Page 1

month eleven

All rights reserved, unauthorized copying, reproduction, hiring, lending, redistribution and broadcast of this e-book or any part of the contents is prohibited. copyright G C Hargreaves 2012


month eleven

Week One Fifth chords and power chords Fifth chords are the chords most used in rock and grunge or just to create power and because of this they are also known as the power chords. We have already used power by their correct name 5th chords. With fifth chords their is no difference between major or minor chords and this makes life easier when writing music using 5th chords.

Fifth chord theory.

The fifth chord only has two notes in its structure, the FIRST (root) note and the FIFTH note, hense the name. When two notes make up a chord, it is called a diad.

C major scale

1

2

3

4

C D E

5

6

F G A

1st

7

8

B C

5th

The C5 diad is C and G

Why there is no major or minor fifth chord A major scale

1

A

2

3

4

B C# D

1st A minor scale

1

5

6

7

E F# G# A

8

5th 2

3

4

A B C D E 1st

5

6

7

F G A

8

You can see clearly that the note that makes the difference between the major and minor chord is the thir d, so if we r emov e the thi r d, the two chor ds can no longer be differentiated between.

5th

Between the major and the minor triad the 3rd is the only note that changes however the third is not used in when playing a fith chord. Below you can see that the he A5 diad consists of only A and E.

XX

A X

fret 5

X X X

A

E A A E copyright G C Hargreaves 2012


some open fifth chords G5

X

A5

XX

X

X

1

X

D5

X

1

2 4 3

C5

E5

XX

XXX

2 1

1 4

2

3

3

With the above G5 and C5 chords you will notice silent strings in the middle of the chord. These notes should be muted. To achieve this, let a finger rest on the string to be muted or allow a finger on an adjacent string to hang over and rest on the string to be muted. This will take some practise because you need to maintain pressure on the fingered note at the same time as muting the string next to it.

exercises fifth barre chords try the following exercises, using barre chords. Remember that the underlined chords are second position. First position shape (E rooted)

XXX

Second position shape (A rooted)

XX

1

1

X

3

3

exercise 1

A5

D5

exercise 2

A5

Db5

exercise 3

A5

D5

A5

D5

G5 F5

C5

Cb5 C5

A5

A5 A5 D5

D5 Db5 F5

E5 G5 C5

Cb5 G5

A5

A5

Note; These exercises are repeated in a tablature form on the next page, however by trying them first without the tablature

copyright G C Hargreaves 2012


exercise 1 A5 7 7 5

D5 7 7 5

5

7 7 5

C5 5 5 3

A5

7 7 5

7 7 5

5

7 7 5

7 7 5

A5 5 5 3

3

5 5 3

D5

5

7 7 5

7 7 5

7 7 5

D5

7 7 5

7 7 5

5

7 7 5

7 7 5

5

7 7 5

E5

5

7 7 5

9 9 7

7 7 5

exercise 2 A5

G5

Db5 6 6 4

7 7 5

Cb5

A5

4 4 2

5 5 3

7 7 5

7 7 5

exercise 3 A5 7 7 5

F5

D5 7 7 5

7 7 5

7 7 5

3 3 1

C5 3 3 1

5 5 3

A5 5 5 3

7 7 5

G5 5 5 3

D5 7 7 5

7 7 5

F5 7 7 5

3 3 1

C5 3 3 1

5 5 3

5 5 3

A5 5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

7 7 5

5 5 3

7 7 5

The tie and slur symbol This symbol means that two or more notes are joined together. If a note carries across from one bar to another then this symbol will show that it is one note, and when this happens the symbol is called a tie. If a note is slid or hammered to another note so the guitar string is only picked once for the two notes then the slur symbol will occur.

slur

slur

P

7

5

tie

sl

5

7

copyright G C Hargreaves 2012

7

7


tune

Poly - Nirvana intro G5

E5

D5

C5

0 7 7 x 5 0 x 0 5 5 x 0 7 7 x 5 x 5 5 x 5 5 x 3 x 3 3 x

2 2 0

E5 x 0 x 0 2 x 2 0

G5

D5

C5

0 0 7 7 x 5 x 0 5 5 x 0 7 7 x 5 x 5 5 x 5 5 x 3 x 3 3 x

5 0 5 0 3

verse E5

D5

G5

C5

0 7 7 x 5 0 x 0 5 5 x 0 7 7 x 5 x 5 5 x 3 5 5 x x 3 3 x

2 2 0

D5

G5

E5

C5

0 0 7 7 x 5 x 0 5 5 x 0 7 7 x 5 x 5 5 x 3 5 5 x x 3 3 x

2 2 0

E5 x 0 x 0 2 x 2 0

G5

C5

0 0 7 7 7 5 x 0 5 5 x 0 7 7 7 5 x 5 5 x 5 5 5 3 x 3 3 x

E5 x 0 x 0 2 x 2 0

D5

G5

D5

0 x 0 x x

C5

0 0 7 7 7 5 x 0 5 5 x 0 7 7 7 5 x 5 5 x 5 5 5 3 x 3 3 x

0 x 0 x x

chorus D5

C5

7 7x 5 7 7x 5 5 5x 3

G5

3 5 5 3 5 5 3 5 5 x 3 5 5 x 1 3 3 3 3 x

C5

D5

7 7 x 5 7 7 x 5 5 5 x 3

Bb5

G5

Bb5

3 5 5 3 5 5 3 5 5 x 3 5 5 x 1 3 3 3 3 x

D5

C5

G5

Bb5

3 3 0 7 7 x 5 3 3 0 7 7 x 5 5 5 x 3 1 1

3 5 5 3 5 5 3 5 5 x 3 5 5 x 1 3 3 3 3 x

D5

G5

C5

3 3 0 7 7 x 5 3 3 0 7 7 x 5 5 5 x 3 1 1

3 3 0 3 3 0 1 1

Bb5

3 5 5 3 5 5 3 5 5 x 3 5 5 x 1 3 3 3 3 x

3 3 0 3 3 0 1 1

bridge/coda E5

E5

2 2 0

2 2 0

arrangement intro - verse - chorus - intro - verse - chorus - bridge - chorus - coda copyright G C Hargreaves 2012


month eleven

Week Two hammering on exercises exercise 1 First to second finger H

5

H

6

5

H

6

6

5

5

H

H

H

6

5

6

5

6

H

5

6

H

5

H

6

H

6

5

5

6

H

5

6

H

5

exercise 2 First to third finger H

5

H

7

5

H

7

7

5

5

H

H

H

7

5

6

7

5

7

H

5

7

H

5

H

7

H

7

5

5

7

H

5

7

H

5

exercise 3 First to fourth finger (very hard) H

5

H

8

5

H

8

8

5

5

H

H

H

8

5

8

5

H

5

8

H

5

H

8

5

8

5

copyright G C Hargreaves 2012

8

5

8

H

H

H

7

8

5

8


exercise 4 A Pentatonic scale H

5

H

8

5

H

7

7

5

5

H

H

H

7

5

8

5

8

H

5

8

H

5

H

8

H

7

5

5

7

H

5

7

H

5

8

exercise 5 the A blues scale H

5

H

8

6

6

H

H

7

7

5

H

7

5

7

8

5

8

8

exercise 6 A blues scales solo run H

3

H

5

3

H

5

5

7

7

5

H

H

H

7

8

10

8

10

8

copyright G C Hargreaves 2012

10

8

H

3

H

H

H

12

5

8

H

H

5

5

H

8

H

5

3

10

H

5

5

7


tune Paranoid - Black Sabbath intro A5

x 4 times H

7 7 5

7 7 5

H

7 7 5

5

7

5

H

H

7

5

7

5

7

theme one A5 H

H

7 5

7 5

7 5

7 5

7 5

7 5

7 5

G5

5 3

7 5

7 5

C5

5 3

5 3

5 3

5 3

5 3

5 3

7 5

7 5

G5

A5

5 5 3

7 7 5

5 5 3

5 3

7 5

5

7

5

7

theme two A5

F5

G5

7 7 5

3 3 1

5 5 3

A5 7 7 5

(7) (7) (5)

theme three A5

7 5

7 5

7 5

7 5

7 5

7 5

5 3

5 3

5 3

5 3

5 3

7 5

7 5

7 5

7 5

G5

5 3

arrangement

5 3

intro - one - two - one - three - one - one - one - one - two - one - two copyright G C Hargreaves 2012

5 3

5 3

5 3


month eleven

Week Three pulling off Pulling off is in effect the reverse of hammering on. To pull off you have to pluck the string with your left hand (fingering hand) as you take your finger off the note, remembering to have the next finger in place to allow the note to ring. P

.

example

7

To pull off fr om the 7th fr et to the 5th fr et as is required by this tab. Place both the first and third finger in place then play the 7th fret note. Soon after pull the third finger away plucking the string as it leaves.

5

exercises Note. publisher of the music you are reading. The difference is only small and the meaning is the same.

exercise 1

Second finger to first finger.

P

6

5

P

6

P

P

5

P

6

5

exercise 2

6

5

6

P

6

P

5

P

6

6

5

5

6

P

6

5 P

P

P

5

6

5

5

6

5

third finger to fist finger.

P

7

5

P

7

P

5

7

5

P

7

copyright G C Hargreaves 2012

5

P

7

5

P

7

5


exercise 3 Fourth finger to first finger. P

8

5

P

8

exercise 4

5

H

6

P

5

8

8

P

5

8

P

5

8

5

pentatonic scale

H

3

P

3

H

5

3

5

3

H

H

H

3

5

3

6

6

P

6

3

P

6

P

3

5

P

3

5

P

3

5

P

3

6

3

exercise 5 H

5

H

H

8

5

6

H

7

7

5

5

H

H

H

7

5

8

8

P

H

5

8

8

5

P

8

P

P

5

8

7

5

P

7

5

P

P

7

6

5

P

8

5

Note.

in this exercise you are having to hammer on and pull off two notes in a row. This can be very difficult, especially in pulloffs, so be patient and practise this exercise over several weeks or months if necessary.

copyright G C Hargreaves 2012


tune

Manic depression - Jimi Hendrix note 3/4 time intro 5

P

6

P

P

7

5

7

7

5

5

5

7

P

P

5

7

7

5

5

7

7

P

P

7

5

5

5

6

P

5

7

5

5

theme one 4

5

P

P

P

7

5

7

7

7

5

5

2

3

P

P

5

7

7

5

5

5

5

7

7

P

P

7

5

5

5

6

P

5

7

5

5

theme two H

H

5

3

1

2

P

3 1

5

3

0

4

P

P

1 3

2

1

P

3

2

3

5

P

P

1 3

5

1 3

intro

arrangement

intro theme 1 - theme 1 - theme 2 - theme 1 theme 1 - theme 1 - theme 2 - theme 1 - more to come

copyright G C Hargreaves 2012

1 3

5

3

4

P

5 3

7


month eleven

Week Four Using a plectrum 1. Bend your fingers into a fist. 2. Lift the thumb but leave the fingers bent. 3. Place the plectrum on the first knuckle of your index finger so that it points towards the guitar. 4. Hold the plectrum firmly in place using your thumb and adjust it. For stability and to aid with locating the strings without looking down, some players either rest the hand or arm on the guitar. Another approach to to rest your fingers on the guitar, scratchplate or place your little finger on a pickup if you have an electric guitar.

BEC

BEC

BEC!

BEC"

Plectrum directions W hen using a plectrum it is a important to get use to playing alternating plectrum directions. down, up, down, up etc. By playing alternating plectrum directions you will find that your playing is faster, smoother and more accurate. We have been using arrows to show down and up strums, however the correct way to denote plectrum directions is this;

DOWN UP

These shape come from a violin bow where the tip is pointed and the tail is square shaped

copyright G C Hargreaves 2012


exercises exercise 1 - Alternating plectrum directions

3

3

6

5

3

5

3

3

5

3

6

6

exercise 2

5

4

7

5

4

7

6

7

7

6

4

7

5

4

7

5

exercise 3

Picking and hammering

H H H

5

8

5

7

5

7

H H

5

7

5

8

5

8

7

5

5

8

7

5

5

7

5

P

8

5

P

8

5

8

P

7

5

5

P

7

5

P

7

5

7

5

P

8

copyright G C Hargreaves 2012

5

7

5

7

5


tune Zombie - The Cranberries intro Em 0 0 0 2 2 0

0 0 0 2 2

0 0 0 2 2

Gmaj6 0 0 0 0 0 0 0 0 2 2 3

0 0 0 2 2

0 0 0 0 2

0 0 0 0 2

0 0 0 2 2

0 0 0 0 2

0 0 0 2 2

0 0 0 0 2

0 0 0 2 2

000 000 000

Cmaj7 0 0 0 0 0 0 2 2 3 3

0 0 0 2 3

Gmaj6/f# 000 0 0 000 0 2 000 2 0 0 0 0 2 2

0 0 0 0 2

0 0 0 2 3

0 0 2 0 0 2

0 2 0 0 2

0 0 0 2 3

0 0 2 0 0 2

0 0 0 2 3

0 2 0 0 2

000 000 000

0 0 0 2 3

0 0 2 0 0 2

000 000 000

chorus 1 E5

C5

2 0

2 0

2 0

2 0

2 0

2 0

2 0

2 0

G5

5 3

5 3

5 3

5 3

5 3

5 3

5 3

0 0 0 2 2 0

10 8

10 8

10 8

10 8

10 8

{ X3 TIMES FOR CHORUS 2 }

0 2

0 2

0 2

0 2

0 2

0 2

0 2

0 2

0 0 0 2 2 0 H

7

10 8

10 8

D/F#

5 3 Em

10 8

H

8

5

H

7

3

H

5

2

copyright G C Hargreaves 2012

P

3

2

3

3

(0)


verse Em 0 0 0 2 2 0

0 0 0 2 0

2 0

2 0

2 0

2 0

G 0 2 3

2 3

2 3

2 3

2 3

2 3

5 3

5 3

Dmaj9/F# 0 3

5 3

0

2 3

Em

5 3

0

5 3

0 0 5

5 3

0 0 0 0

2

0

Cmaj7 0 2

0

0

0

2

3

G/B 0 0

0

0 2

0

0

0

2

C5

0

0

2

Dmaj9/F# 0 3

0

0 3

0

2

0 0

0

0

0

2

last chorus E5

C5

2 2 0

2 2 0

2 2 0

2 2 0

2 2 0

2 2 0

2 2 0

2 2 0

G5 5 5 3 Em

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

D/F# 5 5 3

0 0 0 2 2 0

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

2 0 0 2

5 5 3

x 4 times

2 0 0 2

2 0 0 2

2 0 0 2

2 0 0 2

2 0 0 2

2 0 0 2

0 0 0 2 2 0

arrangement intro - chorus - verse - chorus 2 - verse - chorus - verse - last chorus copyright G C Hargreaves 2012

2 0 0 2


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