Table of Contents -...

transcript

TableofContentsPage

Unit1:DecodingtheSymbols………………………………………………………………….2 Understandingpitch……………………………………………………………………….3 Notevalue;rests…………………………………………………………………………….4 Lesson1:Firstthreestrings…………………………………………..…….......5–6 Lesson2:1ststringnotes……………………………………………………………7–8 Lesson3:2ndstringnotes………………………………………………………..9–10 Lesson4:Combining1sttwostrings……………………………………...11–12 Lesson5:Addingthe3rdString………………………………………………13–16

Unit2:ReadingChordDiagrams…………………………………………………………...17 Understandingthechorddiagram………………..………………………………18

Chordassessments………………………………………………………………..19–20

Unit3:Ties,Dots,Sharps,Flats………………………………………………………………21 Lesson1:Tiednotes…………………………………………………………………22-23 Lesson2:Dottednotes………………………………………………………….24–25 Lesson3:Sharpsandflats……………………………………………………..26–28

Unit4:BassNotesandtheThumb…………………………………………………………29 Lesson1:Thelowthreestrings……………………………………………..30–32 Lesson2:Notesonthefourthstring…………………………………..…33–35 Lesson3:Notesonthefifthstring…………………………………………36–37 Lesson4:Notesonthesixthstring………………………………………..38–40

Chorddiagramchart……………………………………………………………………………..41

Guitarexercises/1st–6thstrings……………………..……………………………….42-43Five-noteexercises………………..………………………………………………………..44-47Allnotesascending………………………………..………………………………………………48Allnotesdescending……………………………..……………………………………………….49Allnotesascending#2/Allnotesdescending#2…………….…………………..…50Diatonicscales…………………………..……………………………………………………51–52Majorscales…………………………………………………………………………………….53-55

Glossary………………………………………………………………………………………………….56

AbouttheAuthor…………………………………………………………………………………..57

UnitOne–Decodingthesymbols

Musicalideassuchasmelody,harmonyandrhythm canbecommunicatedthroughalanguageofsignsandsymbols

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Whatwillwelearninthisfirstunit?

• Learnhowtoreadandinterpretbasicsymbolsofmusicnotation• Learnanddevelopbasicskillsofplayingsimpletunesontheguitar.

Howwillwelearnit?

• Readingsimpleinstructions-readforunderstanding• Raisingyourhandandaskingquestions• Dailyrepetitionofmanualskillsandstayingontask• Performaseriesofexampleseveryweek;themoreyouplay,the

moreyoudemonstrateamasteryofunderstandingandskills

Vocabularywordsforthisunit

• Musicalalphabet-ABCDEFG(sevennotes) • Pitch-highnessorlownessofanote

• Notehead-oval-shapedsymbolrepresentinganote

• Stem-verticallineattachedtosomenoteheads

• Staff-five-linegridonwhichnoteheadsareplaced

• Gclef-a“key”atthebeginningofthestaffthattellsushowtoreadthealphabetonthestaff

• Meter–The“grouping”ororganizingofbeats

Likeanyotherlanguage,musiccanbespoken(played)orread.Butthewrittenlanguageofmusicalsoconsistsofsymbolsanddiagrams.Thesesymbolsanddiagramstellustwothingsaboutthequalitiesofanote:

• Pitch-highnessorlownessofthenote(namedforthefirstsevenlettersofthealphabet:ABCDEFG)

• Notevalue–durationofthenote(howlongthenoteisheld)First,let’stalkaboutpitch.Musiciswrittenonafive-linegrid,calledastaff.Noteheadsareplacedoneitherthelinesofthestafforthespacesinbetween.

Thehigherthenoteisonthestaff,thehigherthepitch.Butnoteheadsonthestaffdon’tmeananythingunlesswehavea‘key’–areferencepointthattellsuswhatthelinesandspacesrepresent.Inmusic,wecallthiskindofkeyaclef.“Clef”istheFrenchwordfor“key.”Thereareseveraldifferentclefs,dependingonthepitchrangeoftheinstrument.ButinguitarweusetheGclef(shownatthefarleftofthestaffbelow).ThesymbolfortheGclefshowsushowtofindGonthestaff–secondlinefromthebottom.Therestofthealphabetfallsintoplaceonthespacesandlinesfrombottomtotop.InthisunityouwilllearntoidentifyallofthenotesfromGtoG.

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Notevalue(durationofthenote)Anote’spitchisshownbyitspositiononthestaff.Anote’svalueisdefinedbyacombinationofsymbolsthattellushowlongtoholdthenote.Forthisfirstunit,we’llfocusonnoteheadsandstems.Awholenote(awhitenotehead)isheldforfourbeatsAhalfnote(awhitenoteheadandastem)isheldfortwobeatsAquarternote(ablacknoteheadandastem)isheldforonebeat.

Rests(silences)Foreveryvalueofaplayednote,thereisalsoasymbolthatrepresentssilenceforthesamenumberofbeats.

The4/4atthebeginningofthestafftellsushowbeatsaregrouped,ormeasured.

Thebottom4tellsusthatthequarternoteisworthonebeat,andthetop4tellsustherearefourbeatsinabar.

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UnitOne/Lesson1:ThefirstthreestringsTheguitarhassixstrings.Thefirststringisthethinnest–theoneclosesttothefloorwhenyou’replaying.Thesixthstringisthethickest–theoneclosesttothetop.Eachofthesixstringsistunedtoadifferentpitch.ThefirststringistunedtoE(topspaceonthestaff).ThesecondstringistunedtoB(middleline).AndthethirdstringistunedtoG(secondlinefromthebottom)

PluckingthestringsPracticepluckingthefirststringwithyourindexfinger(firstfinger).It’simportantnottograbthestringandpullit(likeabowandarrow).Inonemotion,pullyourfingeracrossthestring,andletitcometoastoponthesecondstring.Tryitoneachofthethreestrings,firstwiththeindexfinger(i),thenwiththemiddlefinger(m).Finallytryalternatingbackandforthbetweenthetwofingers.Nowtrytheexercisesonthenextpage,rememberingthefollowing:! Alternateindexandmiddlefingers(nothumb!)! Payattentiontonotevalues(holdingnotesforthecorrectnumberofbeats)! Payattentiontorests(silences),makingsurethegapsareactuallysilent.Themoreexamplesyouplay,thebetteryoudemonstratethatyou’vemasteredit.

• Playone:you’vedemonstratedasimpleunderstanding(D)• Playtwo:youcanapplyyourunderstandinginanothercontext(C)• Playthree:you’regettingthehangofit(B)• Playfour:you’vemasteredit(A)

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UnitOne/Lesson2:1ststringnotesNowthatyou’vemasteredthefirstthreeopenstrings,it’stimetolearnhowthefretboardworks.We’llstartbylearningtwomorenotesonthefirststring.

We’vealreadyseenthattheopenfirststringisE(topspaceonthestaff).ThenextnoteinthemusicalalphabetisF.Fisplayedbyplacingthefirstfingerofthelefthandonthefirststring,rightbehindthefirstfretbar.Presswithyourfingertip–donotletthefingerfallflatonthefretboard. F

ThenextnoteinthemusicalalphabetisG.Gisplayedbyplacingthethirdfingerofthelefthandonthefirststring,rightbehindthethirdfretbar. G

Practiceplayingthesenotes–movingaroundfromonetotheother,usingthecorrectfingerforeachnote.Areyougettingagoodtone?Listentothesoundofeachnote.! IftheForGsoundsmuffled,besureyou’repressingfirmlyonthestring.! Ifthenoteshaveabuzzysound,besureyourfingerisrightbehindthefretbar.

Thiswillbecomeeasierandmorenaturalwithpractice.Tryitwithyoureyesclosed.Trusttheforce!

Nowlet’smasterthesenotesbyplayingsometunes.Onceagain,themoreexamplesyouplay,thebetteryoudemonstratethatyou’vemasteredit.

• PlayExercise#1forapassinggrade(D)• Add#2foraC• Add#3foraB• Add#4foranA

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Ex.#4Noticeherethatthetopnumberinthemeterisa3.Thismeanstherearethreebeatsineverybar

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UnitOne/Lesson3:2ndstringnotes

Congratulations!You’vemasteredthreenotesonthefirststring

You’vealsolearnedthatthefirstthreeopenstringsareG,B,andE

Nowyou’lllearnhowtoplaythreenotesonthe2ndstring(B)Bisplayedopen.ThenextpitchletterisC.Ccanbeplayedbyplacingthefirstfingerofthelefthandonthesecondstring,rightbehindthefirstfretbar.C

ThenextnoteinthealphabetisD.Dcanbeplayedbyplacingthethirdfingerofthelefthandonthesecondstring,rightbehindthethirdfretbar.

Nowlet’smasterthesenotesbyplayingsometunes.Onceagain,themoreexamplesyouplay,thebetteryoudemonstratethatyou’vemasteredit.

• PlayExercise1forapassinggrade(D)• Add#2foraC• Add#3foraB• Add#4foranA

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Ex.#3(noticetherests;countthroughthem)

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UnitOne/Lesson4:Combining1sttwostringsCongratulations!You’vemasteredthreenotesonthefirststringandthreenotesonthesecondstring.Nowit’stimetoputthemalltogether.Butfirstlet’stakealookonemoretimeatthesixnotes.

Takeamomenttoplaythroughthem,andasyoudo…

• focusonthenoteheadsonthestaff;knowwhattheylooklike• playthroughthemwithyoureyesclosed;knowwhattheyfeellike• saytheletterstoyourselfasyouplaythem;knowthembyname

Nowlet’smasterallsixnotesbyplayingsometunes.Onceagain,themoreexamplesyouplay,thebetteryoudemonstratethatyou’vemasteredit.

• PlayExercise#1forapassinggrade(D)• AddLightlyRowforaC• AddMerrilyWeRollAlongforaB• AddSixonTwoforanAExercise1(feelfreetowritetheletternamesunderthenote)

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LightlyRow

MerrilyWeRollAlong

SixOnTwo

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UnitOne/Lesson5:AddingthethirdstringCongratulations!You’velearnedsixnotesonthefirsttwostrings.

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Writeinthenamesofthenotes.Nowit’stimetolearntwonotesonthethirdstring.ThethirdstringopenisG.SinceourmusicalphabetisABCDEFG,onenotehigherthanGisA.

Aisplayedinthesecondfret,withthesecondfinger.Thisisthefirsttimeyou’veusedthesecondfingeronthefretboard.Besuretogetinthehabitofusingthisfingerforthis,andany,secondfretnote.

Trythiseasyexercisetogetusedtothetwonotes,usingsecondfingerfortheA.Noticethattherearethreebeatsineverybar.PieceofCake

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Sofar,you’velearnedhowtoplaywholenotes(fourbeats),halfnotes(twobeats),andquarternotes(onebeat).Inordertoplaysomeofthepiecesinthislesson,you’llneedtolearnanewnotevalue.Whenweplayonenoteforeverybeat,weareplayingquarternotes.Whenweplaytwonotesforeverybeat,thenotesareplayedtwiceasfastsotheyareworthhalfthevalueofaquarternote.Wecallthem8thnotes.An8thnotelookslikeaquarternote,butithasaflagattheendofthestem.

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Whenweplaytwo8thnotesoveronebeat,weconnectthemwithabeamlikethis.Beam #

Four8thnotesplayedovertwobeatscanalsobebeamedtogether,likethis.

Whenwecount8thnotes,wecountthemlikethis.Playthefollowingexercise,andcountasyouplay–alwaysfeelingthepulseofthebeat.

Nowyou’rereadyforyournewpieces.Butfirst,let’sreviewthenotesyou’velearned.

Note_______________________________Fret________________________________

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Choosefromthetunesonthefollowingpagesforthislessonsassessments.

• PlayThreeStringReviewforaD• AddBingoorGoodKingWenceslasforaC• AddAuraLeeorTwinkle,TwinkleforaB• PlayanyfourforanA(twoofthefourmustinclude8thnotes)

ThreeStringReview

AuraLee

YankeeDoodle

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Twinkle,Twinkle,LittleStar

GoodKingWenceslas

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UnitTwo–Readingchorddiagrams

Harmonyresultswhenvoicesjointogetherinagreement

Whatwillwelearninthisunit?• Learnhowtoreadachorddiagram• Howtoplayseveralnotesatonce• Learnhowtopositionfingersonthedotsinsuchawaythatproduces

multiplenotesatonce• Developproperposturetoassurebestresults

HowwillIbeassessed?Welearnchordsinordertoaccompanyasolovoice.Thisisaskillthattakestimetomasterproperly.Wewillnotbelearningchallengingstrummingpatternswiththerighthand.Youwillbeassessedonthefollowing.

• Demonstrateunderstandingoffingerplacementfromachorddiagram

• Playingandmemorizingsimple2-chordpatternsVocabularywordsforthisunit

• Harmony–aconsistent,orderlyarrangementofparts• Chord-twoormoredifferentnotesplayedtogetheratthesame

time• Chorddiagram–Agridofsixverticallinesdemonstratingwherethe

fingersaretobeplacedtoproduceachord• Strumming–strokingthestringsasagroupineitheradownwardor

upwardmotion

Understandingthechorddiagram

Achorddiagramisagridofsixverticallines–eachrepresentingastringoftheguitar.Thestringsarenumberedfromrighttoleft,asshownhere.654321

Rememberthatthe6thstringistheheavieststring,andthe1ststringisthethinneststring.Theblackbaratthetopofthediagramrepresentsthe‘nut’oftheguitar–theivorypieceatthetopofthefretboard.Thehorizontallinesrepresentthemetalfretsonthefretboard.

Whenwelookatachorddiagram,weseeaseriesofblackdots,X’sand0’s,andanarrangementofnumbers.

Here’sanexample–theAchordX01230

Thedotstellusonwhichstringandfrettoplacethefingers.Thenumberstelluswhichfingertoplaceonthedot.

o 1stfingerisonthe2ndfret,4thstringo 2ndfingerisonthe2ndfret3rdstringo 3rdfingerisonthe2ndfret2ndstring,

• The0abovethefirststringmeansthestringisan‘open’string• TheXabovethesixthstringmeanswedon’tplaythestringatall–itdoesn’t

belongtothechord.• Occasionallywe’llseealternatewaystoplacethefingers,likethisalternateway

ofplayinganAchordwiththefirstandsecondfingersreversed.

X02130

Inthisunit,youwilllearnhowtoplay16chordsDemonstrateyourunderstandingintwoways:“Reading”thechorddiagrams(Interpretthesymbolsbydemonstratingwheretoplacefingersonthefretboard)MemorizingthemPlaythechordsina2-chordpattern,frommemory

• Play5assessmentsforaD• Play6assessmentsforaC• Play7assessmentsforaB• Playall8foranA

Chorddiagramsareonpage42inthebackofthebook.Yourfirstassessmentbeginshere.Allassessmentsusethesamestrummingrhythm.Assessment#1

Assessment#2

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Assessment#3

Assessment#4

Assessment#5

Assessment#6

Assessment#7

Assessment#8

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UnitThree–Ties,Dots,Sharps,Flats

Twodifferentinstructionscanproducethesameresult

Whatwillwelearninthisunit?

• Learnhowtoaddvaluetonotesthroughnewsymbols• Learnhowtoalterpitchesthroughnewsymbols

Howwillwelearnit?

moreyoudemonstrateamasteryofyourunderstandingandskills

Vocabularywordsforthisunit

• Tie–acurvedlineconnectingtwonotesofthesamepitch,extendingthevalueofthenote(s)

• Dottednotes–anotewithadotafterthenotehead,extendingthevalueofanotebyhalfitsworth

• Interval–themusicaldistancefromonepitchtoanother• HalfStep–smallestpossiblemusicaldistancebetweentwonotes(on

theguitar,markedbyonefret)• WholeStep–Equaltotwohalfsteps(ontheguitar,markedbytwo

frets)• Sharp–asymbolbeforeanotethatraisesthepitchbyahalfstep

(onefret)• Flat–asymbolbeforeanotethatlowersthepitchbyahalfstep• Enharmonic–whentwonoteshavedifferentnamesbutthesame

pitch.• Pick-upnotes–Notesthatbeginapieceofmusicbutdonotaddup

toawholebar

UnitThree/Lesson1:Tiednotes

Sofar,wehavelearnedhowtoreadthesymbolsforfourdifferentnotevalues:Wholenotes,halfnotes,quarternotes,and8thnotes.

Butitdoesn’tstopthere.Whatifwewanttoholdanoteforthreebeats?Fivebeats?1½beats?Whatwouldthesenoteslooklike?

Inthislessonyou’lllearnsymbolsthatshowtogiveanotemorevalue.Therearedifferentwaystoshowit,andsometimestwodifferentwaysproducethesameresult.

Onewaytogiveanotemorevalueistotieittoanothernoteofthesamepitch.Wecallthisa‘tie’-acurvedlineconnectingonenotetothenext.Bytyingthehalfnoteintheexamplebelowtoaquarternotewegetanotethatisnowworththreebeats.Thequarternoteisnotplayedagain;weholdthehalfnoteforonemorebeat.

Notescanbetiedwithinthesamebar,butcanalsobetiedfromonebartothenext.Intheexamplebelow,thequarternoteonbeatfouristiedtothefirstbeatofthesecondbar.Sothefourthnoteisheldfortwobeatsinsteadofone.

Inthefirstbaroftheexamplebelow,weseequarternotestiedto8thnotes.Inthesecondbar,ahalfnoteistiedtoan8tnote.Remember,thetied8thnoteisnotplayedagain.Itisjustanextensionofthefirstnote’svalue.

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PlayoneforaD PlaytwoforaC PlaythreeforaB PlayfourforanATieitLikeThis

AllTiedUp

Let’sCallItaTie

TieMeKangarooDown

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UnitThree/Lesson2:DottednotesInourlastlesson,welearnedhowtotienotesofdifferentvaluetogether.Thetieisonewaytoshowthis.Butthereisanotherwaytoshowit.Ifthevalueofthesecondtiednoteisworthhalfthevalueofthefirsttiednote,wecanshowthisbyplacingasimpledotafterthenoteheadofthefirstnote.Here’sanexample.Ahalfnoteisworthtwobeats.Sincehalfoftwoisone,thedotaddsonemorebeattothevalue.Soahalfnotetiedtoaquarternotecanalsobeshownasadottedhalfnote.Thedottedhalfnoteisheldfortwobeatsplusone=threebeats.

Here’sanotherexample.Aquarternoteisworthonebeat.An8thnoteisworthhalfofabeat.Soaquarternotetiedtoan8thnoteisworththesameasadottedquarternote.Adottedquarternoteisheldforonebeatplusthefirsthalfofthenextbeat=1½beats.

Thesetwoexamplesrepresentthesamerhythm.Theyareplayedthesameway.Thefollowingexamplesgiveyouanopportunitytoshowyourunderstandingofhowtoreadtuneswithdottednoterhythms.Feelfreetowritethepropercountingunderthenotesifithelpsyouunderstandwherethebeatsfall.

• PlayoneforaD • PlaytwoforaC • PlaythreeforaB • PlayfourforanA

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DownintheValleyAmericanfolksong

Arirang Koreanfolksong

AllThroughtheNight Welshfolksong

WayfaringStranger Americanfolksong

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UnitThree/Lesson3:SharpsandflatsSofar,we’velearnedhowtoplayeightnotesonthefirstthreestrings–allofthelettersfromGtoG.Butlet’stakealookattherestofthefretboard.Ifweclimbupthefretonthefirststring,here’showwefindthepitches.

Pitch:EFGABCDEFret:0135781012Here’sthealphabetonthesecondstring

Pitch:BCDEFGABFret:0135681012Andhereisthealphabetonthethirdstring

Pitch:GABCDEFGFret:0245791012NOTICETHATTHEDISTANCEFROMONELETTERTOTHENEXTISTWOFRETS,EXCEPTFROMBTOC,ANDFROMETOF.Themusicaldistancefromonenotetoanotheriscalledaninterval.Thesmallestintervalinmusicisahalf-step–shownontheguitarbygoingfromonefrettothenext.Awholestep(twohalf-steps)isthedistanceoftwofrets.Sotheintervalfromonelettertothenextisalwaysawholestep–exceptbetweenBandC,andbetweenEandF.

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Anypitchlettercanberaisedahalf-stepbyaddingasharpsign(itlookslikeahashtag).

G(open)Gsharp(1stfret)

PlayExercise#1,usingfirstfingerinthefirstfret,secondfingerinthesecondfret,thirdfingerinthethirdfret,andfourthfingerinthefourthfret.Exercise#1

Apitchlettercanbeloweredahalf-stepwithaflatsign(itlookslikealowercaseb).

G(3rdfret)Gflat(2ndfret)

NoticethatGflatandFsharparethesamepitch.Whentwonoteshavedifferentnamesbutsharethesamepitch,theyareenharmonic.

AddExercise#2foraC• NoticethatthefirstnoteisahighA(5thfretofthe1ststring).• Thefollowingnotesareenharmonic(samepitch):

Ab=G#,Gb=F#,Eb=D#,Db=C#,Bb=A#

Exercise#2

AAbGGbFEEbDDbCBBbAAbG

Thereisonelastsymbolyouneedtoknow.Whenweflatorsharpanote,itremainssharpedorflattedthroughoutthebar.Ifwewanttocancelaflatorsharpinabar,weuseanaturalsign.

FnaturalBnatural

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Ifyou’veplayedexercises#1and#2you’veearnedaC.AddAuraLeeforaBAddHalloftheMountainKingforanA

AuraLee

HalloftheMountainKingEdvardGrieg

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UnitFour–BassNotesandtheThumb

Patternsandsequencesprovidestructure

Whatwillwelearninthisunit?

• Learnhowtoplaywiththethumb• Learnhowtoreadnotesbelowthestaff• Learnhowtoplay‘broken’chords• Learnhowtoplayscales

Howwillwelearnit?

moreyoudemonstrateamasteryofunderstandingandskillsVocabularywordsforthisunit

• Ledgerlines–additionallinesaboveorbelowthestaffthatallowustonotatehigherandlowerpitches

• Pima-systemforlearningrighthandfinger-pickingtechnique• Arpeggio–Achordplayed“Harp-style”inwhichchordnotesare

playedoneatatimeinsteadofstrummed.• Scale-arisingseriesofpitchesinauniquesequenceofwholeand

halfsteps.• Enharmonic–Twonotesthathavedifferentnames,butthesame

UnitFour/Lesson1:ThelowthreestringsWhenwenotatepitchesthatarehigherorlowerthanthehighestorlowestlinesonthestaff,weneedtoextendthestaffwithextralines.Theselinesarecalledledgerlines.Ledgerlinesareplacedaboveorbelowthestaffatthesamedistanceasthelineswithinthestaff.Theyarealsoonlylongenoughtomarkthepositionforthenote.Notesfallingbelowthestaffareeitherplacedonaledgerline,orhangingrightbelowtheledgerline.Itisnotnecessarytowritealedgerlinebelowaspacenote.

Nowit’stimetolearnaboutthelowthreestrings.ThefourthstringistunedtoD(rightbelowthebottomstaffline)ThefifthstringistunedtoA(placedonthesecondledgerlinebelowthestaff)ThesixthstringistunedtoE(placedonthespacebelowthethirdledgerline

Thelowthreestringsareplayedwiththethumb.Inthislesson,you’lllearnanewnotationsystemthatshowshowtomakebestuseofallfourfingers(wedon’tusetherightpinky).Thissystem,knownasthe“pima”system,comesfromthefollowingSpanishwords.

• Pulgar(p)=thumb• Indice(i)=indexfinger• Medio(m)=middlefinger• Anular(a)=ringfinger

Developingstrengthinallfourfingersgivesyouthestrengthandcoordinationtoplaymoreinterestingandchallengingpieces.

First,trythissimplewarm-up.Asyouplaythenotes,sayorthinkthenoteletterssoyougetusedtoidentifyingthem.

D(4)A(5)E(6)

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Inthefollowingexercises,youwillplay‘broken’chords.A‘broken’chordisplayedonenoteatatime,likeaharp.Thetermforthisis‘arpeggio’–‘harp-style.’Whenyouplayanarpeggio,startbyplantingyourfingersonallofthestrings:

• p(thumb)onthebassnote• i(index)onthethirdstring• m(middle)onthesecondstring• a(fourthfinger)onthefirststring

Thenyoupluckthenotesoneatatime,andletthemringfortherestofthebar.Play#1forapassinggradeAdd#2foraCAdd#3foraBAdd#4foranA

Exercise#1

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Exercise#2-avariationofExercise#1(pima),including8thnotes.

Exercise#3-Thepatternispimaforthefirstfourbars,andpamiforthelastfourbars.

Exercise#4-switchesbackandforthbetweentwopatterns:pima – pami – pima – p

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UnitFour/Lesson2:NotesonthefourthstringSofarwe’velearnedtoplaythefollowingnotesonthefirstthreestrings.Thefollowingpairsofnotesareenharmonic(thesamepitch)andwillbeplayedinthesamefret:

G#/AbA#/BbC#/DbD#/EbF#/Gb

Thissequenceofrisingnotesgoesupbyhalfsteps.Sinceitincludesallofthepitchesfromlowesttohighest,itisthemostcolorfulofscales.Sowecallitthechromaticscale.

3rdstring2ndstring1ststring

Fret01-123-3012-234-4012-234-45G#/AbA#/BbC#/DbD#/EbF#/GbG#/AbInthislesson,youwilllearnhowtoplaynotesonthefourthstring(D).DisplayedopenEisplayedonthesecondfret

Fisplayedonthethirdfret

D#andEbareenharmonic,andwillbothbeplayedonthe1stfretF#andGbarealsoenharmonic,andareplayedonthe4thfret.

DD#EbEFF#GbFret:01234

• Playexercise#1foraD• add#2foraC• add#3foraB• add“Finlandia”foranA

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Exercise#1-Startbyplayingthiseasyfirstexercise,usingonlyyourthumb.Writeinthenamesofthenotesifyoulike.

______________________________________________Exercise#2–Inthisexerciseyou’llbeusingalternatingpimapatterns,usingthetechniquelearnedinthepreviouslesson.

Exercise#3–Inthisexercise,youwilllearntoplaythreedifferentscalesbeginningonD.NoticethatwhiletheyallstartwithopenD,thepatternofwholeandhalfstepsisdifferentforeachscale.

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“Finlandia”

ThislastplayingexampleisthefamoustunefromatonepoemwrittenbyFinnishcomposer,JeanSibelius.Writtenin1899,itwaswritteninprotestagainstFinland’soppressionundertheRussianEmpire.ItwasoftenperformedinconcertunderdifferentnamessotheRussianswouldn’tcensorthisexpressionofFinnishnationalistpride.Readingtips:

• WhenanFissharpedinabar,itissharpedfortherestofthebar.• Therhythminthethirdbarisacommondottedrhythmthroughthepiece

• Reviewwhatyouknowaboutdottednotes,andpracticethisrhythmonasinglenoteifnecessarybeforetryingtoplaythepiece.

Playingtip:• Inthisexample,it’sokaytoplaysecondfretnoteswiththefirstfinger,and

fourthfretnoteswiththethirdfinger.“Finlandia” J.Sibelius

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UnitFour/Lesson3:Notesonthefifthstring

First,let’sreviewthenoteswelearnedonthefourthstring.

DD#EbEFF#GbThenotesonthefifthstringare:

• A(onthesecondledgerline)=openstring• B(belowthefirstledgerline)=2ndfret• C(onthefirstledgerline)=3rdfret• A#andBbareenharmonicandareplayedonthe1stfret.• C#andDbareenharmonicandbothplayedonthe4thfret.

ABCAA#BbBCC#DbFret:02301234Assessments:PlayExercise#1foraDAdd#2foraCAdd#3foraBAdd#4foranA

Exercise#1–Inthisfirsteasyexercise,you’lllearntoplayA,BandC.

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Exercise#2-Inthisexerciseyouuseapimapatternusingjustthepandathroughout.

Exercise#3–Inthisexercise,youwillplaythreedifferentscalesbeginningonA.

Exercise#4:AllThumbs-Thisonejumpsaroundtheenharmonics.Taketimetosortitallout.Lefthandfingeringshouldbeconsistent(1stfinger/1stfret,2ndfinger/2ndfret,etc.).Therighthand,however,isallthumbs.

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UnitFour/Lesson4:NotesonthesixthstringLearningthenotesonthesixthstringisbotheasyandchallenging.WhatmakesthemeasyisthatthesixthstringistunedtoanE,justlikethefirststring.Whatmakesthemchallengingisthattheyfallevenfurtherbelowthestaff,andrequiremoreledgerlines.Thenotesonthesixthstringare:

• E(belowthethirdledgerline)=openstring• F(onthethirdledgerline)=1stfret• G(belowthesecondledgerline)=3rdfret

F#andGbareenharmonicandareplayedonthe2stfret.G#andAbareenharmonicandbothplayedonthe4thfret.

EFGEFF#GbGG#AbFret:01301234

Assessments:

• PlayExercise#1foraD• Add#2foraC• Add#3foraB• Add#4foranA

Exercise#1–Inthisfirsteasyexercise,you’lllearntoplayE,FandG.

EFG____________________________________

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Exercise#2

Exercise#3

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Exercise#4-Inthislastexercise,you’llbeapplyingthepimamethod.Keepyourlefthandfingersonthelownotesuntilthelownotechanges.Forexample,theG(p)atthebeginningofbar2shouldbeheldthroughthenextfournotes(i-m-i-a).

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ChordDiagramChartNoticethatinsomecases,analternatefingeringisshownbelowthediagram.

AAmA7BmXO123OXO231O XO1O2OXXO321

X02130 B7 CD DmX213O4X32O1O XXO132XXO231

D7 E EmE7XXO213O231OO O23OOOO2O1OO

F F#7 G G7 XX3211XX321O23OOO423OOO1

21OOO3

Guitarexercises

Tipsonguitarnotation:• Thenumberinthecircleindicateswhichstringisplayed• Theothernumberindicateswhichfrettoplaceyourfinger

Asyouplaythesenote-readingexercises,besuretousetheindexfingerforthefirstfretnotes,and3rdfingerforthethirdfretnotes

Reviewoffirstthreestrings

1.1stStringE

2.2ndStringB

3.3rdStringG–besuretouse2ndfingerforsecondfretnotes

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4.4thstringD

5.5thstringA

6.6thstringE

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Five-noteexercises

7.c-d-e-f-g

8.b-c-d-e-f

9.a-b-c-d-e

10.g-a-b-c-d

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11.f-g-a-b-c

12.e-f-g-a-b

13.d-e-f-g-a

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14.c-d-e-f-g

15.b-c-d-e-f

16.a-b-c-d-e

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17.g-a-b-c-d

18.f-g-a-b-c

19.e-f-g-a-b

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20.Allnotesascending

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21.Allnotesdescending

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22.Allnotesascending#2

23.Allsixstringnotesdescending#2

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DiatonicScales24.

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Majorscales

• Anintervalisthemusicaldistancefromonenotetothenext.• Intervalsaremeasuredin“steps.”• Ontheguitar,thedistancefromonefrettothenextisa“half-step”• Thedistanceofonefrettotwofretshigherisa“wholestep”• Thedistancefromonemusicallettertothenextisawholestep,

exceptbetweenBandC,andbetweenEandF.Thesearehalf-steps.• Scalesaredefinedbytheirsequenceofhalf-stepsandwholesteps.• Inamajorscale,regardlessofthestartingnote,thehalf-stepscome

betweenthe3rdand4thnote,andthe7thand8thnote.Sosometimeswehavetoaltersomeofthepitchestomakethesequencework

• Sharpsigns(#)raiseapitchbyahalf-step(onefret)• Flatsigns(b)lowerapitchbyahalf-step.

TheCmajorscale(CDEFGABC)requiresnosharpsorflats

Gmajor(the7thtone,F,israisedahalf-steptomakethesequencework)

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Dmajor

Amajor

Emajor

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Fmajor

Bbmajor

Ebmajor

Abmajor

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Glossary

• Arpeggio–Achordplayed“Harp-style”inwhichchordnotesareplayedoneatatimeinsteadofstrummed

• Chord-twoormoredifferentnotesplayedtogetheratthesametime• Chorddiagram–Agridofsixverticallinesdemonstratingwherethefingersare

tobeplacedtoproduceachord• Dottednotes–anotewithadotafterthenotehead,extendingthevalueofa

notebyhalfitsworth• Enharmonics–Twonotesthathavedifferentnames,butthesamepitch• Flat–asymbolbeforeanotethatlowersthepitchbyahalfstepGclef-a“key”

atthebeginningofthestaffthattellsushowtoreadthealphabetonthestaff• HalfStep–smallestpossiblemusicaldistancebetweentwonotes(ontheguitar,

markedbyonefret)• Harmony–aconsistent,orderlyarrangementofparts• Interval–themusicaldistancefromonepitchtoanother• Ledgerlines–additionallinesaboveorbelowthestaffthatallowustonotate

higherandlowerpitches• Meter–Aregulargroupofbeats• Musicalalphabet-ABCDEFG(sevennotes)• Notehead-oval-shapedsymbolrepresentinganote• Pick-upnotes–Notesthatbeginapieceofmusicbutdonotadduptoawhole

bar• Pima-systemforlearningrighthandfinger-pickingtechnique• Pitch-highnessorlownessofanote• Scale-arisingseriesofpitchesinauniquesequenceofwholeandhalfsteps• Sharp–asymbolbeforeanotethatraisesthepitchbyahalfstep(onefret)• Staff-five-linegridonwhichnoteheadsareplaced• Stem-verticallineattachedtosomenoteheads• Strumming–strokingthestringsasagroupineitheradownwardorupward

motion• Tie–acurvedlineconnectingtwonotesofthesamepitch,extendingthevalue

ofthenote(s)• WholeStep–Equaltotwohalfsteps(ontheguitar,markedbytwofrets)

AbouttheAuthor

DavidRitsemaisamusiceducatorwithover16yearsexperienceteachinginandoutsidetheclassroom.HeearnedhisB.AinMusicEducationfromNorthwesternCollege,OrangeCity,IA,whereheplayedinconcertband,marchingband,jazzband,andsanginacappellachoir.HeearnedhisM.A.inMusicEducationfromtheUniversityofMinnesotain2001,wherehestudiedWorldMusic,andJazzTheoryandArranging.HeisalsocertifiedtoteachAPMusicTheory,MYPmusic,andIBMusic.

Hispreviousteachingexperienceincludes:TheInternationalSchoolofMinnesota,EdenPrairie,MN;IndependentSchoolDistrict#622,NorthSt.Paul,MN;NewtonInternationalSchool,Doha,Qatar;TheInternationalSchoolofBerne,Gumligen,Switzerland.

HeservedasGuitarsinSchoolsRepforSchmittMusicandFenderMusic,andhashadanumberofarticlesonpopmusicandalbumreviewspublishedinnationalperiodicals.

Heplayspiano,trombone,Africanpercussion,recorders,steelpans,charango,ukulele,andhasplayedguitarsince1967.Hehasperformedinanddirectedchurchhandbellchoirs,andheperformedwiththeDohaCommunityOrchestra,theBahrainSymphony,andtheChiao-AiChoirandChorAlegriaofBerne,Switzerland.Mr.Ritsemaenjoysphotography,internationalfilms,andbelongstoabookclub.

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