ELEMENTS FOR GUITAR. GUITAR BOOK 1 Teacher Preview COMPREHENSIVE GUITAR METHOD WILL SCHMID BOB MORRIS A U DIO CDESSENTIAL

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CD not included in Teacher Preview

GUITAR BOOK 1 – Teacher Preview

ESSENTIAL ELEMENTS FOR GUITAR

COMPREHENSIVE GUITAR METHOD

WILL SCHMID BOB MORRIS

Essential Elements for Guitar Book/CD – HL00862639/$17.95 Please see your favorite music retailer to purchase the complete book/CD package.

5

PLAYING CHORDS Study the photos and diagrams below to begin playing chords. Depress the string indicated with the tip of your 1st finger. Arch your finger to avoid touching strings that are to be played open. With your right hand holding the pick over the soundhole, strum across strings 3 through 1 in a downward motion. Or you may strum the strings with your thumb. The full versions of the C and G7 chords can be found on pages 23 and 25, respectively.

x

C

x

x

o

o

1

Chord

x

x

x

o

G7

o

1

Chord

STRUM BUILDER 1 When the chords are used as accompaniment to singing, they must be strummed with a steady, even stroke. Practice the following exercises by strumming once for each slash mark ( ’ ), and changing chords when indicated above the slashes. Repeat the patterns several times while focusing on playing clear and evenly spaced chords.

1. A PERFECT PAIR

C

’ ’ ’ ’ ’ ’ ’ ’

G7

’ ’ ’ ’ ’ ’ ’ ’

2. ROLLING ALONG

C

G7

C

G7

C

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

2

7

PLAYING CHORDS Now let’s try strumming and singing your first two songs.

TRACK 2

When playing along with the CD, listen for the clicks at the start of each song to help you feel the beat.

4. HE’S GOT THE WHOLE WORLD IN HIS HANDS C



Time Signature

44 œj œ Heʼs

got

G7

œ

˙

the

whole



whole

world

j œ œ

j œ œ

in

hands,

His



j œ œ.

continue strumming

world

j œ œ

j œ œ

in

hands,

j œ œ.

˙



His

j œ œ

j œ œ

in

hands,

His

African-American

œ

œ

œ

Heʼs

got

the

C

j œ œ.

œ

œ

œ

˙

Heʼs

got

the

whole

G7

œ

œ

œ

œ

œ

Heʼs

got

the

whole

world

world

C

j œ œ. in

Double Bar

j œ

˙

His

hands. Copyright © 2005 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

..

THEORY

..

Repeat Sign

Without stopping, play once again from the previous repeat sign.

TRACK 3

5. WATER COME A ME EYE C



4 4œ





j œ œ œ œ

Ev - ʼry

œ

time

œ œ œ

Ev - ʼry

I



Trinidad

j œ œ

œ

œ

œ

I

think

œ

j œœ œœ

j œœ œœ œœ œœ

Li - za,

wa - ter

come

œ

re - mem - ber

time

G7

continue strumming

G7

œ

œ

j œœ œœ œœ œ œ

Li - za,

wa - ter

come

a

Œ

˙˙ ..

me

j œœ œœ

œ

of

a

C

eye.

C

Double Bar

Œ

˙.

me

eye.

Repeat Sign

..

C

G7

œ

œ

Come

back

œ

œ

œ

˙

j œœ œœ

come

back

gal,

wa - ter

œ

Li - za,

G7

œ

œ

Come

back

œ

œ

Li - za,

j œœ œœ œœ œœ come

a

œ

œ

˙

j œœ œœ

come

back

gal,

wa - ter

come

me

Œ

˙˙ ..

me

j œœ œœ œœ œœ a

C

eye.

C

˙.

Repeat Sign

Œ

..

eye. Copyright © 2005 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

3

9

NOTES ON THE FIRST STRING Now let’s play some single notes. Follow the same right- and left-hand position guidelines as you did with chords. Here you will pick only one string at a time. Treble Clef

E

w

&

open

E



open

1

F

w

&

1st fret 1st finger

F

w

G

&

3rd fret 3rd finger



Downstroke

This sign tells you to strike the string or strings with a downward motion of the pick or thumb.

10. WHOLE NOTES

4 w≥ &4

1

0

Count 1

2

3

4

11. HALF NOTES

4 ˙≥ &4 1

˙≥

2

3

4

w≥

3

w≥

Hold down 1st finger 1 2 3 4

1

˙

˙

1

12. QUARTER NOTES

4

G

3

˙ 2

3

4

w≥ 2

3

4

1

˙

1

2

3

w≥ 2

3

˙ 4

4

˙

1

2

3

1

2

3

4

2

3

4

w 4

1

4 ϳ &4

ϳ

ϳ

ϳ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

1

2

3

4

1

2

3

4

1

2

3

4

1

2

3

4

10

NOTES ON THE FIRST STRING At first practice the exercises slowly and steadily. When you can play them well at a slow speed, gradually increase the tempo, or speed.

13. BACK AND FORTH

4 ϳ &4

ϳ

ϳ

ϳ

1

2

3

4

œ

œ

œ

œ

œ

œ

14. SINGLE STRING THING Touch only the tips of your fingers on the strings.

4œ &4

œ

œ

œ

œ

œ

œ

œ

œ

œ

15. TECHNIQUE TRAX Keep your left-hand fingers arched over the strings.

œ

œ

4œ &4

œ

˙

œ

œ

˙

œ

œ

w

œ

œ

w

œ

œ

˙

˙

When you can play the melody successfully on the following tune, try adding the chords with a friend.

16. LINE TO LINE C

4œ &4 &

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ œ

G7

œ

œ

C

œ

œ

œ œ

œ

œ

w

œ

œ

w

TRACK 4

17. SPANISH THEME Spanish flamenco guitarists play this theme for dancing. E

˙ & 44 E

HISTORY

&

œ

F

œ

˙ F

œ

G

œ

F

œ

G

œ

œ

E

œ

F

œ

E

œ

G

œ

˙

F

œ

F

œ

˙ E

œ

F

œ

G

œ

G

œ

œ

F

œ

œ

E

w

Flamenco is a style of Spanish music that blends song, guitar, and dance. It is believed that this music was brought to Spain hundreds of years ago by migrating Gypsies. Flamenco guitar players often use the fingerstyle technique, which involves the use of the right-hand thumb and fingers to pick the strings. The fingernails are grown long and used as natural “picks,” as opposed to the common plastic picks favored by many guitarists.

5

12

HISTORY

PLAYING CHORDS Hank Williams (1923–1953) was one of country music’s best songwriters. “Jambalaya (On the Bayou),“ set in a Louisiana Cajun style, is a lively two-chord song. A bayou is a term for a Louisiana swamp, where a pirogue, or canoe, is used to find crawfish, an ingredient in the delicious jambalaya recipe.

Try strumming the chords to this song without the slashes. Just follow the chord symbols as the song progresses. Use the same strum pattern as before. Remember there are four beats in each measure.

TRACK 6

20. JAMBALAYA (ON THE BAYOU) G

#4 & 4

.. ˙

œ

œ

1. Good- bye,

#

got - ta me Fon - tain -

go come

œ œ

oh me the place is

go, eaux,

œ

œ

j œ œ ˙.

œ œ œ.

pole the pi - rogue down to see Y - vonne by

#

˙.

˙

one, wild,

#

œ

œ

˙.

me me

oh oh

my my

oh. oh.

œ ˙.

˙.

œ

˙

-

œ

ʼCause

œ

˙

œ.

j œ

gun, gun,

weʼll have weʼll have

big big

fun fun

on on

the the

to

-

la - ya and

œ

a craw - fish

œ

œ

œ.

night

Iʼm

gon

-

j œ œ

œ. pie

œ

and fil - let

j œ œj œ

j œ œ

œ

na

ma cher

a

see my

-

D7

˙.

œ

˙

mi - o,

˙

j œ œ

œ œ œ œ œ

Jam - ba

gum - bo.

#G & œ

œ

a a

the sweet - est and go hog

œ.

˙

bay - ou. bay - ou. D7

& œ

#

Son of Son of

j œ œ œ

œ.

Y - vonne, in style

My Dress

œ œ œ

˙

G

œ #

œ

œ œ

Me got - ta Kin - folk

œ œ

bay - ou. doz - en.

the the

œ

˙

oh. my buzz - inʼ.

D7

& ˙

&

œ

Hank Williams

G

& ˙

&

œ œ ˙

œ

Joe, daux,

(2.)

D7

pick

œ œ œ Son of

a

œ. gun,

œ

˙

gui - tar,

j œ œ œ weʼll have

big

œ

œ

fill

fruit

˙ jar

G

œ

œ

and

be

˙

œ.

j œ œ ˙.

fun

on

the

œ

˙.

gay - o.

(œ œ)

˙

bay - ou.

..

(2. Thi - bo) -

Copyright © 1952 Sony/ATV Songs LLC and Hiriam Music in the U.S.A. Copyright Renewed All Rights on behalf of Hiriam Music Administered by Rightsong Music Inc. All Rights outside the U.S.A. Controlled by Sony/ATV Songs LLC All Rights on behalf of Sony/ATV Songs LLC Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights Reserved

21. ESSENTIAL ELEMENTS QUIZ Play the chord exercise below for your teacher. Strum once for each slash and change chords when indicated.

E 6

G

D7

G

D7

G

D7

G

& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

16

HISTORY

PLAYING CHORDS

Robert Johnson (1889–1938) was the best known of the country blues guitarists from the Mississippi Delta. His popularity was on the rise around the same time that Woody Guthrie was traveling the country and singing his own songs. Johnson’s signature tune,“Crossroad Blues,” has been played by many guitarists, including Eric Clapton.

TRACK 7

31. SWEET HOME CHICAGO G

C

#4 j & 4 œ œ œ ˙. Come

#

‰ bœ œ bœ œ œ œ J

on,

ba

-

by don’t- cha wan - na

Ó

Ó

‰ bœ J

œ bœ œ œ œ -

go?

& nœ

Ó

old

G

3 # . . & nœ œ œ œ œ œ

Œ

1. One and one is two, 2. Six and three are nine,

Back to that

œ bœ œ

w

Chi - ca - go?

3

nœ œ œ œ œ œ

‰ n œj œ

Œ

six and two are eight, nine and nine eight - een,

make me see what I

& Ó

Œ

late! mean.

˙.

‰ bœ œ bœ œ œ œ J

Hey,

Œ œ œ œ nœ œ #œ œ Back to that

same old place,

ba - by don’t-cha ba - by can’t- cha

G

D7



œ œ œ œ

come on come on

C

œ œ œ

œ œ œ



œ œ œ sweet home

place,



G

Œ

Œ

Ó

go?

C

œ #œ œ

same

& nœ

œ œ Come on,

œ œ ˙

by don’t-cha wan - na

D7

#

Œ

G

ba

#

Robert Johnson

œ œ ˙

C

& ˙.

#

G

ba

-

œ œ ˙

by don’t - cha wan - na

C

Œ

Ó

go?

G

œ œ œ sweet home

∑ œ bœ œ

..

w

Chi - ca - go? Copyright © (1978), 1990, 1991 Lehsem II, LLC and Claud L. Johnson Administered by Music & Media International, Inc. International Copyright Secured All Rights Reserved

7

28

PERFORMANCE SPOTLIGHT

Rests

Just as there are notes of different values that tell us to play for a certain amount of time, there are rests of the same values that tell us not to play for a certain amount of time.

Quarter Rest

Ô

Œ

= 1 Beat of Silence

= 1 Silent Beat

THEORY

1

Half Rest

◊=

2 Beats of Silence

&

Ó

Ó

= 2 Silent Beats

=

Œ Œ

1 & 2 &

Whole Rest

=



A Whole Measure of Silence

A Whole Measure

= of Silent Beats

1 & 2 & 3 & 4 &

Whole Rest

Half Rest



Ó

Hangs from a staff line.

Sits on a staff line.

This next song features all of the notes you have learned so far from strings 1, 2, and 3. The song splits into a duet on the next page. Be sure to observe the rests and count through them so you can keep your place in the song.

TRACK 20

49. CAN YOU FEEL THE LOVE TONIGHT (from Walt Disney Pictures’ The Lion King)

Verse

Elton John & Tim Rice

F

4 &4 œ Thereʼs

œ

œ

œ

a

calm

sur

F

&œ When

œ

œ

œ

the

heat

ofÊÊÊthe

F

&œ An

&œ Itʼs

-

ren -

œ

œ

e - nough

œ

œ

œ

der

to

the

rush

of

Dm

˙

œ

world

C

œ

œ

œ

œ

can

be

turned

a

F

œ

˙.

mo - ment,

œ

œ

œ

roll - ing

Am

œ

˙.

C

en - chant - ed

F

F

œ

œ

œ

œ

C

œ

forÊÊthis rest - less

œ

œ

œ

œ

and

it

sees

me

Bb

œ

œ

war - rior

œ

œ

œ

œ

just

to

be

with

C

w day.

G

w

-

way.

C

w through.

G

˙.

you.

œ And

© 1994 Wonderland Music Company, Inc. All Rights Reserved Used by Permission

8

29

Chorus

Gtr. 1

C ˙. 4 &4 can

Gtr. 2

& 44

˙.

F

Gtr. 1

&

˙

where

Gtr. 2

&˙ F

Gtr. 1



G

œ

feel

the

love

œ

˙

˙

˙.

G

˙

we

are?

˙

w

&œ C

Gtr. 1

Gtr. 2

˙.

œ

can

you

œ

& &

˙

œ

˙.

G

G

Gtr. 1

&w

˙

C

that

we

˙

˙

˙

feel

the

love

˙

˙

˙.

&w F

Gtr. 1



vag - a - bonds

Gtr. 2



œ

œ

œ

œ

˙

be - lieve

œ

˙

w

Ó

C

Am

for

this

œ œ

w

F

C

w

Ó

Itʼs

e - nough

œ

œ

C

F

the

ver

˙ ˙

˙.

-

˙ F

˙

D7

How itʼs

laid

to

œ œ

˙

˙

œ œ

œ

œ

to

make

œ

˙

˙

œ

˙

˙.

œ œ œ œ

Am

˙

œ

eyed

And

Ó

w

-

˙

˙

œ

wide

w far.

œ

œ

G

this

is

œ œ œ œ

œ œ

˙

˙

œ

œ It

C

Ó Dm

œ

D7

œ

Ó

w œ

F

F

w

Ó

to - night?

rest?

Gtr. 2

œ œ

˙

˙.

w

e - nough

Ó

got

Am

C

˙

œ œ

˙

˙

˙

œ

Itʼs

Dm

F

to - night?

Ó

w

˙

œ

F

w

w

wan - der - er

Gtr. 2

˙.

you

D7

œ

Am

˙

˙

œ

œ

w

y

best.

œ

w

œ

œ

kings

œ

˙

œ

and

œ

œ

œ

C

w

w

9

30

PLAYING CHORDS STRUM BUILDER 5 Syncopation

An off-beat rhythm, or the accenting of notes that fall on the “&” between counts.

Syncopated Strum Practice the syncopated strum patterns below as a variation on the down-up stroke.

Tips • Establish the down-up stroke pattern until you can do it without thinking.



Continue this down-up action throughout the syncopated strum patterns, but “miss” the strings where you see the word “miss.” Be sure to keep your arm moving just like the basic down-up strum.



This will result in the desired rhythms and will allow you to easily shift back and forth from one strum pattern to another. Strum

≥Û Û≤ ≥Û Û≤ ≥Û Û≤ ≥Û Û≤

Count

1

Strum

≥Û Û≤ ≥Û Û≤ Miss Û Û≤ ≥Û Û≤

Count

1

Basic Down-Up Strum 2

&

3

&

4

&

&

Syncopated Strum 1 2

&

(3)

&

4

&

&

let ring

Strum

≥Û

Miss

Count

1

(&)

≥Û Û≤ Miss Û Û≤ ≥Û Û≤

Syncopated Strum 2 2

(3)

&

let ring

4

&

&

let ring

Try out the new strum patterns with the songs “Water Come A Me Eye” (page 7),“Pay Me My Money Down” (page 11), and “Jambalaya” (page 12), then practice them in the exercises below.

50. SYNCO DE MAYO G

≥ ≤ ≥ ≤

D7

1

&

2

(3)

&

≤ ≥ ≤ ≥ ≤ ≥ ≤

G

4

&

1

&

2

&

Miss

(3)

&

≤ ≥ ≤ ≥ ≤ ≥ ≤

D7

≤ ≥ ≤ 4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Miss Û Û ÛÛ &4 Miss

4

&

1

&

&

2

&

Miss

(3)

≤ ≥ ≤ ≥ ≤ ≥ ≤

&

4

&

1

&

2

&

(3)

&

4

&

Now practice syncopated strums with the chords from “Duke of Earl.”

51. DUKE OF STRUMS G

≥ ≤ ≥ ≤

Em

≤ ≥ ≤ ≥ Miss ≥ ≤

4 & 4 .. Û Û Û Û Û Û Û Û Û

HISTORY

1

10

&

2

&

Miss

(3)

&

4

&

1

Miss

≤ ≥ ≤

C

D7

Û Û Û Û Û Û ..

ÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ Û

(&)

2

&

(3)

&

4

&

1

&

2

&

(3)

&

4

&

1

(&)

2

&

(3)

&

4

The syncopated strums so vital to popular music today are a result of the unique blend of African rhythms and European and Latin American musical elements.

&

42

PLAYING CHORDS

œœ

Alert

The next song includes 1st and 2nd endings. See page 36 if you need to refresh your memory.

TRACK 33

72. SURFIN’ U.S.A. Strum and sing this famous Beach Boys song. N.C.

# 4 & #4Œ

œ œ œ œ œ

A7

Ev - ’ry - bod - y’s gone

surf

œ.

œ ˙ J -

surf - in’ U.

in’,

A7

&

##

ev - ’ry - bod - y

D

had

œ nœ

w

œ

œ

cean

œ

œ

Then ev - ’ry - bod - y’d We’re wax - in’ down

&

##

œ

like we

G

# . & #œ

&

-

-

gies, mer,

œ nœ œ œ œ œ œ A

œ

œ.

be our

surf surf

bush - y, bush - y blonde Tell the teach - er we’re

œ

œ

j œ ˙

œ. hair surf

-

œ J

j œ

œ

huar - a - chi san - dals we’re on sa - fa - ri to

A7

-

A. soon.

j œ ˙ in’ boards

You’d see them wear - in’ We’ll all be gone for

œ

j œ

œ œ œ œ œ œ œ

a. June.

œ

A.

A7

D

j œ ˙

bag sum

##

Cal - i - for - ni can’t wait for

S.

a - cross the U. S. we’re gon - na take real

j œ w

nœ œ œ œ œ J

œ w J

nœ œ œ œ œ œ J

j œ ˙

o (2.) route

an

œ œ œ œ J

œ

# # œ N.C. n œ œ œ œ œ œ œ .. œ . & 1. If

Chuck Berry

D

do, in’,

œ

their the

D

w

too. stay.

œ œ œj œ surf - in’ surf - in’

U. U.

S. S.

j œ A. A.

Copyright © 1958, 1963 (Renewed) by Arc Music Corporation (BMI) and Isalee Music Inc. (BMI) International Copyright Secured All Rights Reserved Used by Permission

11

56

FINGER PICKING Arpeggio

An arpeggio is a “broken” chord whose notes are played individually and in succession instead of all at the same time.

Finger Picking

A very popular style of guitar accompaniment which uses arpeggios instead of strummed chords. The distinctive sound of finger picking comes from the right-hand thumb and fingers plucking only one string each in succession.

The Right Hand The right-hand thumb and fingers are given letters based on the internationally accepted system of Spanish words and letters: p = pulgar = thumb i

m

= indice = index finger

i

a

m = medio = middle finger a = anular = ring finger p

Right-Hand Technique

• The thumb (p) plucks strings 4, 5, or 6 depending upon which string has the bass note of the chord. This motion is a downward stroke. Use the left side of the thumb and thumbnail.

• The other fingers (i, m, a) pluck the string in an upward stroke with the fleshy tip of the finger and fingernail. • The index finger (i) plucks string 3. • The middle finger (m) plucks string 2. • The ring finger (a) plucks string 1. • The thumb and each finger must pluck only one string per stroke and not brush over several strings (this would be a strum). Let the strings ring throughout the duration of the chord.

Right-Hand Position

12



Use a high wrist and position your thumb and fingers over their respective strings.

• • •

Arch your palm as if you were holding a ping-pong ball. Keep your thumb and fingers relaxed and ready to play. Let the fingers do the work rather than lifting your whole hand.

59

NEW NOTES Below are three different F # notes on the fretboard to learn and play. Just move up one fret (or half step) from any of the regular F notes that you already know. 99. THE F-SHARPS Practice each of these finger exercises many times. 3 F# s

F#

2

œ

4 œ #œ &4

2

œ Sharp also œ œ #œ

œ

4

2

0

Sharp also

& œ #œ

4

œ

œ

œ

œ #œ

œ

Now play both parts of “Danny Boy” which use all of the new notes. Play as a duet with your friend or teacher. Also you can play the chord progression as a third part. TRACK 46

Weatherly/Traditional Irish

100. DANNY BOY

Gtr. 1

& 44 # œ œ œ

Gtr. 2

& 44 œ œ # œ

Gtr. 1

&œ œ œ œ

Oh, Dan - ny

down the moun-tain

Gtr. 2

Gtr. 1

#œ ˙

D7

call

The sum-mer sgone,

side.

ing,

and

all the ros - es

˙

œ œ œ #œ ˙ . #œ ˙

bide.

But come ye back

3

0

&

˙

in

shad - ow.

œ œ œ œ ˙

and

˙. œ œ œ

fall - ing.

œ œ ˙

œ

œ #œ œ œ It’s you, it’s

œ

when sum-mer’s in the

œ œ œ ˙.

ley’s hushed and white with

œ œ œ ˙. œ &œ C œ œ œ œ Gœ œ ˙ &

glen,

œ œ #œ

D7

œ

œ œ œ œ œ w œ D7 Em C G A7 œ #œ ˙ . #œ #œ œ œ œ œ w &œ -

œ

G C G œ #œ ˙ . #œ #œ œ œ œ œ œ œ œ ˙

G

val

œ

from glen to

C œ œ œ œ œ ˙ œ œ

œ #œ œ œ ˙ .

w

-

G

œ ˙. œ œ œ

œ œ ˙

˙

G

& ˙.

sun-shine or

Gtr. 2

˙.

must go and I must

1

Gtr. 1

the pipes, the pipes are

œ œ œ œ œ w

or when the

Gtr. 2

boy,

D7

& ˙. you

Gtr. 2

C œ œ œ œ œ œ œ ˙

˙.

& œ œ œ œ #w G

Gtr. 1

G

Em

œ œ œ œ œ œ ˙ G D7 ˙. œ œ œ œ œ 3

snow.

œ œ œ œ ˙

mead - ow,

Tis I’ll be

˙

G

#œ C

œ œ œ D7

3

there

˙.

G

œ œ œ œ œ #œ œ œ œ œ œ #œ w Oh, Dan - ny

boy, oh Dan - ny

boy, I love you

œ œ œ œ œ œ #œ œ ˙

˙

in



œ

so!

w

œ

Copyright © 2005 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

13

74

PERFORMANCE SPOTLIGHT THEORY

Eighth Rest





= 1/2 Beat of Silence

Œ

= 1/2 Silent Beat

‰‰

=

&

At the D.S. al Fine play again from the sign % , stopping at Fine (“end”). This is just like the D.C. al Fine you have learned, except you go to the sign instead of the beginning of the song.

D.S. al Fine

Play this next song by The Police which contains several elements that you have recently learned, including eighth rests. Try picking the melody as well as singing, strumming, and finger picking.

TRACK 58

120. EVERY BREATH YOU TAKE Sting

Chorus

#4 & 4Π#Π&

G

œ œ œ

œ œ ˙

Ev - ʼry breath

you

Ó

C

œ œ œ

œ

ev - ʼry bond

you

œ œ œ

œ œ œ œ Œ

ev - ʼry move

you

Œ

take

Em

make,

D

œ

œ œ œ

œ

œ

break,

ev - ʼry step

you

take,

Ó

Em

œ œ œ œ œ Iʼll



be watch-ing you.

Verse

# %Π&

œ œ œ 1. 2.

#

& Œ

G

˙.

œ œ

Ev - ʼry sin - gle Ev - ʼry move you

œ œ œ ev - ʼry game ev - ʼry smile

Œ

day, make,

C

œ you you

Œ

play, fake,

œ œ œ

œ œ

ev - ʼry word ev - ʼry vow

you you

˙

ev - ʼry night ev - ʼry claim

Ó

say, break,

D

œ œ œ

œ

Em

G

œ

œ œ œ

œ

you you

stay, stake,

œ œ ˙

Iʼll be watch - ing Iʼll be watch - ing

Fine

Ó

you. you.

Bridge

# & Œ

œ Oh,

# & Œ

œ canʼt

œ œ œ How my poor

14

œ œ you

œ œ heart

C

˙.

Œ

œ œ œ

Œ

see

A7

œ œ ˙.

aches

you be - long Eighth Rest

œ œ œ ‰ œJ with ev - ʼry step

G

œ to

˙ me.

D7

œ œ ˙. you

Ó

take.

D.S. al Fine

Œ

© 1983 G.M. SUMNER Administered by EMI MUSIC PUBLISHING LIMITED All Rights Reserved International Copyright Secured Used by Permission

75

FINGER PICKING This next song is well-known for its finger-picked guitar accompaniment. Play the melody first, and then try finger picking the chords and singing. Experiment with different finger-picking sequences.

TRACK 59

121. DUST IN THE WIND

Kerry Livgren

œ œ œ œ œ œ œ œ œ œ

Verse

C

G

Am

G

1. I

close

my

eyes

on - ly

& 44 œ

w

˙

˙

G

Am

G

All

my

dreams

w

˙

for

a

Am

mo-ment, and the

Dm

Chorus

Am

pass be - fore my eyes a

˙.

mo-ment’s gone.

œ œ œ œ œ œ œ œ œ œ ˙.

C



Dm

D

˙

Œ

cu - ri - os - i - ty.

G

Dust

œ œ in the

Verse Am

D

G

œ œ œ œ œ

&w wind,

all they are

G

Dm

is

dust

in

Am

& œ œ œ œ œ œ œ œ œ œ ˙. just a drop of wa -ter in an

Am

œ œ

end-less sea.

C

G

Am

˙

˙

w

old

song,

w wind.

the

2. Same

C

G

Am

˙

˙

w

All

we

do

G

Dm

œ œ œ œ œ

œ œ œ

crum -bles to the ground though we re -

Chorus Am

D

G

Œ

& œ œ ˙. fuse to see.

D

˙

œ œ

w

Dust

in the

wind,

Verse C

Am

G

Am

œ œ œ œ œ

œ œ w

all we are

in the

is dust

œ œ œ œ Dœm œ œ œ

wind.

G

Am

w

G

3. Don’t

hang

on,

noth - ing lasts for - ev - er

C

G

Am

G

œ œ œ œ Dœm œ œ œ

Am

slips

a

way…

All your mon - ey won’t an - oth - er

min - ute buy.

˙



w

˙



-

but

the

Am

œ œ ˙

œ

earth and sky.

It

œ œ ˙.

Chorus D



˙

G

Dust

D



˙ Dust

œ œ in

the

G

œ œ in

the

Am

œ œ œ œ œ

G

œ œ

Am

wind,

all

dust

in

wind.

Am

D

w w

wind,

D

we

are

is

G

œ œ œ œ œ

ev - ’ry - thing

the

is

dust

w

Am

œ œ in

the

˙. wind.

© 1977, 1978 EMI BLACKWOOD MUSIC INC. and DON KIRSHNER MUSIC All Rights Controlled and Administered by EMI BLACKWOOD MUSIC INC. All Rights Reserved International Copyright Secured Used by Permission

15

78

PLAYING CHORDS 12-Bar Blues

The most typical blues is twelve measures, or bars, long.

Many 12-bar blues songs follow the chord progression in the next exercise. Use the power chord shuffle you have just learned.

TRACK 61

124. BLUES IN A A5

4 &4 T A B

.. ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ . . 2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

D5

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

A5

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

E5

2 0

2 0

4 0

4 0

2 0

2 0

4 0

D5

4 0

2 0

2 0

4 0

4 0

2 0

2 0

A5

4 0

4 0

2 0

2 0

4 0

4 0

2 0

1.

2 0

4 0

4 0

2.

œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ .. w & #œ œ œœ œœ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w . . 2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

2 0

4 0

4 0

2 0

TRACK 62

125. C.C. RIDER Play this 12-bar blues song with the power chord shuffle from the previous exercise and sing along;

# # # 4 . A˙ . & 4 . 1. C. 2. Tell

&

### nœ

then try it with regular chords.

œ

œ œ ˙.

C. me

rid - er, rid - er,

A

œ œ œ œ w

œ

œ

see what is what

œ you on

A7

œ nœ w have done. your mind.

E

D

Traditional

D

œ œ n œJ œ . C. me

C. Tell

A

Ó Œ œ œ œ œ œ . nœ œ œ œ œ w J

see what you have done. what is on your mind.

You made me love you, Oh, tell me why you

rid - er, rid - er,

∑ ..

now your friend has come. treat me so un- kind. Copyright © 2005 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

E +84088-AIDFAc

126. ESSENTIAL CREATIVITY Now go back and play the blues song “Sweet Home Chicago” (page 16) with a shuffle feel. Notice the similarities between this tune and the other blues tunes you have just learned. Many forms of American popular music are somehow related to the blues. Make a list of as many songs as you can think of that have this “blues sound” and discuss them with the class.

FOR PROMOTIONAL USE ONLY

90003759