.......

t) ... - -, - .... 1'"

-- .... ,....., -
"---"'
A.
t 6-i
-
1\ 1\ 1\ 1\ 1\
I
A
.,..,. 6-i :3 I I
6-i---+-:3
I I
3 I \
\ i-
---"1

:3 / I \ I I \ I

D
~ h
h

e
.-. .. .. .. .. .. Am
.. ..
-
 e
G
.. ...
- - I~
7
I

Flatt & Scruggs Uve At The Ash Grove

David Grisman . Here Today
Tony Rice California Autumn 5
 THEGRUN
The G run is used quite often in bluegrass to accent the end of a phrase, verse,
or chorus. lt is also used to start and end instrumental lead guitar breaks. Here are
variations of the G run that can be used interchangeably.
 ",

~
fl '" . l.
G
'"
..... -, ....
J '- ...,

'\.

Basic G Run u =iJ~pJl~.

D.
...
1
1\

\6 , 1\
\
~ .-1-' 6-2-6 7 -, 77
[)
3
VV AVAVA

"
", G
''""
.. ..
'\.
.11 V l l.. l.. ..., l.. L-
..;.,.

. ~ --.
=J J
Rhythmic
....
'--"

'" "-
J ISO. ISO. ISO.

Variation u ISO. IS.

._ ....
,,
... I 1\ j 7'\ I 1\

~
D.
I 6-
_.
7 T\l) 7
\

3 h

Chromatic
Variation

",
11
f ~
..
G
.
.11 l. LA La
"-
..., -
Quarter Note u -,J _. ~_. l ..._ ~
~
Variation
... I
.0-6-2 .(1
I
3 -2-3--4 ....... 77 \
n
v V V V V V V
54
rm
w PULLOFFS
Pull offs are the opposite of hammer ons and help add varicty to your playing.

EXERCISE44
First Sound - Pick the 4th string at the 2nd fret to pro-
duce the first sound.

Second Sound - While the note is ringing, pull the 2nd

finger down and off the string to produce the second
sound. lt is written like this:
 " f' ~

--. .
-~

r
'v'"
-_...

'T

.f--.I=..'1..t. ..--- i -()i~-()----..

p p

EXERCISE 45
Pull offs can be used in the G runo
,

-
ti' f' G
,, .....,
-
-~
..., LA LA

--
c,
"
..., ::r;.

tJ
=- ~ ~~. -:.J

'T v
....
I

()-ij
.-. I \ () I I \
:3 .()- 1-"
(\.
.() 1\ 1\
I

VV /\V/\V
00
~ LITTLE MAGGIE
Disc 2 Traditional
 - .. .. - -
r - r-
r -
'1 ...
"
,; ~ ~ I
r-

t) "l
Yon - der stands lit - tle Mag - gle with a

~ ~ G F
-- - - - -
..
-- - -- - .. .. -I
~ _6.

.... -- ....
~

-
r o'\. CIlio CIlio
,
V
-
t)
!:..
- I I

""""iI

... .1 1\ 1\ I 1\ 1\ 1\
A.
~D
, , \ -2 ,, \
L
-2-3 I l :3 '
'_ _I'--
3 3 \

,
..
LL

~
r- " '" -
,; ~ ... ,., ,.. - J

TI _", .A

t) I
dram glass I her hand She's

~ ~ G D - - --
..
G -_
- -_..
CIlio CIlio :lo CIlio

--
~
."'.."

--
-- I~ --
:lo

:..
V

:;t
CIlio
-,--
-
t)
J ~ I~ ~ ~

, I

li 1
7

S
1 r ~

l 7 \:
i-i r T "\
~ t: 7 "\
11
Z 1 "\ t Z 1;
I

f l\ ~
Il
l 1\ l 1\
I 1\ l 1\ l Q

r n
, ]S
1 ts ] ts 1 t: n
] ts

J j -
pas - sing a her trou - bles by

- ..

-
F
-- --
...... ....- - ..
- _--
JI ...
1\

-
I

-- _+,J_,I'-'\\_-r',---'.11--
I O-f--f--Jr-\--
- - 1I:.~\==....::---!:"'
 ..L/ L_A--, -L.._.~2_:-~_

I 1\ I 1\ 1\
-I--I---\- ...
I
\ 2
.,-~-- 3---------------------------------~------------------~

56
'" f'
r
~
'1 ..
.11

'"
-
,.. "
r- -
r- ,...
...-=-.

_l

.U ......
I

I
I
-
....
 tJ court- ing a - noth - ~r man

f' ~ G
D
-
: s. -- G tIf!_tIf!_

-
: :s.

,
tJ
~ ...... -._. .. -~ =iJ.#~~
.. ~ .... .. ....
..
-
'T
~ I 1\

10
1\ 1\ .....
Q-2 - 0
., I 1\ 1\

0 I

--
\I I
A
I
'2-3 \ O i-~
-
'"' I \ .L .L I I
:3 -3. p

Oh, how can 1 ever stand it

Just to see them two blue eyes
Shining in the moonlight
Like two diamonds in the skies

Pretty flowers were made for blooming

Pretty stars were made to shine
Pretty women were made for loving
Little Maggie was made for mine

Last time 1 saw little Maggie

She was setting on the banks of the sea
With a forty four around her
And a banjo on her knee

Lay down your last gold dollar

Lay down your gold watch and chain
Little Maggie's gonna dance for Daddy
Listen to this old banjo ring

Go away, go away little Maggie

Go and do the best you can
I'll get me another woman
You can get you another man

Bob Dylan - Good As I Been To You

Ricky Skaggs - Bluegrass Rules
Ralph Stanley - Best of Ralph Stanley 57
~
W EXERCISE 46

We will use sorne rbytbrnic variations for the next songo

 ,/ f'I G
,
J.I,

_6.
r
, ""v" "-
CI
::lo

ItJ ~
J
1--
o.

A. 1
T'"'o I I _1
D
3
" 2 3 & 4

EXERCISE47
-: f ~
.. G

r
I

'"
tJ
6.
"-

~
loa
::lo

,
loa
CI

-- --
-::I
loa
l::I ::I

LO. I I't. J I't.

A I I
T'"'o I \ \
j
1 2 3 & 4 &

~(ft(\
~@ NINE POUND HAMMER
Disc 2
Traditional

r'CJJ
I
Ji$) J
This 9 lb. lham- mer
't 'lFF[]r
is a lit-tIe too
,$) J
hea - vy
't
I
- ~
for
r I
my I

!** e iJ,uu gUll J ;J ~ !J@ J i

EL 11 IIA /1\ 11//\ t ! 1 11/\ lA! !tAi}_

h h

58
 - - - -
,; ~ ~
'" ,
\.
, ... , ... ,.....
 , ...,

.. h
",. ..
_

~~
tJ U ......... I
size bud-dy for my size RoIl on
fl ~ G D :

-- --
:s;. : :s;.
G
-
: :s;. C Ii.

-
,
.. -~ .. .. ,
1.. 1.. 1..
...,
~
"'"

- -t! ~.#~
tJ - J J
::s;. ::s;. ::s;.

--
CIi. C Ii.

: ~ I 1\
_\
....
A. (

-,;
--
- -
o 1\ 1\

--
I I
-0-2-0
-
\
B I I
-2-3 I I
O I

-3 3. p
h
A V
..
- ..
,; ~ r---"l r---I r--I
. ."- - ..

- ..., .
-
..,
- -
- ~
-
\. ..., .....1

-
..., 'h A'
tJ ...,

bud - dy don't you roIl so slow how can 1

.. .. .. .. .
~ ~ G e
.. .. .. .. .. .
, J I~ J
"- 1..

.. - .. -
1"'"

.....
~-,I
..

.. ...

-- -
tJ
~
J

-
!:Ir 1..

~
o.
1\
- 1\
'---"

(l-
-0-2 o \ 0-2
\ I

- -h
I
-3 3 3 \ \
-3
h
 ,; ~ ~

- ..
,
'.
'_\.
l'
~ ..
~ ",... .,...
-
"

v ...,

tJ ........ ...... I
roll w len thewheels won't go

-- --
,
- -
~ ~ G D G

. ... ..
'1 .. CIi. CIi. CIi. CI

tJ

.
~
J
--
-,1--.-
.
I
~ 1 1'
-- ~.#~~
....
~

I
-- -
I I
1\ 1\ I 1\
-O 1\

\ 2-3 I
0-2-0
I I I I \.
1 l2
3 r-: -
--
1 \ 3.

O
h
-- l'

A V

John Prine - Sweet Revenge

Jerry Garcia & David Grisman - Been Al! Around This World
Johnny Cash - Blood, Sweat, & Tears 59
 SECTION III
LEAD PLAYING

60
 Seetion III will deal with playing lead guitar (flatpieking). There are two basie
approaehes to bluegrass lead playing:

l. Chord Style - This involves using the basie rhythm teehniques we have been
studying and pieking out the melody on the bass notes.

2. Single String Style - This is similar to playing seales and seale exereises. The
melody is played with single notes ueing down up picking.

@
,

9
SLIDES
A slide is a technique similar to a hammer on and is played as fol1ows:

First Sound - Play the 3rd string noted at the 2nd fret. The middle finger ofthe
left hand is used to note the 3rd string.

Second Sound - While the note is ringing, slide your middle fingcr up to the 3rd
string 4th fret. The middle finger presses down on the 3rd string as it travels
from the 2nd fret to the 4th fret.

Praetiee the following exereise until you can play it clearly.

61
EXERCISE48

.- . ..,

(2) (2) _---ft-- Left Hand Fingering

-~-------2~4-i-4------~

62
WILDWOOD FLOWER CHORDS
In Wildwood Flower, we will using the following fingering to go from G to the e
chord. Note that the ring finger and little finger remain in place as you switch from
one to the other.

JOHN HARDY CHORDS

John Hardy on page 64 uses these fingerings for the e chord in measures 2 and
3.
 C/E Csus4
(i)
()

Note - Before attempting the songs on the following pages, you should practico
the scale exercises on page 68 and Exercises 25 and 26 on page 28 to strengthen your
left hand and to improve the accuracy of your right hand.
WILDWOOD FLOWER
Traditional
,;' f' .u. G D
.1 La
- :::r;;. :::r;;.

- ---
11"
-,J ~

- -
~
'!.. 1-,1 1 1" -- -,1

--
, :::r;;. :::r;;.

t)

=i; -,1 -- 1\ I 1\ I

(J
0-
-
D
A I I \
T"> -3 '2-3 ' I
" \ .)-" --t-(
I
2-'( ----l
n
"~
r"
..
u G .:
-
La

r
'" - ro

-
La La

....
-
t) 1- ._
-:- 1-,1 11" ---,1

-- ...
., I I

:::r;;. :::r;;. ..., :::r;;. :::r;;. ..., :::r;;. :::r;;.

~
J ~ -, j
-,J
~
..., ...,

~
0
z.
I 1\ I I 1\
Il. 1\\
.0-2 0 I I
T">

-3
I I \ 0-2 0-2
- h
n -3 '2-~
0 I
-- n
') \
-" -

D
- G
-
r" ~ .u. :::r;;.

-
I

-
t) ~ -

-,1 ~
~
1-
1 1"

-- ~ .... - ..., - I
 --- I

I 1\ I
O O

.(

-
'0-1 '2-
I 1\
u.

3
'O-i 0
I

B ( I 1
2-'1 I
h
1 \

e G

- - ...
,;' ~ .u.
, La ro ..., La :::r;;. :::r;;.
r-

-
La ...,

r

...,

'" ...._ ; ~

....
v
t) - j
..., - ...,
- ~
-,J

I I
.0

'0 0-2 O 'O-i I 1\

0 - 2
I 1\

- 2- - O
0-
--
--
I \ I \
Il.
T"> 3 2-''!
I I

n n n

,;' ~ .u.
D
-- G o

- .... i=i ~#~ .. .~

...,
t) -,1 ---,1 -,1 ~
I~
~
I I

o o .1

1\ 1\
I
\
0-2-
...... ." I \
3-i-L0 I I
2-0 0 ---< -- I

I:
3 -1-" P
VV AVAV
Carter Family - Wildwood Flower
Emmylou Harris - The Bailad Of Sally Rose
Johnny Cash - Uve At Madison Square Gardens 63
w Traditional

JOHNHARDY
 - -
:;;;: t- :;;;: r..;;

~ ._
~ ._ ._
~
""
r IS.
l!I:: IS. IS. IS.

.- .- G
_, f .u e
.... .... .... .... ,-
--
IS.

... -,J ~-,J

"'"iI

\. V = ~-,J l!I:: ..., rJ.

1 -~ -
tJ 1 .......

---.-
'T
.1.
I
,-/\ 1\ I 1\ I 1\ 1\ 1\
1\

~
o: 7 I
27
TI..
-3 -1 T\ ~2 I \
6 I
.2 7
I \ /
-\'-2-
-3 -o ,-1-3

e .. .. . ... '

,
.,; f .u G
,

-- -- --
I

--. --.
....
--
t- I

....
........,

IS. -...._..- I
tJ I
.... ~ -,J::" ~-,J
-...._..- I=
'T I
, ~ 1\ 1\ 1\ 1\ I 1\

, , -,
I I ) .)

3 / - 2 \ \
/ I \
7\'-2 /7
\
6 ,2-
-- 13 I
-, 11
h

" J J U 13 J J J 3 1 J U 13 J J J I
I! l /1\ i //\ Ii i-1-1 Ii //\ l II~ ! i l 1
Id
.,; ~ ......
-
IS. -- IS.
G .. .. ._ n

...
IS. I
~

... . ,. . ...
I
'T
" IS. IS. !:li
. ..
.. . ,

"'
. . .. '"
-::::r

-~

'V- tI - 1 1 '
-,J ~
.. ~ 11
1 ~

7

 'l'" \:
-r I 1\ 17\ 1\ I
...
7!i.
f)
~
/ \

-
I
-3 -~ '
1 I :2 , 0 ~
I
3 r
I

George Thorogood - Box OfThe Blues

Leadbelly - Goodnight Irene
Tony Rice - Cold On The Shoulder 6
 The next songs will utilize the scale exercises on page 68. Make sure you are
cornfortable with tbese exercises before attempting these songs.
CI D 2
OLD JOE CLARK
Traditional
",

I
~.

wr ..
~
,.
G 1.
.- 1"'
-
....
1._ _ D

t)
w
'T
.L

~
..,.
D

VAVAVAVA VAVAVAV VAVAVAVI\ V V 1\ V

G

.
D G
-
", f ~ 1._ _

_
,
.JI

'\,'1.1 - r- - . - .... -
1"\. .... - 1"' .....
.... ,.

j
t)
W I I I I
-: .:> - ~ -(
- -': - -(
-:_j L-: - -(
-Z-o- A-Z-0-4-2-0T2- -O 6-2 -o
-
L

.,."

-, u
VAVAVAVA VAVl\vAv VAVAVAVA V V V

wr ..

- .. .. .. ..
- .... .. . - -
F
.....-
I 1 .
", f ~ G - I

..... ..... ....
1"'
.
.....
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68
 MUSIC THEORY
To become an accomplished guitarist you must understand sorne basic principal s about the guitar
and music in general so that you can get the overall picture of the music you are playing.

A major scale consists of 7 notes, which we will number 1-7.

Notes In Major Sea les

ScaJe 2 3 4 5 6 7
Key ofC D E F G B
Key ofG (1#) A B C O F#
Key ofO (2#) E F# G C#
Key of A (3#) B C# D G#
Key o' E (4#) F# G#, A 0#
KeyofF (lb) Qf
~ 'Bb E
Key of Bb Ob) C D Eb A
KeyofEO (3b) F G Ab D
Keyof Ab (4b) Bb e Dh G

A chromatie sea le consists of 12 notes, a11the notes possible to play in one octave. AH of the notes
are shown below. The notes on top of each other are identical. For instance, the A# and the Bb are the
same. These are called enharmonic tones.

Chromatic Scale
1 2 3 4 5 6 7 8 9 10 11 12
A A# B C C# D 0# E F F# G G#
Bb Db Eb Gb Ab

Notice that there is no note between B & C, and no note between E & F. A half step is one note in
the chromatic scale (A to A# is a half step). This corresponds to one fret on the guitar. A whole step is
two notes in the chromatic scale (A to B is a whole step). This corresponds to two frets on the guitar.

To figure out the notes in any major scale, use the following guides:

Notes 2 3 4 5 6 7 1
whole step whole step half step whole step whole step whole step half step

For exarnple, to figure out the notes in an A scale, start with an A note in the chromatic scale. To go
to note 2 make a whole step to B (2 frets 00 the guitar). Note 3 would be a whole step to C#. Note 4 is
a half step to D (1 fret on the guitar). Note 5 is a whole step to E. Note 6 is a whole step to F#. Note 7
is a whole step to G#. Note 1 is a half step back to A.

69
 A relationship exists between scales and chords known as chord progressions. We started wirh
several three chord songs. The most common chords used are the Ist, 4th, & 5th chords of a key. For
example, we first played in the key of G, using the G, e, & D chords, There are many songs that use
only these three chords.

The following chart shows the common chord progressions that you will encounter:

70
 Common Chords Commonly Cal1ed Example
lst 1st note of scale (major chord) ('fonie) G
4th 4th note of scale (major chord) (Subdominant) e
5th 5th note of scale (major chord) (Dorninant) D
6th minor 6th note of scale (minor chord) (Relative Minor) Em
2nd 2nd note of scale (major chord) A
2nd minor 2nd note of scale (minor chord) Am
3rd 3rd note of scale (major chord) B
3rd minor 3rd note of scale (minor chord) Bm
b7th 7th note of scale moved down a half step (major chord) F
1 (7th) 1st note of scale (dominant 7th chord) 1~ J (7th) ~ 4 G7
5 (7th) 5th note of scale (dominant 7th chord) 5~ 5 (7th)~ 1 D7
h3rd 3rd note of scale moved down a half step (major chord)
b6th Bb th note of scale moved down a half step (major chord)
Eb

A major chord consists of thrcc notes. the 1st, 3rd. & 5th notes of that particular scale. Although
we are often strurnming 6 strings al a time, we are only playing a combination of three notes. For ex-
ample, the first chord we played was a G chord, which consists of G, B, & D. The 6 notes played when
you strum an open G chord are G, B, D, G, B, & G.
A dominant 7th chord, cornmonly called the 7th chord, is a four note chord consisting of the 1st.
3rd, Sth. & b7th notes of that scale. The 7th sound comes from adding the b7th note (7th lowered a half
step). For example, a G7 chord is cornposed of G, B. D, & F.
A minor chord consists of three notes, the l st, b3rd, & 5th notes of that scale. The minor sound
comes from lowering the 3rd a half step. A Gm chord is composcd of G, Bb, & D.
A minor 7th chord consists of the 1st, b3rd, 5th, & b7th notes of that scale. For cxample, a Gm7 is
cornposed of G, Bb, D, & F.
The following chart shows what notes these and other common chords are composed of:

Chord Notes Exarnple

Major 1st. 3rd. 5th G G,B,D
7th 1st, 3rd, 5th, b7th G7 G,B,D,F
Minor Ist, b3rd, 5th Gm G,Bb,D
Minor 7th 1st, b3rd, 5th, b7th Gm7 G. Bb, D, F
Major 7th Ist, 3rd. 5th, 7th Grnaj7 G,B, D. F#
9th 1st, 2nd, 3rd, Sth. b7th G9 G,A,B,D,F
sus4 Ist, 3rd, 4th, 5th Gsus4 G,B,e,D
Diminished 1st, b3rd, b5th, 6th 1-.
Gdim G, Bb,Db, E
Augmented 1st, 3rd, #5th G+ G,B,D#

71
 CIRCLE OF 5THS
The eircle of5ths is useful for memorizing the order ofsharp or flat keys, as well as the order in which
the sharps or flats oceur.
Beginning with the key of e and moving clockwise in steps of 5ths, each key has one more sharp
than the one before it. Moving eounterc1oekwise from e in steps of 4ths, ea eh key has one more fat than
the one before it.
Each new sharp is the 7th ofthe key in whieh it occurs. Eaeh new flat is the 4th ofthe key in which
it occurs.
The key signatures as they would appear in music notation are shown inside the circle. To figure out
thc name o' the flat keys from thc key signature, use the next to last fat. Move the last sharp up one note
(1/2 step or 1 fret) to figure out the name of the sharp keys.
Notiee that there are 12 different major keys, but three ofthem have different names. Keys that have
the same key signaturc, but have different names are called enharrnonic kcys.
Thc rc1ative minor key of each major key, which is the 6th of that key, is shown inside the circle. The
relativc minor has the same key signaturc as 1tS relative major key.

Key-4ths Flats-4ths Key-5ths Sharps-7ths

e
F - lb

Eb - 3b

Ebm
e#m
Gb - 6b
F#- 6#
 CHORDCHART
There is a chord chart on the following page that shows all ofthe common chords
you will encounter. Notice that they are laid out in sequence with all of the different
type chords on the same line. For instance, all of the different G chords are on the
first linc. They are also aligned vertically in finger pattcms. For example, all ofthe
7th chords are in the third column.

The small x on top of the chord diagram mean s don't strum this string because it
would be a note that is not in the chord.

x C#7
x""'--
~ Do not strum the
6th or 1st strings.

The Roman numeral at the right side of the chord shows the fret position of the
index finger.

F#
11
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O

with 6
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~ Taking 3 4
private lessons
~ from a qualified
teacher is always
a good idea. music
store to find a
good instructor.
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74
 Use books as stand-alone
or as part of a complete,
proven system

" . " ... , """"'''7''y ............

Guitarist's Jam System ForTeachers & Students

ISBN 1-893907-25-2

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6 95963 85514 1