
#  Beginning Contemporary Guitar

##  By Samuel Larson

####  Beginning Contemporary Guitar

#####  Samuel Larson

Copyright 2000-2018 by Samuel Larson

All rights reserved.

####  Dedication

_To all of my students,

For over 20 years of good questions, frustrations, and hard work. Your desire to improve has molded this ebook course.

To my lovely wife Heidi,

You are truely the love of my life.

And to Jim Hill,

For guiding a young man in the right direction. _

####  Preface

Welcome to 'Beginning Contemporary Guitar'.

As a teacher, I've observed that new students vary widely in age and past experience.

Some students have played an instrument and have learned to read music but are new to the guitar.

Others may have some experience with the guitar but no formal training in the language of music.

And some students have never played a musical instrument.

No matter which background applies to you, if you're taking this course, then you've decided to start from the beginning to develop a solid foundation with both the guitar and reading music.

The materials list for this course has three required elements:

> 1) You'll need a six string acoustic or electric guitar,   
>    
>  2) A medium gauge guitar plectrum (guitar pick),   
>    
>  3) And a computer, laptop, or handheld electronic device.

This course is offered in digital format, and some of the course material includes interactive audio/visual media. In order to take full advantage of the interactive elements, be sure to use a device with audio/video capability.

Thank you for choosing this coursework for your lessons. After many years of watching new students develop into musicians, I strongly believe that a program which embraces the language of music is the best beginning for a lifetime of musical fulfillment.

Please drop me an email if you have any questions or comments: samuel.larson@wingstomusic.com

Samuel Larson

####  Table of Contents

Title Page

Copyright

Dedication

Preface

Chapter 1 \- Getting to Know the Guitar

> Lesson 1 : Headstock   
>    
>   Lesson 2 : String End Points   
>    
>   Lesson 3 : Neck   
>    
>   Lesson 4 : Body   
>    
>   Lesson 5 : Holding the Guitar   
>    
>   Lesson 6 : Holding the Pick

Chapter 2 \- Tuning

> Lesson 1 : Guitar Tuning Video   
>    
>   Lesson 2 : Tuning with a Piano   
>    
>  Lesson 3 : Electronic Tuners   
>    
>   Lesson 4 : Relative Tuning   
>    
>  Lesson 5 : Using a Pitch Pipe   
>    
>   Lesson 6 : Using a Tuning Fork   
>    
>   Lesson 7 : Alternate Tunings

Chapter 3 \- Learning the Language of Music

> Lesson 1 : Pitch   
>    
>   Lesson 2 : Duration   
>    
>  Lesson 3 : Rest   
>    
>   Lesson 4 : Meter   
>    
>   Lesson 5 : Tempo   
>    
>   Lesson 6 : Intensity   
>    
>  Lesson 7 : Timbre   
>    
>  Lesson 8 : Articulation

Chapter 4 \- String Number 1 with Notes G, F, & E

> Lesson 1 : G Third Fret - Rhythm - 4/4 Meter - Legato   
>    
>   Lesson 2 : F First Fret - Dotted Half Note   
>    
>   Lesson 3 : E Open - 3/4 Meter - Quarter Rest   
>    
>  Lesson 4 : Practice Utilities - Approach to Practice   
>    
>   Lesson 5 : Beethoven 'Ode to Joy' (reduced) - Half Rest   
>    
>   Lesson 6 : Larson 'Common Time Cadence'   
>    
>   Lesson 7 : Larson 'Triple Time Modulation' - Sharps   
>    
>   Lesson 8 : Larson 'Minor Cadence' - Flats - Ledger Lines

Chapter 5 \- String Number 2 with Notes D, C, & B

> Lesson 1 : D Third Fret - Metric Pulses in 4/4   
>    
>   Lesson 2 : C First Fret - Transposing Instruments   
>    
>   Lesson 3 : B Open - Metric Pulses in 3/4   
>    
>   Lesson 4 : Practice Utilities - Isolate a Difficult Spot   
>    
>   Lesson 5 : Beethoven 'Ode to Joy' - Moving to an Adjacent String   
>    
>   Lesson 6 : Traditional 'Frere Jacque' - Consistent, Even Timing   
>    
>   Lesson 7 : Strauss II 'Roses from the South' - Slur   
>    
>  Lesson 8 : Pierpont 'Jingle Bells' - Accent - Section Repeat Sign

Chapter 6 \- String Number 3 with Notes A & G

> Lesson 1 : A Second Fret - Steps - Scale - Tie   
>    
>   Lesson 2 : G Open - Circle of Steps - Anacrusis - Traditional 'Red River Valley'   
>    
>   Lesson 3 : Eighth Notes - Dotted Quarter Note - Larson 'Minor Cadence'   
>    
>  Lesson 4 : Practice Utilities - Think Ahead of the Music - Andante - Allegro   
>    
>   Lesson 5 : Beethoven 'Ode to Joy' - Playing Simultaneous Parts   
>    
>   Lesson 6 : Traditional 'Frere Jacque' - Hammer-on, Pull-off, Slide   
>    
>   Lesson 7 : Traditional 'Amazing Grace' - Rhythmic Variation   
>    
>   Lesson 8 : Pierpont 'Jingle Bells' - Verse & Chorus Sections - Da Capo

Chapter 7 \- String Number 4 with Notes F, E, & D

> Lesson 1 : F Third Fret - Key Signatures - Traditional 'Ah! vous dirai-je Maman'   
>    
>   Lesson 2 : E Second Fret - Sixteenth Notes - Fermata   
>    
>   Lesson 3 : D Open - Major Keys - Major Scale - Half Steps & Whole Steps   
>    
>   Lesson 4 : Practice Utilities - Identify the Melodic Structure   
>    
>   Lesson 5 : Ward 'America the Beautiful' - C Sharp   
>    
>   Lesson 6 : Traditional 'Angels We Have Heard on High' - Dynamics   
>    
>   Lesson 7 : Traditional 'Greensleeves' - F Sharp - G Sharp   
>    
>  Lesson 8 : Mozart 'The Marriage of Figaro' - A Sharp - Enharmonic Equivalents

Chapter 8 \- String Number 5 with Notes C, B, & A

> Lesson 1 : C Third Fret - Key of C Major - C Major Scale - 2/4 Meter   
>    
>   Lesson 2 : B Second Fret - Trad. 'When the Saints Go Marching In' - Modulation   
>    
>  Lesson 3 : A Open - Traditional 'Scarborough Fair' - Skips - Circle of Skips   
>    
>   Lesson 4 : Practice Utilities - Use Repetition - 3/8 Meter - Ritardando - A Tempo   
>    
>   Lesson 5 : Tilzer 'Take Me Out to the Ball Game' - Musical Pictures - Lyrics   
>    
>  Lesson 6 : Mozart 'A Little Night Music' - Rests - Staccato - Trill - Grace Note   
>    
>   Lesson 7 : Beethoven 'Fur Elise' - D Sharp - Crescendo - Diminuendo   
>    
>   Lesson 8 : Bach 'Bourree 1' - Harmony - Chords - D.C. al Fine

Chapter 9 \- String Number 6 with Notes G, F, & E

> Lesson 1 : G Third Fret - Triplets - Leaps - Poco a Poco - G Major Scale   
>    
>   Lesson 2 : F First Fret - F Major Scale - Changing Meter - Larghetto - Arpeggios   
>    
>   Lesson 3 : E Open - Minor Keys - A Minor Scale - Minor Scale Forms - D.C. al Coda   
>    
>   Lesson 4 : Bach 'Jesu, Joy of Man's Desiring' - Key of G Major - Simile   
>    
>  Lesson 5 : Traditional 'Scarborough Fair' - Composite Meter - Two Measure Repeat   
>    
>   Lesson 6 : Traditional 'Auld Lang Syne' - Key of F Major - B Flat   
>    
>  Lesson 7 : Beethoven 'Fur Elise' - Key of A Minor - G Sharp   
>    
>   Lesson 8 : Bach 'Bourree 1' - Two Part Form - Pedal Tone   
>    
> 

##  Chapter 1 - Getting to Know the Guitar

##  Lesson 1: Headstock

The headstock is shaped and positioned for the proper alignment of the six tuning machines.

The headstock on your guitar may look different than the one in this picture, but whatever the design, they are all made to work in a similar way.

####  Tuning Machines

Tuning machines are positioned around the outside edge of the headstock.

A tuning machine has four parts which work together to control and maintain the tension of a string.

####  Post

Extending from the face of the headstock, a post is a cylinder with a small eyelet for threading the string.

The string is wound around the post with enough wraps to create friction, so the string will not slip.

####  Spur Gear

The post passes through to the underside of the headstock where it is connected to a spur gear.

The gears on your guitar may not be visible if they are encased.

####  Worm Gear

The spur gear is meshed with a worm gear, which looks like a screw.

With this arrangement of gears, the string may be adjusted, but it will not unwind itself.

####  Peg

Attached to the worm gear is the peg, which is made for your fingers to turn.

You may have discovered that if you turn the peg, the worm gear turns, which turns the spur gear, which rolls the post.

Turning the peg one direction will roll up the string.

The way the guitar is made, if you roll up a string, what you are really doing is pulling on the string and making it tighter, and as the string gets tighter, the pitch raises.

This means that when you pick the string, the note sounds higher.

If you turn the peg the other direction, you will unroll the string, and the string will loosen, which lowers the pitch, so when you pick the string, the note will sound lower.

Because the strings of the guitar are tensive, it's possible to over tighten and break a string, so take care when turning the pegs.

On a standard guitar, there are six strings, and each string is attached to its own tuner, so you can adjust the tension of each string individually.

We'll be getting back to the headstock and working with the tuning pegs later in the upcoming chapter on tuning.

##  Lesson 2: String End Points

The strings of the guitar are numbered for convenience of reference.

The big string is string number six, and the string adjacent is string number 5, and the strings follow, 4, 3, 2, until reaching the little string, which is string number 1.

The strings hover above the neck and the body and are stretched over two end points.

####  The Nut

The nut is the stopping point for the string that is next to the headstock.

The nut has grooves to better hold the strings in place.

If you pick a string so that it wobbles about and produces a tone, you can see that the string is not vibrating past the nut over the headstock area.

However, if you touch the string anywhere over the neck, your hand will dampen the string and the tone will stop sounding.

So the string is cut off at the fixed point where it passes over the nut.

####  The Saddle

The saddle is the stopping point for the string at the other end, where the string passes over the body and finally connects to the bridge.

If you pick a string, you can see that the string does not vibrate past the saddle where it connects to the bridge.

So the string is cut off at the fixed point where it passes over the saddle.

Because of these two end points, the strings are actually fixed at a certain length between the nut and the saddle.

##  Lesson 3: Neck

If you look at the guitar neck from the side, you might see a difference in the color of the finish work.

The color difference is showing that the guitar neck is made from two pieces of wood which are glued together.

The thin piece of wood on the top or face of the neck is called the fretboard, and the fretboard extends past the neck over the body of the guitar.

####  Frets

Laid into the fretboard are special pieces of metal wire called frets.

A fret is set so that it crosses or is perpendicular to the strings.

The frets are numbered for convenience of reference; the nut on the guitar, which acts like a fret, is called fret number 0.

The first fretwire past the nut is fret number 1, and the frets follow, 2, 3, 4, 5, ...

As we move closer to the body of the guitar, the fret numbers get higher.

####  Using the Frets

Find the first string on your guitar, which is the little string, and pluck it, so that it vibrates and produces a tone.

Now follow the first string up to fret number 5, and using your index finger, press down on the string so that it comes into contact with fret number 5.

Your finger should be placed just behind the fretwire, and you should be pressing with your fingertip.

Now pluck the string again and listen to this new tone.

If you compare the tones by playing one, then the other, you may realize that the open string sounds lower in pitch, and the tone played at the fifth fret sounds higher in pitch.

When you press down just behind fret number 5 and make the string come into contact with the metal fretwire, you are actually changing the stopping point of the string.

The original stopping point was the nut, and the new stopping point is the fifth fret.

Hold down the first string on fret number 5 again and pluck the string, and this time look at the string's vibrations.

The string is only vibrating from fret number 5 to the saddle, and the part of the string which is in between your index finger and the nut is not vibrating.

So the reason that the note you are holding on fret number 5 sounds higher, is that the string has been made shorter, and the shorter you make a string, the higher the pitch will be.

You can experiment by holding down notes on different frets.

As you make the string shorter or longer, listen for the changes in the pitch.

##  Lesson 4: Body

####  Acoustic Guitars

The body of an acoustic guitar is a hollow box with a face, side, and back, so that it is nearly completely enclosed.

####  Sound Hole

The only opening on the body is a hole that is positioned at the end of the fretboard and underneath the strings.

This opening is called the sound hole.

It is traditional to include some ornamentation or decoration around the sound hole; this design is called a rosette.

####  Pick Guard

Some guitars include a plastic guard, which is set to the side of the sound hole.

This piece of plastic, which acts as a protective barrier between the guitar pick and the body, is called a pick guard.

If a player accidentally hits the guitar body with the pick, instead of scratching the wood, the pick, which is also plastic, will slide over the pick guard and cause no damage.

####  The Bridge

The bridge is made to keep the strings elevated above the body and the neck of the guitar, so the strings may freely ring without obstruction.

The bridge also holds the saddle in place and includes some way of fastening the strings.

In this guitar model, the string ends are held in place with pegs; your guitar may be similar or may have a different design for fastening the strings.

####  Electric Guitars

The body of an electric guitar is solid and is usually made from a single block of wood.

####  Pick-ups

Instead of a sound hole, an electric guitar has an electro-magnetic pick-up, which is placed under the strings in between the fretboard and the bridge.

Some electric guitars have only one pick-up, where others may have up to three.

####  Pick Guard

Some electric guitars include a pick guard, which may serve two purposes.

It protects the body of the guitar from accidental scratching and may also cover router cavities that the maker used to run wires, knobs, and switches.

####  Bridge

The bridge of an electric guitar usually has separate saddles for each string, instead of a single saddle bar.

The bridge may also function as a tremolo system and include a bar for changing the string tension, which raises or lowers the pitch.

####  Knobs & Switches

Nearly all electric guitars have at least two knobs; one is for volume, and the other is for tone.

Guitars having more than one pick-up may have a greater number of knobs, but they will still function as either a volume or a tone knob.

Guitars having more than one pick-up usually include a selector switch, which gives the player the option of using different combinations of pick-ups at one time.

This creates changes to the guitar's tone.

If you are using an electric guitar, try experimenting with the knobs and switches to get a feel for how they affect the sound.

##  Lesson 5: Holding the Guitar

Holding the guitar correctly will prevent fatigue and put your arms in an optimal position for playing the music.

####  Seat

Playing the guitar requires a stool or a chair without arm rests.

If you are using a chair, it is necessary to sit on the front edge of the seat; this allows clearance, so the guitar body can extend past the seat.

####  Foot Stool

The guitar rests on your left leg so that the end of the body is supported by your right leg.

Because the optimal angle of the guitar should be approximately 45 degrees, players use a footstool to elevate their left leg, which naturally creates the angle.

If you are a left handed player, and you are using a left handed guitar, then use the inverse of these instructions.

####  The Bridge

The bridge is home base for your picking hand.

If you take the hand that holds the pick and place it on the bridge so that the heal of your hand (where your wrist and your hand meet) is just behind the saddle, then your picking hand is placed at home base.

####  Alternate Your Picking Direction

As you play notes, you will be alternating your picking direction.

This means that if you play a note with a down stroke, the next note you play will be an up stroke, and your picking direction will continue to alternate: down, up, down, then up, with your hand moving side to side and pivoting at the wrist.

With your hand in this position, pick string number 1 at a slow, even pace and get a feel for alternating direction.

Keep your hand on the bridge and make small movements side to side, pivoting at the wrist.

####  Things to Check

If you are playing an acoustic guitar, it is not necessary to pick over the sound hole.

If you notice that your hand starts to float in the air, place it back on the bridge.

If you notice that you are twisting your arm, instead of moving your hand side to side and pivoting at the wrist, slow down and focus on your movements.

If you notice that you are alternating direction by moving your entire arm up and down, in other words, moving from your elbow, park your hand back on the bridge and focus on the smaller movements from the wrist.

If you notice that your hand is placed too far back on the bridge, so that you are picking the string too close to the saddle, causing the notes to sound thin, place your hand so that the heal of your hand is just behind the saddle.

If you notice that the heal of your hand is placed in front of the saddle, causing the notes to sound muffled or muted, move your hand so that the heal is just behind the saddle.

####  The Neck

The fingers of your fretboard hand are numbered for convenience of reference.

Your index finger is finger number 1, and the fingers follow 2, 3, and 4.

Your thumb, which is rarely used for playing notes, supports your fingers from behind the neck as they press on the fretboard.

####  First Position

You will begin learning the fretboard by placing your hand in first position.

This means that if you have to play a note on fret number 1 on any of the strings, your first finger will play it.

Any note on fret number 2 is played with your second finger.

Notes on fret number 3 are played with your third finger.

And notes on fret number 4 are played with your fourth finger.

####  Thumb

Your thumb is positioned behind the neck with the pad of your thumb pressing in the neck's center.

If you look at your thumb and fingers from an overhead view, your thumb should be approximately centered with the layout of your fingers in first position.

####  Finger Placement

When pressing down a note, avoid using the pad of your finger, instead, use the fingertip.

This will help keep your fingers well arched and clear of the other strings, and it creates a stronger hold on the note.

Your fingertip should be placed right behind the fretwire.

The closer your finger is to the fretwire, the easier it is to press down the note, and the note will sound smooth and clear and will not buzz.

##  Lesson 6: Holding the Pick

A guitar plectrum, or pick, is a small piece of plastic that acts as a substitute for your fingernails.

Picks are made in different thicknesses to accommodate different styles of play.

Players often desire a thin gauge for rhythm work, or strumming chords, and a heavy gauge for melodic work, or playing single notes.

Since your lessons will involve both styles of play, the best choice is a medium gauge pick.

####  Pick Placement

Place the pick on the pad of your index finger, so the tip of the pick is extending just past your fingertip.

The pick should look like a fingernail only on the opposite side of your finger.

Press your thumb against the pick to hold it in place, and place your hand just behind the bridge saddle.

Watch that the pick does not extend too far past the end of your finger, as the farther out the pick extends, the harder it will be to control, and the pick may run into strings that you did not intend to play.

####  Pick Angle

If you are holding the guitar and the pick correctly, the pick will be angled at about 45 degrees with respect to the string.

If the pick is angled equally with the string, so that it is flat or horizontal with the string, the pick will tend to grab and lift the string before the release.

If the pick is angled opposite the string, so that it is crossing or perpendicular with the string, the pick will tend to quietly slip over the string with a soft release, but it will not hang up or drag.

By holding the pick so that it is angled at 45 degrees with respect to the string, you will be picking the string using a compromise between lift drag and slip release.

This will create a solid tone and will allow for quick, smooth playing.

Experiment with the pick, holding it at different angles, and get a feel for the different levels of drag as you cross over the string.

At the same time, listen for the changes in the sound of the tone as you cross over the string with a different pick angle.

##  Chapter 2 - Tuning

##  Lesson 1: Guitar Tuning Video

As a new player, you may wonder how often you should tune the guitar.

The guitar is a very portable instrument, but traveling with the guitar will nearly always put the instrument out of tune.

Temperature, humidity, and string stress may also contribute to an out of tune guitar.

So before you practice, before you play, every time you pick up the instrument, you must check the tension of each string first.

If a string is set at the right tension, when you play the string open so that it vibrates at its full length, which is from the nut to the bridge saddle, it will sound out the correct pitch.

####  Tuning Video

One way to go about tuning the guitar is to use the Guitar Tuning Video, which is included in this section.

The tuning video displays the letter names of the pitch that should sound when you pick each open string on your guitar.

####  String Number 6

The video will start by playing the note E, which represents string number 6 on your guitar; it's the note E on the left.

The video will play the sound of the pitch E, and it will show you which string is ringing and which peg to turn if you need to adjust the tension of string number 6 on your guitar.

Your first task is to listen to the sound of the correct pitch E as it plays; listen to the note without playing string number 6 on your guitar just yet.

After you have focused on the correct pitch, play string number 6 on your guitar and try to determine whether the pitch is higher or lower than the note sounding from the tuning video.

You may find that using your voice and humming each sound in turn will help you more easily determine the difference between the notes.

If you determine that the pitch sounding on string number 6 is too high, then the string is too tight and needs to be loosened.

Find the peg for string number 6 and turn it so the post turns and unrolls a tiny portion of the string, loosening the string and decreasing the tension; this will lower the pitch.

If you determine that the pitch sounding on string number 6 is too low, then the string is too loose and needs to be tightened.

Find the peg for string number 6 and turn it so the post turns and rolls up a tiny portion of the string, tightening the string and increasing the tension; this will raise the pitch.

Repeat this testing process as many times as needed until the pitch sounding from the video and the pitch sounding from your guitar are identical.

When you have a match, the tension of string number 6 on your guitar is correct, and the string is in tune.

Repeat this process for the other strings on your guitar, tuning each adjacent string in turn, 5, 4, 3, 2, and finally, string 1.

####  Focusing on Pitch

If you are new to music, and this is the first time you have ever focused on the details of sound, have patience, and consider slowing down and spending more time carefully listening to each note before making a decision.

Using your voice and humming the notes will help you better discern the difference in pitch.

####  Drop D Tuning

An extra note is included on the tuning video for one type of common alternate tuning.

If you are playing a piece of music that requires string number 6 to be tuned to the note D, go to the end of the video to play the note D for string number 6.

This alternate form of tuning is referred to as Drop D Tuning.

In this class, you will only be playing in standard tuning, so you won't need to use the Drop D Tuning for a while.

##  Lesson 2: Tuning with a Piano

If you have access to a piano, you can use the keyboard to play the pitch references.

####  Middle C

First locate the note middle C on the keyboard; this note C is very near the middle of the keyboard, and on most pianos, is near the makers label on the front faceboard.

Once you find middle C on the piano, all of the other Cs can be easily seen, as the keyboard has a symmetrical design with the layout of the keys following a continuous pattern.

If we label this keyboard with the correct pitch letter names for each open string on your guitar, you can see where the pitches are positioned in reference to middle C on the keyboard.

####  String Number 6

To play the pitch E on the keyboard that will match string number 6 open on your guitar, start from middle C and find the pitch C that is exactly one octave lower than middle C.

From this C, find the C that is exactly one octave lower again.

From this low note C, move up two more white keys and play the pitch E.

This is the pitch E on the piano that matches string number 6 open on your guitar.

Find the other pitches for strings 5, 4, 3, 2, and 1 in a similar way, using middle C as a reference point.

####  Timbre

Because the piano and the guitar are made differently, the notes each produces will have a different timbre (pronounced tem-ber) or tonal color, so when you compare the two tones, try your best to focus only on the pitch, not allowing the timbre to confuse your ear.

A tone that sounds thin or bright in timbre could be mistaken for a higher pitch, and a tone that sounds thick or warm in timbre could be mistaken for a lower pitch.

Play the note on the piano and the note on the guitar separately from one another, not allowing the two notes to ring at the same time; by separating the tones, you may find it easier to disregard the timbre, and instead, focus on the pitch.

Using your voice and humming the notes in turn may help you better focus on the pitch.

With practice in listening, you will improve your ability to separate the qualities of a tone and focus on any one quality at a time.

##  Lesson 3: Electronic Tuners

An electronic tuner has an electronic ear for listening to tones and a LCD or LED screen for displaying the results.

The electronic ear is actually a microphone and may be labeled MIC on your tuner.

####  Instrument Selection Button

Some tuners have a toggle button for selecting an instrument, which may be labeled Guitar/Bass; if your tuner has this button, make sure that you have selected the Guitar.

There should be an indicator on the display that either the guitar or the bass has been selected.

Chromatic tuners are made for tuning any instrument and usually do not have an instrument selection button like the Guitar/Bass button on this tuner.

####  Calibration Buttons

Some tuners have buttons for making subtle changes to the pitch range.

There may be a number on the screen, which represents the note A sounding at 440 vibrations per second; this is the frequency of the sound wave.

The note A 440Hz was established as an international standard for tuning in 1939 and acts as a reference point for the entire pitch range.

If your tuner has buttons for calibration, make sure the display is reading 440Hz.

If the display is showing a different number, use the calibration buttons to adjust the frequency reference point back to the 440Hz standard.

####  Pitch Display

Find string number 6 on your guitar and pluck the string so that it vibrates at its full length from the nut to the bridge saddle.

As the note is sounding, the tuner should indicate that it can hear the note by a change on the screen display.

If the tuner is not registering the tone and there is no change in the display, you may need to move the tuner so the microphone is closer to the sound hole of the guitar.

While the note is sounding, the tuner will show a pitch letter name on the display.

This letter represents the approximate pitch that the tuner is hearing.

Some tuners include a string number beside the pitch letter name; chromatic tuners usually do not include the string number on the display.

The pitch display is the first indicator that you may need to adjust the tension of the string.

When you play string number 6, the pitch display should show E6 or just the letter E for chromatic tuners.

If the display is showing a different pitch letter name, then the string tension needs to be adjusted.

####  Musical Alphabet

If you can recall your musical alphabet, you may be able to visualize the pitch letter names moving away from the pitch E in either direction: ...B C D < E > F G A...

If the display is showing a pitch letter name which is higher than E, then the string is too tight, and you must decrease the tension until the display is reading E.

If the display is showing a pitch letter name which is lower than E, then the string is too loose, and you must increase the tension until the display is reading E.

####  Tuning Example

When you play string number 6 open, the tuner shows G3 or G in the pitch display.

Since the pitch G is higher than the pitch E, then you need to turn the peg for string number 6 so the post turns and unrolls a tiny portion of the string.

This will decrease the string tension and lower the pitch, moving closer to the pitch E.

After making the adjustment to string number 6, you play the string again and the tuner shows the note D4 or D in the pitch display.

Since the pitch D is lower than the pitch E, you will need to turn the peg for string number 6 so the post turns and rolls up a tiny portion of the string.

This will increase the tension and raise the pitch, moving closer to the pitch E.

If the pitch display is showing E6 or E, then the string tension is approximately correct, and you are ready for the next step, which is fine tuning the string.

####  Chromatic Tuners

Chromatic tuners usually display only letter names in the pitch display but may also include accidentals.

The two accidentals you will see are the flat, which looks like a small, lower case letter b, or the sharp, which looks like the pound sign: #

A flat indicates a lower pitch than the natural note, and a sharp indicates a higher pitch than the natural note.

####  Tuning Example

When you play string number 6 open, the tuner shows F Sharp in the pitch display.

Since the pitch F Sharp is higher than the pitch F, which is higher than the pitch E, then you need to turn the peg for string number 6 so the post turns and unrolls a tiny portion of the string.

This will decrease the string tension and lower the pitch, moving closer to the pitch E.

After making the adjustment to string number 6, you play the string again and the tuner shows the note E Flat in the pitch display.

Since the pitch E Flat is lower than the pitch E, then you need to turn the peg for string number 6 so the post turns and rolls up a tiny portion of the string.

This will increase the tension and raise the pitch, moving closer to the pitch E.

If the pitch display is showing only the letter E, then the string tension is approximately correct, and you are ready for the next step, which is fine tuning the string.

####  Fine Tuning Display

If your tuner has a screen display, it may have a needle gauge for making fine adjustments to the string.

Some tuners include a set of lights for making fine adjustments.

The needle gauge usually has a center marking which represents an in-tune string.

The center mark may be labeled with a zero if the gauge is displaying cents, or the center mark may be labeled 440 if the gauge is displaying relative frequency.

The set of lights usually includes a green light in the center which represents an in-tune string, and red lights on either side which show that the string is out of tune.

The colors of the lights on your tuner may be different, but the positions of each light and their meanings will be the same.

####  Fine Tuning

Now that you have set string number 6 to the approximate pitch using the pitch display, pick string number 6 open again and watch the needle gauge move as the tuner listens to the tone.

The pitch display should still read E6 or E for chromatic tuners.

If the needle is to the right of the center mark, the pitch is too high, which means that the string is too tight and needs to be loosened.

If your tuner has a set of lights, the light on the right, which may be labeled with a sharp symbol, will brighten.

If the needle is to the left of the center mark, the pitch is too low, which means that the string is too loose and needs to be tightened.

If your tuner has a set of lights, the light on the left, which may be labeled with a flat symbol, will brighten.

When the needle gauge is centered, or the green center light is on, the string tension is set correctly and the string is in tune.

Use the same method for tuning the other five strings on your guitar: A5, D4, G3, B2, and E1.

First use the pitch display, then use the fine tuning display.

####  Guitar Tuning Video

Sometimes a guitar is so out of tune that you may find it helpful to use the Guitar Tuning Video before you make finer adjustments with your electronic tuner.

####  Sound Button

Some tuners include a button labeled Sound or Pitch.

If you push this button repeatedly, it will cycle through the sounds of the pitches for the open strings of the guitar.

Chromatic tuners may cycle through any pitch, including accidentals, and usually start at the note C.

The pitch sound references are meant to work like the Guitar Tuning Video, and when you are away from your computer, the electronic pitch sound may help you get the string closer to the correct pitch before you use the pitch display on your tuner to make more accurate adjustments.

####  Electric Guitars

When an electric guitar is not connected to an amplifier, it sounds much quieter than an acoustic guitar and will most likely not be heard by the tuner.

For this reason, most electronic tuners include an input for your electric guitar.

Unplug your guitar chord from the amplifier and insert the plug into the 1/4" Input on your electronic tuner.

Your guitar should be plugged directly into the tuner.

Check that the volume knob on your guitar is turned up, or the vibrating string will not register on the tuner.

Now you can tune without using the external microphone.

##  Lesson 4: Relative Tuning

Once string number 6 is in tune to the pitch E, you can use string number 6 to tune string number 5; this method is called relative tuning.

Find string number 6 on your guitar and follow the string up to fret number 5.

Using the index finger of your fretboard hand, place your fingertip just behind fret number 5 and press down, holding the string firmly to the fretwire.

Now when you pick string number 6, it will vibrate from fret number 5 to the bridge saddle and will sound the pitch A.

The pitch A you are hearing is the same pitch that you should hear when you play string number 5 open.

As you are holding the note A on the fifth fret, pick string number 6 again and focus on the pitch as you listen to the tone.

Now play string number 5 open and try to determine whether the pitch is higher or lower than the note A on the fifth fret.

You may find that using your voice and humming each sound in turn will help you more easily determine the difference between the notes.

If you determine that the pitch sounding when you play string number 5 open is too high, then the string is too tight and needs to be loosened.

Find the peg for string number 5 and turn it so the post turns and unrolls a tiny portion of the string, loosening the string and decreasing the tension; this will lower the pitch.

If you determine that the pitch sounding when you play string number 5 open is too low, then the string is too loose and needs to be tightened.

Find the peg for string number 5 and turn it so the post turns and rolls up a tiny portion of the string, tightening the string and increasing the tension; this will raise the pitch.

Repeat this testing process as many times as needed until the pitch sounding as you play A on the fifth fret, and the pitch sounding as you play string number 5 open, are identical.

When you have a match, the tension of string number 5 on your guitar is correct, and the string is in tune.

Now that string number 5 is in tune, you can use string number 5 to tune string number 4, and this process continues until you finally reach string number 1.

The fretboard is showing the positions of the notes to hold as you tune each adjacent open string in turn.

####  B on the fourth fret

Keep in mind that in order to tune string number 2, you must hold the note B Fourth Fret, which is on string number 3.

Since B is the only pitch that you will need to hold on fret number 4, it's often misplaced by a beginning student.

####  Intonation

Some guitars will not tune well using a relative tuning method.

As you move from one string to the next, the notes will become further off pitch, until you finally tune string number 1, which will have deviated the furthest from the actual pitch.

This type of cascade failure is a result of the guitar's construction and the poor intonation of the fretboard.

If you use a relative method for tuning, check each string afterward using either the Guitar Tuning Video or an electronic tuner to assure that the intonation on your guitar's fretboard is sound.

##  Lesson 5: Using a Pitch Pipe

Before computers and other electronic devices came into the home, musicians relied on other methods for tuning their instruments.

The pitch pipe was an inexpensive and practical way to obtain the correct pitch references, and the device is small enough to fit into most instrument cases.

A guitar pitch pipe has six pipes; each pipe sounds the pitch of an open string on the guitar.

Your pitch pipe may be labeled with the pitch letter names: E A D G B E, or it may be labeled with the pitch letter names and the string numbers: E6 A5 D4 G3 B2 E1.

Use a pitch pipe in the same way you would use the Guitar Tuning Video.

Find the pipe labeled E or E6 and blow into it.

The pipe should be sounding the pitch E, which is a reference for string number 6 on your guitar.

Check that the pipe you are blowing into is the pitch E for string number 6, and not the higher pitch E meant for string number 1.

When you blow into the pipe, use a moderate, steady flow of air to create a consistent tone.

If you blow too lightly into the pipe, it may actually produce a sound lower than the true pitch; if you blow too forcefully, the pitch may actually sound higher.

When you can produce a moderate, consistent tone, you will be hearing the pitch E for string number 6 on your guitar.

####  Timbre

The tone produced by the pitch pipe and the tone produced by a guitar string will sound very different in timbre.

When using a pitch pipe, you will need to concentrate well on separating out the pitch from the tone before matching the pitch on the guitar.

You may find it helpful to use your voice and hum each of the notes in turn in order to better discern the pitch from the two tones.

##  Lesson 6: Using a Tuning Fork

A tuning fork is a simple device, which is made of metal, and is U shaped with a stem, having a ball end.

A tuning fork produces a single tone which is very accurate in pitch.

Guitar players mainly use a tuning fork which is calibrated for the note E at 329.6Hz.

This tuning fork produces a pitch reference for string number 1 played open on your guitar.

####  Using the Fork

Hold the fork by the stem, between the ball end and the U shaped fork.

Strike the fork on a hard surface so that only one of the tines hits the surface.

The fork will vibrate and produce a very smooth, clear tone.

Hold the fork near your ear to better hear the tone.

Strike the fork again, and this time, place the ball end of the fork on the guitar body, somewhere on the front face.

Now the fork is vibrating through the guitar body and the tone is escaping through the sound hole.

Find string number 1 on your guitar and pluck the string so that it vibrates at its full length, which is from the nut to the bridge saddle.

If string number 1 on your guitar is not sounding the same pitch as the tuning fork, adjust the tension of the string until you have a match.

Once string number 1 is in tune, you can use string number 1 to tune string number 6, which is also the note E, only two octaves lower in pitch.

The two notes will sound similar, even though string number 6 is lower in pitch than string number 1.

Once string number 6 is in tune, you can use relative tuning to adjust the other strings of your guitar.

####  Tuning Fork Sets

You can find a tuning fork for nearly any pitch, and it is possible to obtain a set of tuning forks for each open string on your guitar.

Tuning forks for the lower strings, however, are larger than the fork calibrated at E 329.6Hz, and a complete set may be impractical for moving from place to place.

##  Lesson 7: Alternate Tunings

Sometimes a composer will take advantage of the guitar's versatility and require the player to adjust the string tension to produce pitches for the open strings other than standard.

Some alternate tunings will produce a common chord when the player strums all of the strings open.

In this example, the open strings form a D Major chord.

Here is a different tuning outlining a G Major chord.

Simple alternate tunings make an adjustment to only one string.

You have already seen the Drop D example.

Here is a different tuning where string number 2 has been altered; the note B has been lowered to B Flat.

In this class, we'll be using standard tuning exclusively, and one of your first goals will be to memorize the pitch names of the open strings.

##  Chapter 3 - Learning the Language of Music

##  Lesson 1: Pitch

As a musician, you must gain an understanding of the spectrum of high and low frequencies which apply to music.

This quality of sound is called pitch.

To hear a clear difference in pitch, play string number 6 on your guitar, and as you pluck the string, listen for the lower pitch in the tone.

Now play string number 1 on your guitar, and as you pluck the string, listen for the higher pitch in the tone.

####  The Staff

To show differences in pitch, composers write their notes on a staff.

A staff has 5 lines and 4 spaces for note placement, so in a piece of music, you may see a note written on a line, or you may see a note written in a space.

It's important to remember that the lines of the staff do not represent the strings of the guitar.

The staff is actually a pitch ladder.

A note placed lower on the ladder sounds lower in pitch, and a note placed higher on the ladder sounds higher in pitch.

####  Musical Alphabet

In music, pitches are given letter names.

The musical alphabet uses only 7 letters: A B C D E F G

As you move through the alphabet, each letter represents a higher pitch.

After the pitch G, the musical alphabet starts over with another A, which is higher in pitch than the first A, and the alphabet continues: A B C D E F G A B C D E F G A B C D ...

So each line and each space on the staff will represent a letter name for a pitch.

####  Treble Clef

In guitar music, the first symbol written on the staff is the treble clef.

The treble clef is a marker; it marks out on the staff, where the pitch G will be written.

The treble clef crosses and circles the line that represents the pitch G, and if you know where the pitch G is written on the staff, all of the other pitch letter names fall into place.

After the pitch G, the next higher pitch, which is written in the second space of the staff, is A.

After the pitch A, the next higher pitch, which is written on the third line of the staff, is B.

And the pitches follow: C, D, E, F, & G, which sits on top of the staff.

Understanding the purpose of the treble clef is one way of recalling pitch letter names as you read through the music.

####  Strategies for Recalling Pitch Letter Names

As you practice reading music, you will begin to memorize the position and letter name of each pitch on the staff.

To help with this process, musicians use two strategies for quick recall.

Starting from the bottom of the staff and moving upward, the spaces of the staff spell out the word FACE.

Use this strategy for any notes that fall in a space.

Starting from the bottom of the staff and moving upward, the lines of the staff can be quickly recalled by applying the sentence: Every Good Boy Does Fine, where each word in the sentence begins with the pitch letter name of a staff line.

Use this strategy for any notes that fall on a line.

##  Lesson 2: Duration

As you look over a piece of music, you may notice that the notes do not all look the same.

Composers use different types of notes to show a musician how long a note should ring.

Some notes ring for a longer amount of time, and some ring for a shorter amount of time.

This quality of sound is called duration.

To show differences in duration, composers construct a note using different parts.

####  Head

A note head is placed on the staff to indicate the pitch.

A note head looks like an egg and may be clear or may be dark in color.

Special note heads are written using different designs.

####  Stem

Some notes also include a stem, which is a line extending from the note head.

Notes written within the staff have a standard stem length.

Notes written above or below the staff have longer stems.

####  Flag

Other notes may include a flag, which is written from the end of the note stem.

Some notes have one flag, but others may have two, three, or more.

Composers will often connect the flags together when there are many of the same type of note in a row; this is called beaming.

####  Whole Note

A whole note is written as a clear note head with no stem.

A whole note has a duration of 4 beats.

You can play a whole note by picking string number 1 on your guitar, and just as you strike the note, start counting from beat number 1.

Let the note continue to ring as you count: 1, 2, 3, 4, rest.

When you hit the rest count, the note is silenced.

Can you see where a whole note gets its name?

When you are playing a piece of music in common time, where there are 4 beats in a measure, a whole note fills a whole measure.

####  Half Note

A half note is written with a clear note head and a stem.

A half note has a duration of 2 beats.

Play a half note and let the note continue to ring as you count: 1, 2, rest.

Since a half note is shorter in duration than a whole note, you may see more than one half note in a measure of music.

In this situation, each half note will still ring for two beats, but you will not count the notes: 1, 2, 1, 2, rest.

Instead, the first note will be counted, 1, 2, and the second note will be counted, 3, 4.

Play this measure of half notes as you count: 1, 2, 3, 4, rest.

Can you see where a half note gets its name?

When you are playing a piece of music in common time, where there are 4 beats in a measure, a half note fills one half of the measure.

####  Quarter Note

A quarter note is written with a dark note head and a stem.

A quarter note has a duration of 1 beat.

If you see more than one quarter note in a measure of music, count the notes according to their position in the measure.

Play this measure of quarter notes as you count: 1, 2, 3, 4, rest.

Can you see where a quarter note gets its name?

When you are playing a piece of music in common time, where there are 4 beats in a measure, a quarter note takes up one quarter of the measure.

####  Eighth Note

An eighth note is written with a dark note head, a stem, and a single flag.

An eighth note has a duration of half of a beat.

To better understand eighth notes, musicians visualize them in groups.

Since an eighth note rings for half of a beat, then two eighth notes equal one beat.

So when composers write eighth notes, they will connect the flags together in order to better show the beat groups to a musician; this is called beaming.

With the notes correctly beamed, a musician can see all of the main beats in a measure and the subdivisions of each beat.

Eighth notes create subdivisions of two, so as you play eighth notes, you are actually breaking one beat into two pieces.

This is only an introduction to eighth notes; you will play eighth notes and learn about them in detail in a later lesson.

Can you see where an eighth note gets its name?

When you are playing a piece of music in common time, where there are 4 beats in a measure, an eighth note takes up one eighth of the measure.

##  Lesson 3: Rest

Composers mark out places in the music where they want a moment of pause or silence.

A symbol used for this purpose is called a rest.

Composers use different types of rests to show a musician the duration of silence.

####  Whole Rest

A whole rest is written as a small bar that sits just below the fourth on the staff.

A whole rest indicates a duration of silence of 4 beats.

Play this line of music by picking string number one on your guitar.

Try your best to keep smooth, even timing as you move from a measure with a note to a measure with a rest.

####  Half Rest

A half rest is written as a small bar that sits just above line number 3 on the staff.

A half rest indicates a duration of silence of 2 beats.

Play this line of music and try counting out loud while you play.

When you need to initiate a rest, use the heel of your picking hand to dampen the string and stop it from ringing.

####  Quarter Rest

A quarter rest is written as a jagged outline of a quarter note; the bottom hook represents the note head with a crooked stem extending upward.

The quarter rest is usually placed so the bottom hook sits on the second line of the staff.

A quarter rest indicates a duration of silence of 1 beat.

Play this line of music, counting out loud while you play, and use the heel of your picking hand to initiate a rest.

Do your best to keep smooth and even timing as you play.

####  Eighth Rest

An eighth rest is written as a tiny note with an irregular stem.

The eighth rest is placed so the hook is centered in a space on the staff.

An eighth rest indicates a duration of silence of one half of a beat.

Like eighth notes, eighth rests are better visualized as having broken one beat into two pieces.

You will play eighth rests and learn about them in detail in a later lesson.

##  Lesson 4: Meter

Meter is the basic, regular pulses which occur in a continuous cycle, motivating a piece of music.

A meter may have a combination of strong and weak beats.

Musicians count out meter, either out loud or silently, while they play a piece of music.

One of your first challenges is to try and keep a smooth, even count as you play the music.

####  Time Signature

The time signature is used to indicate the type of meter.

The top number of a time signature tells the musician how many beats fill a measure of music.

A measure is the space in between two barlines on the staff.

The lower number of a time signature tells the musician which type of note gets one beat.

When you learned about note types, you learned that a quarter note has a duration of one beat.

This is true as long as the lower number of a time signature is 4, indicating that a quarter note gets one beat.

If the lower number is changed, then the note durational values change.

In this time signature, the lower number is 8, indicating that an eighth note gets one beat.

If an eighth note is counted as one beat, then a quarter note gets two beats, and a half note gets four beats.

All of the note durational values shift.

In this class, you will mostly be seeing these simple time signatures, which are most commonly used.

In each time signature, the top number is different, indicating that the number of beats in a measure is different, but the lower number remains a 4, indicating that a quarter note receives one beat.

####  2/4 Time

In 2/4 time, the first beat is strong, and the second beat is weak.

This is a very human natured time signature.

Since human beings have two arms and two legs, you might imagine a person marching: "Your left, your left, your left, right, left, right, left..."

March music is often written in 2/4 time, as the meter of the music matches the marching feet of the band.

Play string number one on your guitar and exaggerate the strong and weak beats as you play in 2/4 time.

You should be alternating your picking direction, with the heel of your picking hand placed just behind the bridge saddle.

Count out loud while you play this exercise, making all of the beats equal in duration.

####  3/4 Time

In 3/4 time, the first beat is strong, the second beat is weak, and the third beat is also weak.

The basic distribution of strong and weak beats in 3/4 time could be symbolized by a stone splashing into the water, with ripples flowing away from the splash: 1, 2, 3, 1, 2, 3 ...

Waltz music is written in 3/4 time, as the wavy feel of the music fits well with the dance.

Play string number one on your guitar and exaggerate the strong and weak beats as you play in 3/4 time.

Count out loud while you play this exercise, making all of the beats equal in duration.

####  4/4 Time

4/4 time is similar in nature to 2/4 time, but the distribution of strong and weak beats create a longer cycle.

The first beat is strong, the second beat is weak, the third beat is medium strength, and the fourth beat is weak.

4/4 time is called common time in music, and there are many pieces of music written in many different styles which use this meter.

You may see 4/4 time marked with a C symbol for common time; either of these symbols refer to the same meter with the same distribution of strong and weak beats.

Play string number one on your guitar and exaggerate the strong and weak beats as you play in 4/4 time.

Try your best to make beat number 1 strong and beat number 3 medium strength.

Count out loud while you play this exercise, making all of the beats equal in duration.

##  Lesson 5: Tempo

Some pieces of music are played very quickly, some very slowly, and others at a moderate pace.

Tempo refers to the speed at which the meter in the music is performed.

Traditional tempo markings are interpreted markings, which may vary slightly from one performer to another.

The words originate from the Italian language.

####  Andante

Of these traditional tempo markings, Andante is the human norm of movement, being an easy walking pace.

From this normal tempo, a musician can interpret the other markings which are either faster or slower by degrees.

Play string number 1 on your guitar and imagine keeping an easy walking pace.

As you imagine walking, alternate your picking direction by picking down when you imagine stepping with your left foot and picking up when you imagine stepping with your right foot.

Each person will play Andante at a slightly different speed as the tempo marking and its meaning is subject to interpretation.

As you play, keep all of the note durations equal as you imagine your steps will be timed equally.

####  Modern Tempo Markings

Modern tempo markings are related to our modern time keeping devices.

They are usually written as beats per minute or bpm.

A modern tempo norm is 60 beats per minute, which is equal to one second.

If you look at a clock with a second hand or a digital clock displaying seconds, you can easily follow this normal tempo.

Play string number 1 on your guitar, keeping time with the second hand of the clock or with the seconds digit on a digital clock.

As you play, alternate your picking direction, keeping the heel of your picking hand just behind the bridge saddle and moving your hand side to side from your wrist.

Modern tempo markings are more accurate and are less subject to variance by human interpretation, however, tempo markings are written for performance tempo, and during a performance each person will play a modern tempo marking at a slightly different speed.

When you practice, you will often play at a slower speed than the performance tempo and work up to speed as you become more familiar and more confident with the music.

##  Lesson 6: Intensity

If you pluck a guitar string using very little force, the string will ring very softly and will be quiet to the ear.

If you pluck a guitar string using a great deal of force, the string will ring very loudly and will be loud to the ear.

Intensity refers to the loudness or volume of a sound.

####  Dynamic Markings

In music, composers use symbols to show a musician the relative intensity of the notes; these symbols are referred to collectively as dynamics.

Dynamic markings are interpreted markings and may very slightly from one performer to another.

They are written as small, lower case, italic letter groups, which represent words for relative intensity.

The words the letter symbols represent originate from the Italian language.

Intensity and the performance of dynamic markings is also subject to the limitations of each instrument.

A trumpet, for example, can produce notes of greater intensity than an acoustic guitar, but an acoustic guitar can more easily produce softer tones.

To find the limitations of intensity on your guitar, pick string number 6 continuously using 60 beats per minute as your tempo.

Alternate your picking direction and play as softly as possible, so the notes are just audible.

When you have found the softest intensity, you are playing pianissimo.

Now pick string number 6 continuously using 60 beats per minute as your tempo and play as loudly as possible.

If you attack the string with too great a force, the note will sound warped and may buzz as the string vibrates over a wider distance.

If the string sounds this way, you have played past the loudest intensity and you have found a limitation when playing string number six on your guitar.

To play using the loudest intensity, pick the string using an attack that will produce the loudest tone but will not overplay the note.

When you find this compromise of force, then you are playing fortissimo.

Using different degrees of attack, play through the other relative degrees of intensity.

As you play, say the name of the dynamic marking out loud and adjust the attack on the string to match the intensity.

####  Electric Guitars

Electric guitars have an intensity advantage, as they are used with effects and amplification equipment and usually have a volume control knob attached to the body.

Some players may even use a volume pedal, which sits on the stage floor and is controlled by the foot.

The limitations of attack on the string, however, are similar to the acoustic guitar.

So if you are playing an electric guitar, set your volume control to zero, or at some lower level, and play through this intensity exercise to get a feel for dynamics and the limitations of each string.

##  Lesson 7: Timbre

(pronounced: tem-ber)

Pick string number 1 on your guitar and listen to the tone.

The vibrating string is sounding the pitch E.

There are other instruments that can produce the same pitch.

A trumpet, a violin, and a flute are three instruments that can produce the same pitch as string number 1 played open on your guitar.

But would all of the notes sound the same?

####  Tonal Color

Imagine that there are two musicians standing behind you who are holding two different instruments; one is holding a violin, and the other is holding a trumpet.

If the musicians both play the pitch E at the same time, for the same duration, and with the same intensity, could you tell the instruments apart?

You might find this test very easy; you might say, "The violin is somewhere behind my left shoulder, and the trumpet is somewhere behind my right shoulder.'

The two instruments are made of different materials, and they produce their tones in different ways.

A violin is made of wood and produces a tone by the musician dragging a bow string made of horse hair over a string on the instrument, causing the string to vibrate.

A trumpet is made of brass metal and produces a tone when the musician vibrates their lips on the mouthpiece while they are blowing air through the instrument.

So it makes sense that even though these instruments can play the same pitch, for the same duration, and with the same intensity, they will still sound different, because the tone that each instrument produces has a different timbre.

Timbre refers to tone quality or to the tonal color of a sound.

####  Timbre on the Guitar

We compared two different instruments to gain an understanding of timbre, but even a single instrument produces notes of different timbre throughout its range.

On the guitar, it's even possible to play the same pitch and hear a different timbre.

Play string number 1 on your guitar and listen again to the tone as the string vibrates and sounds the pitch E.

Now follow string number 3 up the neck until you reach fret number 9.

Hold this note so that your fingertip is pressing right behind fret number 9 and pick the string.

If you are holding the correct note, you will hear the pitch E, which is the same pitch that you hear when you play string number 1 open.

When you compare these two notes, can you hear how the note E on the ninth fret sounds thick and warm, compared to the note E Open, which sounds bright and thin, even though they are sounding the same pitch?

E on the ninth fret is played on a larger string, which has also been made shorter, as the string is ringing from fret number 9 to the bridge saddle.

E Open is played on a smaller string, which is also longer, as the string is ringing from the nut to the bridge saddle.

As you experiment with different strings and play different notes, you may notice that smaller strings produce bright or thin timbre, and larger strings produce thick or warm timbre.

As well, longer strings produce bright or thin timbre, and shorter strings produce thick or warm timbre.

A composer who is sensitive to timbre may require a musician to play in a different position to produce notes of a different tonal color.

##  Lesson 8: Articulation

There are a number of other expression or mood markings that you may encounter in a piece of music; collectively these are called articulation marks.

Articulation marks may be written as word marks or symbols and may effect one or more of the qualities of sound at one time.

####  Some articulation marks will effect pitch:

glissando - to slide through a series of adjacent pitches.

Find string number 6 on your guitar and place your index finger just behind fret number 1.

Pick the string and slide up the neck until you reach fret number 13.

While you are sliding, continue to press down with your index finger so you can hear each pitch on the fretboard as you pass by the frets.

You may repeat the exercise, playing a downward glissando.

####  Some articulation marks will effect duration:

staccato - to play the notes detached or separated.

Find string number 4 on your guitar and place your second finger just behind fret number 2.

Pick the string, and just after you hear the note sound, relax your second finger so that you are no longer pressing.

Your second finger should still be touching the string but should not be pressing down to the fret.

You may play a series of notes in this way and all of the notes will be shorter in duration than their original notation, sounding detached or separated.

####  Some articulation marks will effect tempo:

ritardando - gradually slowing down.

Find string number 3 on your guitar.

Pick the string continuously using 60 beats per minute as your tempo.

When you reach the ritardando marking, begin to gradually slow down until the tempo becomes very slow.

The challenge is to slow down gradually and evenly as you continue to pick the string.

####  Some articulation marks will effect intensity:

crescendo - gradually becoming louder.

Find string number 5 on your guitar.

Pick the string continuously using 60 beats per minute as your tempo, but pick the string very softly so the notes are just audible.

As you alternate your picking direction, begin to gradually increase the attack on the string until you are playing fortissimo.

The challenge is to keep playing at a tempo of 60 beats per minute as you gradually play more loudly.

Still other articulation marks may effect a number of different sound qualities at once:

These marks are usually related to human emotions and are relative marks of feeling.

You will learn a greater number of articulation marks as they appear in your lessons.

##  Chapter 4 - String Number 1 with notes G, F, & E

##  Lesson 1: G Third Fret - Rhythm - 4/4 Time - Legato

You will begin to learn the fretboard in first position, starting with the highest letter in the musical alphabet.

Find string number 1 on your guitar and place the third finger of your fretboard hand just behind fret number 3.

You should be pressing down with your fingertip, and your finger should be well arched.

The note you are holding is G Third Fret.

On the staff, G is the pitch that sits just above the top line.

While you are holding G Third Fret, let's play through some musical examples.

####  Rhythm

Each of these practice measures will give you a look at different groups of note durations.

When groups of note durations form patterns in the music, it's referred to as rhythm.

Each of these measures displays a different rhythm.

####  4/4 Meter

This line is showing the meter 4/4, which is called common time.

This meter says that there are four beats in a measure and that a quarter note is counted as one beat.

####  Practice Measure 1

If you look at the first practice measure, you can see that there are four quarter notes in the measure.

The first quarter note falls on beat number 1, and since a quarter note only lasts for one beat, the note ends right when you play the next quarter note, which falls on beat number 2.

Beat number 2 ends right when you play beat number 3, which ends just as you play beat number 4, which lasts until beat number 1 in the next measure.

Play this measure now and count out loud as you play each beat.

####  Picking Symbols

Remember to alternate your picking direction.

The heel of your hand should be placed just behind the bridge saddle.

Here are two musical symbols which serve as visual cues for picking direction.

The shorter, squared-off symbol indicates a down stroke, and the long V symbol indicates an up stroke.

A composer may use these symbols if they require a player to use a specific picking pattern.

We are showing them here to help you become familiar with alternating direction.

####  Quality of Sound

In the first practice measure, there are no rests, and when there are no moments of rest present, the sound should be continuous.

Listen to this version of the first practice measure.

As the notes were played, you may have noticed each strike on the string, but the sound from one note to the next was continuous.

When you play in this manner, you are playing the notes as the composer intended with no pauses or breaks in the music.

The articulation marking for this type of playing is the word 'legato', which means smooth and connected.

If you play the first practice measure and you hear a version like this,

the cause may be in the way the pick is contacting the string.

####  Pick Interference

If you are approaching the string with the pick and touching the string just before you strike, then the pick is actually stopping the string from vibrating just before striking the next note.

You may even hear a buzzing sound as you approach the string with the pick.

Instead of approaching the string slowly, you should keep the pick clear of the string until you are ready to strike the string right on the beat.

So you strike the string quickly and just on the beat, and otherwise keep the pick clear of the vibrating string.

####  Finger Placement & Holding Strength

Another cause for separated notes may be in the way you are holding the note G on the third fret.

You should be holding the note with your fingertip placed just behind the fretwire.

As your finger placement falls further behind the fretwire, the note becomes increasingly harder to hold down and requires more pressure.

If your third finger is well placed, be sure to press down hard enough and with continuous pressure.

If you relax your third finger at anytime while you are playing the first practice measure, the note G will stop sounding, or it will sound muffled, and it may also make a buzzing sound.

As you play the measure again, concentrate on these details and work to attain a legato sound.

####  Practice Measure 2

The second practice measure displays a different rhythm.

In this measure, beat number three is a half note, which rings for two beats.

This note starts sounding on beat number 3, rings through beat number 4, and stops at the moment beat number 1 is played in the next measure.

Play practice measure 2 and count the beat numbers out loud as you play.

Remember to count out beat number 4 even though the half note will ring through the beat and you will not strike the string.

The sound quality should be smooth and connected as there are no rests in this measure.

####  Rhythmic Patterns

When you played measure number 2, did the pattern of rhythm remind you of a song or piece of music you have heard?

If you play the measure twice, the song Jingle Bells may come to mind.

If you have ever been to a sporting event, you may have heard this rhythm, as the crowd stomps their feet to the first two quarter notes and then claps their hands on the half note.

There are many other places where this rhythmic pattern can be found, and it is a credit to you as a musician to use your innate ability to recognize patterns of rhythm like this one.

####  Practice Measure 3

The third practice measure contains a half note, which falls on beat number 1 and rings through beat number two, and another half note, which falls on beat number 3 and rings through beat number 4.

Count the beats out loud as you play practice measure 3.

Remember to let the half notes ring through their full value, which is two beats.

####  Picking Symbols

Did you notice the picking symbols in this measure?

The up stroke symbols that fall on beats 2 and 4 are in parenthesis.

When you play beat number 1, strike the note downward.

On beat number 2, pivot your hand upward without hitting the string, so you will make a beat motion without actually striking the note again.

On beat number 3, you will strike the note downward.

And on beat number 4, pivot your hand upward without hitting the string.

When you alternate your picking direction in this way, your picking hand becomes a conductor of the music, moving in time with the meter and the tempo.

Play measures 1, 2, and 3 again and focus on your picking hand movement.

The heel of your picking hand should be placed just behind the bridge saddle, and as you play, your hand should be moving side to side, pivoting at the wrist.

Learning well this continuous, conducting motion will be crucial as the tempo of the music becomes faster.

##  Lesson 2: F First Fret - Dotted Half Note

If we move downward from the pitch G, the next pitch in our musical alphabet is F.

Find string number 1 on your guitar and place the first finger of your fretboard hand just behind fret number 1.

You should be pressing down with your fingertip, and your finger should be well arched.

The note you are holding is F First Fret.

On the staff, F is the pitch that sits within the top line.

While you are holding F First Fret, let's play through some musical examples.

####  Dotted Half Note

The first beat in practice measure 1 is showing a new note duration.

A small dot has been placed just to the right of the half note.

Now the half note has been changed to a dotted half note, which rings for three beats.

####  Practice Measure 1

Pick beat number 1 with a down stroke and continue alternating your picking direction as you count, 1, 2, 3.

Even though you are moving your picking hand side to side with the beats, do not strike the string, but only make the conducting motions as the dotted half note must ring continuously through beats 1, 2, and 3.

On beat number 4, there is a quarter note which rings for one beat.

This note is played with an up stroke, which is in line with the movement of your hand.

The note on beat number 4 stops ringing just as you reach beat number 1 in the next measure.

Play the measure again, counting the beats out loud as you play.

####  Practice Measure 2

Measure number 2 should be easy for you now, as the measure is filled with four quarter notes, each sounding on a consecutive beat number.

Count out loud while you play the note F first fret, four times.

####  Practice Measure 3

Measure number 3 may be the simplest to play, as it only contains a whole note.

A whole note rings for four beats, so you strike this note on beat number 1 and let the note ring through beats 2, 3, and 4.

The note stops ringing when you reach beat number 1 in the next measure.

Play measure 3 now and count the beats out loud as the whole note rings through the measure.

####  Timing and Continuity

Now that you have practiced each of these measures, let's change the double barlines to single barlines and play this line of music all the way through without pausing.

We'll also remove the measure numbers.

As you play, try to move smoothly from beat number 4 to the next beat number 1 without stopping at the barlines.

Basic timing in music is continuous, and the barlines are only present to show you when the meter starts over again at beat 1.

Play this line now and count the beats out loud as you read the music.

If you are having trouble moving to the next measure without pausing, continue to practice until you have eliminated all of the stopping points.

##  Lesson 3: E Open - 3/4 Meter - Quarter Rest

We'll move down our musical alphabet one more letter to the note E.

Find string number 1 on your guitar and play the string open.

This note is E Open.

On the staff, E is the pitch that sits in the top space.

####  3/4 Meter

This line is displaying 3/4 meter.

This meter says that there are three beats in a measure and that a quarter note is counted as one beat.

####  Practice Measure 1

If you look at the first practice measure, you can see that there are three quarter notes in the measure.

The first quarter note falls on beat number 1, and since a quarter note only lasts for one beat, the note ends right when you play the next quarter note, which falls on beat number 2.

Beat number 2 ends right when you play beat number 3, which lasts until beat number 1 in the next measure.

Play this measure now and count out loud as you play each beat.

Remember to play 'legato'.

####  Quarter Rest

Practice measure 2 shows a new symbol, which falls on beat number 2.

A quarter rest tells a musician to use silence for one beat.

So on beat number 2 in this measure, you must stop the string from vibrating.

We will use two methods for dampening the string.

####  Palm Mute

If you are holding the guitar correctly, then the heel of your picking hand is placed on the bridge.

When you alternate your picking direction, you should be pivoting from side to side at the point where the heel of your palm and your wrist meet.

When you are in the right position, the heel of your palm is set just behind the bridge saddle.

You may have found that if the heel of your palm is set just in front of the saddle, the notes will sound dampened.

If your palm is set further over the strings, the notes will not ring at all.

Let's use the technique of palm muting to initiate the rest on beat number 2.

####  Practice Measure 2

Play measure number 2, and when you reach the second beat, use the heel of your palm to stop the string from vibrating.

Using a palm muting technique requires that you disengage your hand from its parked position just behind the bridge saddle.

Playing music with many rests may even require a floating hand technique.

Let's try another method.

####  Finger Muting

Play measure number 2 again, and when you reach the second beat, use the third finger of your fretboard hand to dampen the string in first position over the fretboard.

When you set your third finger down to stop the string from vibrating, you do not need to press the string down to the fret.

In this case, just set your finger on the string to stop the vibration.

Play measure number 2 enough times to get a feel for both of these muting methods.

Count the beats out loud as you play and remember to count out beat number 2, even though it's a rest.

####  Practice Measure 3

When playing in 3/4 time, a dotted half note fills an entire measure.

Play measure number 3 and count the beats as the note is sounding.

The note stops ringing when you reach beat number 1 in the next measure, so be sure to let the dotted half note ring for a full three beats.

####  Timing & Continuity

Now we will remove the measure numbers, and we'll change the double barlines to single barlines.

Play this line of music in its entirety.

Counting out loud while you play may help you move from one measure to the next without pausing at the barlines.

####  Rhythm

This line is showing a meter of 4/4 and the first practice measure is showing a new rhythm.

When you are reading a piece of music, it's helpful if you can automatically hear note group patterns as they appear.

Simple rhythmic patterns like this one can be found in many different compositions, so when you encounter a new rhythm, work with the notes until you have the pattern memorized.

####  Practice Measure 2

Measure 2 contains a rhythm you have seen before.

Can you hear the rhythm in your head before you play the notes?

####  Practice Measure 3

Measure 3 has a dotted half note on beat number 1 and a quarter rest on beat number 4.

The dotted half note starts sounding on beat number 1 and rings for a full three beats.

The note stops sounding on beat number 4.

This is a good place to practice the palm muting and finger muting techniques you learned about earlier.

First try palm muting on beat number 4, then work on finger muting.

####  Timing & Continuity

Now we'll remove the measure numbers and change the double barlines to single barlines.

Before you play this line, can you read through the piece and hear the rhythmic groups in your head without pausing at the barlines?

Can you count out loud and clap your hands where the notes fall?

When a note is ringing, hold your hands together; when you encounter a rest, open your hands apart.

Now play the notes on the guitar.

Did you play the whole line without pausing at the barlines?

Taking a moment to first clap the rhythms before playing the piece on the guitar may help you with timing and continuity.

##  Lesson 4: Practice Utilities - Approach to Practice

####  Practice with G, F, and E

The first exercise is written in 4/4 meter and beat number 1 begins with a down stroke.

Since 4/4 is an even meter with four beats in a measure, the next measure will also begin with a down stroke on beat number 1.

####  Measure 4

Measure number 4 includes a reminder for you to stay with your picking motion, even though the half note on beat number 3 rings through beat number 4.

You should move your picking hand upward here without striking the string.

####  Measure 8

Measure number 8 is similar; your picking hand continues alternating direction and acts as a conductor to help you with the timing and continuity of the piece.

So when you play this measure, the up strokes are silent.

####  Approach to Practice

To help you improve faster, there is a series of practice utilities we will use in this class.

You should adopt these techniques for your musical practice.

####  Practice Utility 1: Say the name and address of each note out loud.

A note's name is the letter name of the pitch where the note is placed on the staff.

A note's address is the fret number on the guitar where the note is played.

So to call out the first note in exercise 1, you would say G Third Fret, where G is the pitch letter name on the staff, and the Third Fret is where the note is played on the guitar.

Since measure number 1 is showing four notes in a row which are the same, we can move over to measure number 2 where the pitch changes.

This note is F First Fret.

F is the pitch letter name on the staff, and the First Fret is where the note is played on the guitar.

Can you call out the note in measure number 3?

First look where the note is placed on the staff and say the letter name of the pitch.

Then say the fret number on the guitar where the note is played.

This note is E Open.

You say E for the pitch letter name on the staff, and you say Open because the note E is played by striking the first string open on the guitar.

You may have said E Zero Fret, or E Fret Zero, and these are also correct, for the nut on the guitar may be thought of as fret number zero, but E Open is more commonly spoken.

Now that you're warmed up, go through the rest of Exercise 1 and call out the name and address of the notes.

####  Practice Utility 2: For your first warm-up play, concentrate on your technique.

The next step is to play through exercise 1.

When you play through this piece for the first time, play slowly and pay attention to the position of your hands.

Check that you're placing the fingertips of your fretboard hand behind the correct frets and according to first position placement, and check that you are alternating direction with your picking hand.

Play exercise 1 now and concentrate on your playing technique.

####  Practice Utility 3: Play and sing the pitch letter names.

This time as you play through exercise 1, sing the letter name of the pitch as you play the notes.

In measure number 1, the pitch G is played four times; whenever a note is repeated, just sing a steady sound over the music until the pitch changes.

So you are actually singing a whole note over the quarter notes that you are playing on the guitar, and when the pitch changes to an F in measure number 2, sing a steady pitch F as you play those quarter notes.

If you can match pitch and sing the letter names, instead of just speaking them, it's a credit to you as a developing musician.

If the actual pitch is too high, sing the pitch one octave lower; this note will sound similar and will have the same letter name as the actual pitch, but should be more comfortable for your voice range.

Try exercise 1 now and sing the pitch letter names as the pitch changes.

####  Practice Utility 4: Play and sing the beat numbers.

Now as you play through exercise 1 again, try singing the beats, which means counting according to the meter and the rhythm of the music.

Counting in this exercise will match the meter, and since there are four beats in a measure, you will only need to count to four repeatedly.

If you can match pitch and sing the beat numbers, instead of just speaking them, you are closer to discerning the music within.

As a practicing musician, you will discover that your voice is a bridge; it connects what is going on inside, with your thoughts and your feelings, with what is going on outside, with your hands or your physical skill.

For this reason, you are encouraged to use your voice in this course.

####  Timing and Continuity

By this stage, you should be concerned with the timing and continuity of the music, so as you play exercise 1 and sing the beats, check that you have eliminated any pauses between pitch changes.

The notes should be smooth and connected, and your counting should be continuous.

If you find that there are breaks in the music, slow your tempo; it will be easier to handle the more difficult parts if you play at a slow, even pace.

Play exercise 1 now, and work with this music until you can play from start to finish without pause.

####  Exercise 2

The second exercise is written in 3/4 meter, and beat number 1 begins with a down stroke.

Since 3/4 is an odd meter with three beats in a measure, the next measure will begin with an up stroke on beat number 1, and the pattern will continue to switch direction as you play.

Right now, you may find that it feels natural to play with a down stroke on beat number 1, and that it feels strange to play with an up stroke on the next beat number 1, but with consistent practice, you will become comfortable striking the strongest beat with either a down stroke or an up stroke as you play odd note groups.

####  Muting on the Quarter Rest

Both measure number 5 and measure number 6 have a quarter rest on beat number 2.

On these beats, use a finger muting technique to stop the string from ringing.

At the same time your finger mutes the string, your picking hand makes a silent alternating motion as the picking symbols show.

Practice these two consecutive measures until these combined techniques become comfortable.

####  Practice Utilities

As you work on exercise 2, use the practice utilities we covered earlier:

Practice Utility 1. Say the name and address of each note out loud.

Practice Utility 2. For your first warm-up play, concentrate on your technique.

Practice Utility 3. Play and sing the pitch letter names.

Practice Utility 4. Play and sing the beat numbers.

####  Timing and Continuity

As you become more familiar with the music, concentrate on the timing and continuity of your playing.

Your goals should be:

to play the notes legato,

to maintain a smooth, even timing,

and to play from start to finish without pausing at the pitch changes.

##  Lesson 5: Beethoven 'Ode to Joy' (reduced) - Half Rest

This reduced version of the 'Ode to Joy' theme is written in 4/4 meter.

Let's look at measures 3 and 4 before you begin practicing this song.

####  Half Rest

Measure 3 begins with a half rest on beat number 1.

A half rest is written as a small block, which is placed just above the middle line of the staff.

When you see a half rest, initiate silence for two beats.

Starting on measure number 3, use a palm muting technique for the half rest on beat number 1 and a finger muting technique for the quarter rests that follow.

####  Practice Utilities

As you work on this song, remember to use the practice utilities you learned from Lesson 4.

Practice Utility 1. Say the name and address of each note out loud.

Practice Utility 2. For your first warm-up play, concentrate on your technique.

Practice Utility 3. Play and sing the pitch letter names.

Practice Utility 4. Play and sing the beat numbers.

##  Lesson 6: Larson 'Common Time Cadence'

A cadence is a close or ending in a section of music.

You can hear a cadence when the music changes in a way that relates a feeling of finality.

In this song, the note combination through measures 3 & 4 form a cadence.

The note combination through measures 7 & 8 also form a cadence.

Does the second cadence sound more final than the first?

Consider this question while you practice this song.

####  Practice Utilities

Practice Utility 1. Say the name and address of each note out loud.

Practice Utility 2. For your first warm-up play, concentrate on your technique.

Practice Utility 3. Play and sing the pitch letter names.

Practice Utility 4. Play and sing the beat numbers.

##  Lesson 7: Larson 'Triple Time Modulation' - Sharps

A modulation occurs when the music shifts to a different key center.

In this song, a modulation occurs through measures 7 & 8.

####  Sharps

The first note in measure 7 initiated the modulation.

The sign in front of the note is called a sharp.

A sharp sign raises the pitch one half step, which means one fret higher on the guitar, so the first note in measure 7 is F Sharp Second Fret.

To play F Sharp, place finger number 2 of your fretboard hand just behind fret number 2.

Let's look at measures 7 & 8 to get warmed up with this new note.

Measure 7 begins with F Sharp Second Fret on beat number 1, which is followed by G Third Fret on beat number 2, which is followed by another F Sharp Second Fret on beat number 3, which rings until G Third Fret is played on beat number 1 in the last measure.

When a note is sharped as in measure 7, other notes in the same pitch range are sharped within the same measure.

So in measure 7, the note on beat number 3 is also F Sharp Second Fret.

As you practice this song, listen for the cadence at the end of line 1 and compare it to the cadence at the end of line 2.

Can you hear the modulation in the final cadence?

####  Practice Utilities

Practice Utility 1. Say the name and address of each note out loud.

Practice Utility 2. For your first warm-up play, concentrate on your technique.

Practice Utility 3. Play and sing the pitch letter names.

Practice Utility 4. Play and sing the beat numbers.

##  Lesson 8: Larson 'Minor Cadence' - Flats - Ledger Lines

This song begins with a new note.

The note is A Flat Fourth Fret, and to play A Flat, find string number 1 and place your fourth finger just behind fret number 4.

####  Flats

Accompanying this new note is the flat symbol.

A flat symbol lowers the pitch by one half step.

If the first note in this song had been written without the flat symbol, it would be A Fifth Fret, which is a note just out of range in first position.

####  Ledger Lines

Since A Flat Fourth Fret is higher in pitch than G Third Fret, the staff must be extended to write the new note.

Composers use ledger lines for any notes which are written above or below the five line staff.

If we didn't use ledger lines, the staff would have to be so large that it would be difficult to read the music, so instead of a grand staff, each note that falls outside of the staff gets its own set of ledger lines.

####  Measure 3

Measure 3 contains two half notes, and both are the same pitch.

When a note is flatted, other notes in the same pitch range are flatted within the same measure.

This song is called 'Minor Cadence' because it is written in a minor key.

Some hold that minor keys relate a more somber, serious, or passionate mood.

As you practice this song, think about the emotional qualities the music relates to you.

####  Practice Utilities

Practice Utility 1. Say the name and address of each note out loud.

Practice Utility 2. For your first warm-up play, concentrate on your technique.

Practice Utility 3. Play and sing the pitch letter names.

Practice Utility 4. Play and sing the beat numbers.

##  Chapter 5 - String Number 2 with notes D, C, & B

##  Lesson 1: D Third Fret - Metric Pulses in 4/4

If we continue to follow the musical alphabet downward, we arrive at the pitch D, which is just below the pitch E in the alphabet.

Since the pitch E is played open, we can't play a lower pitch on string number 1, so to continue playing through the musical alphabet, we have to move over to string number 2.

Find string number 2 on your guitar and place the third finger of your fretboard hand just behind fret number 3.

You should be pressing down with your fingertip, and your finger should be well arched.

The note you are holding is D Third Fret.

The note D is written on the fourth line of the staff.

While you are holding D Third Fret, let's play through some musical examples.

####  Rhythm

These practice measures contain familiar rhythms.

The symbols for picking direction and the numbers for counting with the meter are included as reminders while you play.

####  Metric Pulses in 4/4

There is a common arrangement of strong and weak pulses that define the metric nature of music played in 4/4 time.

Beat number 1 is the strongest pulse, beat number 2 is weak, beat number 3 is a medium pulse, and beat number 4 is weak.

A graphic of beat pulses in 4/4 meter might look like this:

####  Practice Measure 1

As you play measure 1, use exaggerated dynamics to bring out the common arrangement of pulses more clearly.

Even though each of the quarter notes will ring for the same duration, play beat number 1 with the greatest force, play beat number 2 softly, play beat number 3 with medium force, and play beat number 4 softly.

Metric pulses in music are usually more subtle, but practicing in this way will help you understand the nature of 4/4 meter.

####  Practice Measure 2

Measure 2 has a rhythm that you may be able to hear, even before you play the music.

Try to hear the rhythm before you play the notes.

If you can hear this pattern in your head, then you are already building a rhythmic memory with the written music.

####  Practice Measure 3

The picking symbols in measure 3 are a reminder to maintain an alternate picking motion, even though the pick does not strike the string on beats 2 and 4.

Play measure 3 and pass over the string as you pivot your wrist upward on beats 2 and 4.

Let each of the half notes ring for a full two beats.

Now we'll remove the measure numbers and change the double barlines to single barlines.

Play this complete line of music from start to finish.

Did you notice that as you approached the end of the piece, the rhythm became sparse?

At first, a note sounded every beat, until beat 3 of the second measure, where a note sounded every two beats, and even though the tempo remained constant, the change in rhythm suggested that the music was slowing down.

Rhythmic changes like this one will often appear at the end of a section of music and may often be clearly heard at a cadence.

Some musical sections will display the opposite effect, having a rhythm that suggests a quickening pace.

##  Lesson 2: C First Fret - Transposing Instruments

As we continue our musical alphabet, moving downward from the pitch D, we arrive at the pitch C.

On the staff, the note C is written in the third space.

Find string number 2 on your guitar and place the first finger of your fretboard hand just behind fret number 1.

The note you are holding is C First Fret.

####  Practice Measure 1

Measure number 1 contains only a whole note, which rings for four beats.

Play measure 1 now and count out loud as the note C rings through four beats.

This note stops sounding at beat number 1 in the next measure, so be sure to let the note ring for its full value.

####  Transposing Instruments

The pitch that sounds when you play C on the first fret of the guitar is the same pitch that sounds when you play middle C on the piano.

The music for the piano, however, shows that the note middle C is written on the first ledger line below the staff.

The guitar sounds an octave (8 places) lower than its written music.

So when you play the pitch C written in the third space on the staff, the guitar sounds out the pitch C an octave lower, which matches the notation for middle C on the piano.

There are many instruments which are transposed; another example is the B flat clarinet.

When a B flat clarinet player produces the note C, written on the first ledger line below the staff, the instrument sounds out the pitch B flat, which is one whole step lower in pitch.

To get a B flat clarinet to sound out the pitch C, matching middle C on the piano, a composer writes the note D for the player.

Can you see why guitar players have an advantage in working with their instrument's transposition compared to other transposed instruments?

Even though the guitar sounds an octave lower than its written music, the sounding note shares the same pitch letter name as the written note.

####  Practice Measure 2

Measure 2 is showing a new rhythm.

The quarter note on beat number 1 rings until the dotted half note is played on beat number 2.

The dotted half note rings through beats 2, 3, and 4, and stops ringing on beat number 1 in the next measure.

Count the beats out loud as you play measure 2.

####  Practice Measure 3

Measure 3 is showing a familiar rhythm.

When you play this measure, try your best to play legato.

Now we'll remove the measure numbers and change the double barlines to single barlines.

Play this line of music from start to finish and try your best to move from one measure to the next without pausing at the barlines.

Counting out loud while you play may help with the timing and continuity.

Did you notice that as you approached the end of the piece, the rhythm became dense?

At first, only a single note sounded, until measure 2, where two notes sounded in close proximity, then in measure 3, four notes sounded in succession.

And even though the tempo remained constant, the change in rhythm suggested that the music was speeding up.

Sections of music will sometimes display a rhythmic character like this line of music and may be clearly heard at a cadence.

##  Lesson 3: B Open - Metric Pulses in 3/4

Moving down the musical alphabet one more letter, we arrive at the pitch B.

On the staff, the note B is written on the middle line.

To play the pitch B, find string number 2 on your guitar and pick the string open.

####  Practicing in 3/4 Time

####  Practice Measure 1

Measure 1 is showing a new rhythm in 3/4 meter.

A half note begins on beat number 1 and rings through beat number 2.

There is a quarter note which begins on beat number 3 and rings until beat number 1 in the next measure.

Count out loud as you play measure number 1.

Try your best to sing the pitch B, instead of only speaking the count.

####  Practice Measure 2

Measure 2 has a familiar 3/4 rhythm.

The picking directional symbols are arranged for playing the complete line of music.

When you are playing an odd note group, your picking direction will alternate on the first note in consecutive groups.

For this reason, you must become familiar with starting a note group with either a down stroke or an up stroke.

Play practice measure 2 and start on beat number 1 with an up stroke of the pick.

Sing the count as you play the music.

####  Metric Pulses in 3/4

There is a common arrangement of strong and weak pulses that define the metric nature of music played in 3/4 time.

Beat number 1 is the strongest pulse, beat number 2 is weak, and beat number 3 is weak.

A graphic of beat pulses in 3/4 meter might look like this:

As you play measure number 2, use exaggerated dynamics to bring out the common arrangement of pulses more clearly.

Even though each of the quarter notes will ring for the same duration, play beat number 1 with the greatest force, play beat number 2 softly, and play beat number 3 softly.

Metric pulses in music are usually more subtle, but practicing in this way will help you understand the nature of 3/4 meter.

####  Practice Measure 3

Measure number 3 contains only a dotted half note, so its time to remove the measure numbers and change the double barlines to single barlines.

When you play this line of music, do your best to keep singing the count while you alternate your picking direction.

Practice this line until you are comfortable alternating the picking direction on beat 1 in each consecutive measure.

Let's change to a meter of 4/4 and look at a new rhythm in the first measure of this line.

####  Practice Measure 1

On beat number 1 falls a half note, which rings until beat number three, where a quarter note is played, which rings until beat number 4, where you must initiate a rest.

For the rest on beat number 4, use a finger muting technique.

When you play measure 1, continue to alternate your picking direction, even on beats 2 and 4, which are silent passes.

####  Practice Measure 2

The rhythm in measure two, you may be able to recall instantly, as this rhythm has appeared many times in your lessons.

####  Practice Measure 3

Measure 3 has a half note on beat number 1, which rings until beat number 3, where you must initiate a rest.

It's important to let the half note ring for a full two beats, so be sure to initiate the rest right on beat number 3.

Now let's play the entire line from start to finish.

In the next section, we'll work with these rhythms in an extended practice setting.

##  Lesson 4: Practice Utilities - Isolate a Difficult Spot

####  Exercise 1

The first exercise is written in 4/4 meter, so there are four beats in a measure and a quarter note is counted as one beat.

Some of the measures include picking symbols and count numbers to help you with the new rhythmic groups.

We'll break this music into sections for practice. Let's start by looking at the first four measures.

Use Practice Utility 1, and say the name and address of each note out loud.

If you are finished with Practice Utility 1, let's go over the first four measures.

Measure 1 contains four notes of the same pitch; the note is D third fret.

Measure 2 contains three notes of the same pitch; the note is C first fret.

Measure 3 contains two notes of the same pitch; the note is B open.

Measure 4 contains one pitched note and one rest; the note is C first fret.

If you missed some, do not worry; you will be seeing many of these notes in the future, and you will build on your memory through consistent practice.

Let's work on these first four measures using Practice Utility 2, and for your first warm-up play, concentrate on your technique.

When you play a section of music for the first time, do not be concerned with the timing and tempo.

Just check that you are playing the correct notes and focus on the position of your hands and the placement of your fingers.

As you played this music for the first time:

Did you remember to hold down the notes with your fingertips, and did you remember to land your fingertip just behind the fretwire?

Did you play in first position, using your first finger to hold C on the first fret, and your third finger to hold D on the third fret?

Was the heel of your picking hand placed just behind the bridge saddle, and did you alternate your picking direction, down, up, down, up, pivoting at the wrist?

Now that you are warmed up with this section of music, let's use Practice Utility 3, where you will play and sing the pitch letter names.

Try this on your own before playing with the recorded music.

At this stage of practice, you should make an effort to maintain an even tempo and avoid pausing at the pitch changes.

Now using Practice Utility 4, let's play and sing the beat numbers.

Try your best to sing the beat numbers instead of just speaking them.

By this practice stage, you should be playing at a slow, even tempo, and you should be playing legato, making the notes smooth and connected.

If you can play these four measures from start to finish without pausing, then you have well practiced this section of music and you are ready for the next section.

Let's look at the last five measures of Exercise 1.

Use Practice Utility 1, and say the name and address of each note out loud.

If you are finished with Practice Utility 1, let's go over the last five measures.

Measure 5 contains four notes of the same pitch; the note is D third fret.

Measure 6 contains three notes of the same pitch; the note is C first fret.

Measure 7 contains four notes of the same pitch; the note is B open.

Measure 8 contains two notes of the same pitch and one rest; the note is C first fret.

Measure 9 contains one pitched note; the note is D third fret.

If you were mostly correct calling out the names and addresses of the notes, then you are doing well with note placement on the staff.

If you are having trouble telling one note from another, try using the two strategies you have learned for quick recall.

Starting from the bottom of the staff and moving upward, the spaces of the staff spell out the word FACE.

Use this strategy for any notes that fall in a space.

Starting from the bottom of the staff and moving upward, the lines of the staff can be quickly recalled by applying the sentence: Every Good Boy Does Fine, where each word in the sentence begins with the pitch letter name of a staff line.

Use this strategy for any notes that fall on a line.

Let's work on the last five measures using Practice Utility 2, and for your first warm-up play, concentrate on your technique.

Check each hand for proper playing technique and positioning.

Now that you're warmed up, let's use Practice Utility 3, where you will play and sing the pitch letter names.

Try this on your own before listening to the recorded music.

Now using Practice Utility 4, let's play and sing the beat numbers.

Try your best to sing the beat numbers instead of just speaking them.

####  Exercise 1 Complete

If you're ready, we'll put the two sections together and play the complete exercise.

####  Practice Utility 5: Isolate a Difficult Spot

If you are having difficulty and pausing somewhere in the music, take some time to focus on the place where the trouble occurs.

You should not start over at the beginning whenever you make a mistake.

Instead, isolate the difficult spot by working with a smaller piece of the music that surrounds the place where you are pausing.

After you have worked out the issue, you'll be ready to play through a larger section of the music.

Use Practice Utility 5 for any place in the music that is holding up your progress.

If you can learn to go right to the problem spot and fix it, you will be using your practice time well, and you will increase the speed of your progress.

####  Exercise 2

The second exercise is written in 3/4 meter, so there are three beats in a measure and a quarter note is counted as one beat.

Some of the measures include picking symbols and count numbers to help you with alternating your picking direction for the odd note groups.

We'll break this music into sections for practice.

Use your Practice Utilities to work on the first four measures.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.

If you have the first section down, let's move on to the last section.

Use your Practice Utilities to work on the last five measures.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.

If you have worked on each of the sections and can play each without pausing, let's play through the entire exercise.

If you are having difficulty playing through exercise 2 without pausing, use Practice Utility 5 and isolate any problem areas.

When you have worked through the tough spots, play the exercise again with an improvement in the timing and continuity of the music.

##  Lesson 5: Beethoven 'Ode to Joy' - Moving to an Adjacent String

This version of the 'Ode to Joy' theme has been expanded to include the new notes you have learned.

Working with this music introduces new challenges.

####  Moving to an Adjacent String

In the second measure, beat number 3 is showing the note E Open, which is played on string number 1, and beat number 4 is showing the note D Third Fret, which is played on string number 2.

At this place in the music, you must execute a smooth pass from one string to another.

You may find that as you move to play the note D Third Fret, which is on string number 2, your third finger will land on the note G Third Fret, which is on string number 1.

Since you have had more experience with the notes on the first string, your fingers may tend to fall into the places that are more familiar.

Use Practice Utility 5, and isolate the difficult spots in the music where you have to move to an adjacent string.

As your fingers become more familiar with the new placements, try to play through a larger section of the music without pausing at the string changes.

####  Alternating Your Picking Direction

It is important to maintain your picking direction even when moving to an adjacent string.

Let's add the picking symbols to measure number 3 and look at a possible trouble spot.

On beat number 1, the note C First Fret is played with a down stroke.

On beat number 2, the note C First Fret is played with an up stroke.

On beat number 3, the note D Third Fret is played with a down stroke.

And on beat number 4 the note E Open is played with an up stroke.

The possible trouble spot here is between beats 3 and 4.

If you find that you are playing the note D Third Fret on beat number 3 with a down stroke, then sweeping over to string number 1 and playing the note E Open, also with a down stroke, then use Practice Utility 5 and isolate this difficult spot in the music.

When you play the note D Third Fret with a down stroke, let the motion of your wrist carry the pick past string number 1 without any contact.

Now the pick is positioned to make an up stroke on beat number 4, and you have maintained your alternate picking direction when you play E Open.

As you become more familiar with alternating your picking direction, you will learn how far to pivot your wrist so the pick is positioned for the alternate strike.

Use your practice utilities as you work on this expanded version of 'Ode to Joy'.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.

##  Lesson 6: Traditional 'Frere Jacque' - Consistent, Even Timing

For this short version of 'Frere Jacque', work on maintaining a consistent, even timing.

Allow your alternate picking motions to serve as a measure of time, like the way a pendulum moves back and fourth on a grandfather clock.

Practice this piece on your own before listening to the recorded music.

Use your practice utilities as you work on this short version of 'Frere Jacque'.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.

##  Lesson 7: Strauss II 'Roses from the South' - Slurs

This introduction from 'Roses from the South' is written in 3/4 meter and begins with a series of longer note values.

####  Slurs

The line extending over notes of different pitch is called a slur.

A slur directs the musician to play the notes legato.

A guitarist usually plays a note group within a slur marking as smoothly and as connected as possible.

####  Special Finger Placements

Playing this song legato requires some special finger placements.

In the first two measures, you have to move from the note C First Fret, to the note F First Fret.

If you play this exchange using only your first finger, it's likely that the notes will be interrupted by the action of lifting and placement.

In this situation, use your second finger to play the note F First Fret.

There is a similar situation in measures 5 & 6, where you have to move from the note G Third Fret, to the note D Third Fret.

Using only your third finger on these notes will most certainly interrupt the music.

In this situation, use your fourth finger to play the note G Third Fret, then your third finger will be available to play the note D Third Fret.

As you work on this piece:

Check that you are holding the dotted half notes for their full, three count value.

And remember that there are no rests in this music, which means that a note only stops ringing just as the next note is played.

So there should be no moments of silence in this music.

Practice this piece on your own and focus on playing legato before listening to the recorded music.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.

##  Lesson 8: Pierpont 'Jingle Bells' - Accent - Section Repeat Sign

This familiar holiday music has a new articulation symbol in the first measure of line 3.

####  Accent

Beat number 3 shows that the note G third fret is marked with an accent.

An accent indicates to play the note with greater force than the natural metric pulse would allow.

In this measure, the note G Third Fret falls on beat number three, which normally is a medium pulse in 4/4 meter.

Because of the accent mark, we will play this note with greater emphasis.

The accented note is played right before another new symbol.

####  Section Repeat Sign

The section repeat sign tells the player to return to the beginning and continue to play.

####  Multiple Endings

The numbered lines above the staff are showing that the song has a different ending for each pass through the music.

When you make the first pass through this song, play through the first ending until you hit the section repeat sign, then go to the beginning and continue to play.

As you make the second pass through the music, play until you reach the first ending mark, then skip to the second ending mark and play until the you reach the final barline.

####  Special Finger Placements

Jingle Bells is meant to be played lively with a quick tempo.

At such a pace, the note transition in measure 8 can become a difficult spot in the music.

To play the notes in measure 8 smoothly, we'll use special finger placements.

Play the note D Third Fret with your third finger, and play the note G Third Fret with your fourth finger.

The accented note, G Third Fret is followed by a rest on beat number 4, then the section repeat sign takes you back to the beginning as the song continues.

Use your practice utilities as you work on 'Jingle Bells'.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.

##  Chapter 6 - String Number 3 with Notes A & G

##  Lesson 1: A Second Fret - Steps - Scale - Tie

In the musical alphabet, there are seven letters: A B C D E F G

You began learning this alphabet starting with the highest note, G third fret on string number 1, and you have descended through the alphabet to the note B Open on string number 2.

To complete the alphabet, we will add one more note.

Find string number 3 on your guitar and place the second finger of your fretboard hand just behind fret number 2.

You should be pressing down with your fingertip, and your finger should be well arched.

The note you are holding is A Second Fret.

The note A is written in the second space of the staff.

While you are holding the note A, play through this line of music.

The music is written in 3/4 meter, and you begin playing on beat number 1.

The picking symbols and count numbers have been included to help you as you move through the music.

####  Metric Pulses in 3/4 Meter

Try to play the half notes, which fall on beat number 1, with a slightly stronger pulse than the quarter notes, which fall on beat number 3.

The rhythm in this music is repetitive and consistent.

If you can play this line of music using a smooth, even timing, and if you can play the notes with the correct metric pulses, you will begin to internalize the feeling and the nature of music written in 3/4 meter.

####  Steps

Now that we have covered the seven pitches of the musical alphabet, we can study this pattern of notes in more detail.

If the pitch letter names are to be written on the page, it may be appropriate to list them in this way.

As you have learned, the note B Open is higher in pitch than the note A Second Fret, and as you continue moving through the alphabet, each note in succession produces a higher pitch.

It's also possible to read this pattern of notes the other way, in a downward direction.

The note F First Fret is lower in pitch than the note G third fret, and as you move through the alphabet, each note in succession produces a lower pitch.

We give this pattern of notes a name according to how far apart a given pitch is from the surrounding pitches.

For example, if you are playing the note C First Fret, and you move to the next higher note, D Third Fret, we say that you have moved one step higher in pitch.

In a similar way, if you are playing the note C First Fret, and you move to the next lower note, B Open, you have moved one step lower in pitch.

####  Memorizing Steps

An important part of your daily practice is to memorize the pattern of steps in music.

You should be able to recite your musical alphabet out loud and in two directions, both up and down the step ladder.

Most people have no trouble reciting steps in an upward direction, but find reciting them downward to be a challenge at first.

Without looking at the letters on the page, see how fast you can recite them without pausing.

Did you leave out any letters when you moved down the step ladder?

Did you put all of the letters in the correct order?

####  Playing Steps

On the staff, steps have a certain look that you can recognize.

When you play the distance of one step, the notes move from a space to a line or from a line to a space.

If we look at the complete musical alphabet in steps, you can see that the notes change in this continual alternating pattern: space, line, space ...

Let's play through this pattern of steps, and as you play, sing the letter name of the pitch.

Try your best to match your singing voice to the pitch you are playing on the guitar, instead of just speaking the pitch letter name.

Did you notice that when you sing the musical alphabet, the melody you are singing does not match the melody of the song we use to learn the English alphabet?

This exercise should also be part of your daily practice.

As you gain experience, you will build a tonal memory of these note relationships, and before long, you may be able to sing your musical alphabet in steps, even without your guitar.

####  Scale

When notes are arranged into an ordered stepwise collection like this, it's referred to as a scale.

The word scale comes from the Italian word scala, which means 'ladder' or 'staircase'.

Musicians use scales to practice their playing technique, to study new tonal relationships, and to analyze musical passages.

When you play through the musical alphabet in steps, you are playing a scale.

####  Tie

Now we'll change the music slightly and look at a new symbol.

At the top of the scale on beat number 4 of the second measure, the note G Third Fret has a curved line that extends to the note G Third Fret on beat number 1 in the next measure.

This symbol is called a Tie, and it tells the musician to allow the two notes to ring as one longer sound.

In this example, the note G Third Fret is played on beat number 4, and the note continues to ring through beat number 1 in the next measure.

So you do not pick the note G Third Fret on beat number 1, instead let the note continue to ring until the note F First Fret is played on beat number 2.

The Tie looks similar to the Slur symbol, which you learned about earlier, but there is a clear difference between the two symbols.

A Slur connects notes of different pitch and prompts the musician to play the note group in a smooth and connected manner, to play legato.

The Tie connects notes of the same pitch and prompts the musician to let the notes ring for the sum of their durational values, to sustain the duration through all of the connected notes.

The Tie allows composers to write notes that ring beyond a single measure, like the note G in our scale exercise.

Let's invert this music and start at the highest note, G Third Fret.

Here the note sustained with a Tie is A Second Fret, which is the lowest note in your musical alphabet.

When you practice this scale exercise, make a pass using Practice Utility 3, where you play and sing the pitch letter names.

Make another pass and use Practice Utility 4, where you play and sing the beat numbers.

If you have been working with your Practice Utilities, then practicing in this way is already becoming a good habit.

##  Lesson 2: G Open - Circle of Steps - Anacrusis - Traditional 'Red River Valley'

If we move from the pitch A Second Fret to the next lower pitch, the musical alphabet starts over with the letter G.

Find string number 3 on your guitar and play the note G Open.

The note G sits on the second line of the staff.

The G clef marks this line, telling a musician where the note G is found on the staff.

Let's play through this line of music and get some practice with the note G Open.

The music is written in 4/4 meter and begins on beat number 1.

In the last measure, did you remember to dampen the string for the rest on beat number 3?

You may use either a palm muting or finger muting technique to stop the string from vibrating.

####  Circle of Steps

Since the order of letter names in the musical alphabet repeats as successive pitches are added, we can write out the letters in a way that clearly shows their stepwise relationship.

On this circle, if we start at the note A and move around in a clockwise direction, each note in succession is one step higher in pitch.

After reaching the note G, the next higher pitch is A, and if we continue to move in a clockwise direction, the pitch continues to rise in a stepwise manner.

If we stop, and begin to move in a counter-clockwise direction, each note in succession is one step lower in pitch.

After reaching the note A, the next lower pitch is G, and if we continue to move in a counter-clockwise direction, the pitch continues to lower in a stepwise manner.

The Circle of Steps shows that in music, the notes G and A are one step apart.

Playing the notes G Open and A Second Fret on string number 3 of your guitar also shows this relationship.

Another place to see this relationship is on the staff.

Here is a variation of the last exercise, which now includes both G Open and A Second Fret on string number 3.

On the staff, the line-to-space note placement indicates a pitch difference of one step.

####  Anacrusis

This traditional song, 'Red River Valley', includes all of the pitches in the musical alphabet, including the new note G Open on string number 3.

There is something else in the way this song is written that is also new.

Do you notice anything strange about the way this song begins?

If we examine the meter, the top number tells us that there are four beats in a measure, and the bottom number tells us that a quarter note is counted as one beat.

So what is strange about the first measure?

It's called an incomplete measure, because some of the beats are missing.

If some of the beats are missing, can you guess on which beat the music starts?

Let's find out by looking ahead in the music at a complete measure and counting backward toward the beginning.

We'll start on the second complete measure on beat number 4.

From beat number 4, there is a quarter note on beat number 3, and a half note, which sounds over beats 2 and 1.

In the previous measure, there is a quarter note on beat number 4, a quarter note on beat number 3, and a half note sounding over beats 2 and 1.

After beat number 1, we have to cross the barline, so the next quarter note is on beat number 4, followed by another quarter note on beat number 3.

The incomplete measure at the beginning of this song is missing beat numbers 2 and 1, so the song starts on beat number 3.

When you see an incomplete measure at the beginning of the music, it's called an anacrusis.

In this song, there is an anacrusis on beat number 3.

####  Counting in Music

This song demonstrates an important point about counting in music.

Counting beats in music is different than counting objects.

When we count objects, we start counting from the number 1 and continue counting until we run out of objects.

This is a special function in mathematics, because when you get to the last object, you know exactly how many objects there are in the group.

It's special because when you are counting, you are actually adding.

0 + 1 = 1, and 1 + 1 = 2, and 2 + 1 = 3, and 3 + 1 = 4, so when you reach the number 4, you have added the contents of the group, and you know that the group contains 4 objects.

But music is different; counting in music works like this device.

Let's look at this clock and think about the way it's used.

If someone were to ask you where a clock starts, what would you say?

What if someone were to ask you where a clock ends?

Does a clock ever really end?

It's made as a circle with hands that move around the circle and never stop.

So if a clock doesn't end, where does it start?

It doesn't seem to have a starting point either, but for both of these questions, there is a better answer.

A clock can start or end anywhere.

For instance, think about what time school starts; let's say that school starts at 8:00.

Now think about what time school ends; we'll say that school ends at 3:00.

So for school, the clock starts at 8:00 and ends at 3:00.

Let's use another example. Think about what time you go to sleep; let's say 9:00.

Now think about what time you wake up; we'll say 6:00.

So for sleeping, the clock starts at 9:00 and ends at 6:00.

Because a clock is versatile, and you can start and stop anywhere, you can use it for keeping track of anything that takes up time.

####  Music Clock

Music also uses a clock, but a music clock usually has fewer numbers.

Let's look at the music clock for this song and think about the way it's used.

To build the clock, we have to look at the meter.

The top number of the meter determines how many numbers the clock will display.

In this song, there are four beats in a measure, so our music clock will have four numbers.

We will build this clock like the one we know well and place the highest number at the top.

To find out where the clock hand will start, we'll look at the first measure.

Since the first measure is showing an anacrusis on beat number 3, the clock hand will start on the number 3.

So this song is counted: 3, 4, 1, 2.

It's important for you to know that an anacrusis tells you more than just how a song begins.

An anacrusis tells you how to count the entire song.

In this song, we never count: 1, 2, 3, 4.

If we mark out the small note groups that define this music, it may be easier to see the repetition of the anacrusis.

The music ends as we would expect, on beat number 2.

As you practice this song, use Practice Utility 4. Play and sing the beat numbers.

Concentrate on the small note groups that match the counting pattern: 3, 4, 1, 2.

##  Lesson 3: Eighth Notes - Dotted Quarter Note - Larson 'Minor Cadence'

You've learned that when the lower number of the time signature displays a four, then a quarter note has a duration of one beat.

This means that a quarter note fills up one complete beat in the music, but there are notes that have a smaller durational value than the quarter note.

####  Eighth Notes

An eighth note is written with a dark note head, a stem, and a single flag.

An eighth note has a duration of half of a beat.

To better understand eighth notes, musicians visualize them in groups.

Since an eighth note rings for half of a beat, then two eighth notes equal one beat.

So when composers write eighth notes, they will connect the flags together in order to better show the beat groups to a musician; this is called beaming.

With the notes correctly beamed, a musician can see all of the main beats in a measure and the subdivisions of each beat.

Eighth notes create subdivisions of two, so as you play eighth notes, you are actually breaking one beat into two pieces.

In this measure of music, the eighth notes are beamed together into beat groups.

Can you see how the beaming allows you to see each of the four beats in the measure?

####  Playing and Counting Eighth Notes

The quarter notes and eighth notes in this measure have been aligned so you can see where the eighth notes fall within the meter.

The first eighth note is played on beat 1, just as you would play the quarter note above.

The next eighth note is played on the second half of beat 1, and is counted, 'And'.

The remaining beats in the measure play out in the same way.

Let's play this practice measure using the pitch G Open on string number 3.

On the first pass, we'll play the quarter notes above, and on the second pass we'll play the eighth notes below.

Did you notice that the eighth notes were shorter in duration, but the tempo of the music did not change?

Play this exercise again, only this time, count the beats out loud as you play.

Remember to count '&' on the second half of each beat, even when you are playing the quarter notes.

####  Foot Tapping Eighth Notes

Some players have a difficult time playing eighth notes evenly through the measure.

Because eighth notes are beamed together, a player may have a tendency to shorten the value of the eighth notes, playing them as groups of two shorter notes with a longer value of time in between the group.

To get a better feel for eighth notes that are equal in duration, you may wish to tap your foot in time with the meter.

As the music begins, your foot will tap downward to the floor, and you will count '1'.

When your foot rises up from the floor and reaches its highest point, you will count '&'.

In music, we refer to the numbered counts as downbeats and the '&' counts as upbeats.

Let's play this example again using the note A Second Fret on string number 3.

This time, as you count the beats out loud, tap your foot in time with the downbeats and upbeats.

When the music reaches the eighth notes on the second pass, try your best to make the eighth notes equal in duration.

####  Motion of the Pick

There is another movement that matches the movement of your foot as you play eighth notes.

If you are alternating your picking direction, the movement of the pick should match the downbeats and upbeats of the eighth notes.

A guitar player uses their picking hand as a conductor of the meter, picking downward on the downbeats and upward on the upbeats.

Play this example one more time using the note A Second Fret on string number 3.

As you alternate your picking direction, concentrate on making even movements in both directions, so that all of the eighth notes ring for same duration.

####  Dotted Quarter Note

Now that you have been introduced to eighth notes, which have a durational value of half of a beat, we can look at the dotted quarter note.

You are already familiar with the dotted half note, which is equal in duration to three quarter notes tied together, or three beats.

A dotted quarter note is equal in duration to three eighth notes tied together, or one and a half beats.

It may be helpful to remember that dotted notes are always equal to three of the next shorter note duration tied together.

####  Playing and Counting the Dotted Quarter Note

Dotted quarter notes are often accompanied by an eighth note, which completes two beats in the music.

In this practice measure, a dotted quarter note is played on beat number 1.

Since the dotted quarter note rings for a duration equal to three eighth notes, the note played on beat 1 will ring through the '&' of 1, and it will continue to ring through the second downbeat.

On the '&' of beat 2, an eighth note is played, which completes two beats in the measure.

The eighth note is followed by another dotted quarter note on beat 3 and an eighth note on the '&' of beat 4, which completes the last two beats in the measure.

Play this example using the note G Open on string number 3.

On the first pass, we'll play the upper part, and on the second pass, we'll pay the lower part.

As you play, count out loud with the meter and maintain an even timing with the pick as you alternate your picking direction.

Did you allow the dotted quarter notes to ring through a duration equal to three eighth notes?

As you alternated your picking direction, was the motion of your picking hand in time with the meter?

####  Larson - 'Minor Cadence'

You were introduced to this music in an earlier lesson.

This variation of the piece includes dotted quarter notes and eighth notes.

As you play the music, count eighth notes out loud while you alternate your picking direction in time with the meter.

##  Lesson 4: Practice Utilities - Think Ahead of the Music - Andante - Allegro

####  Royal Fanfare

Use your practice utilities to work on the first two measures of 'Royal Fanfare'.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.

If you are confident with the first two measures, try playing with the recorded music.

Were you able to play in time with the recorded music?

####  Music and Motion

Imagine that you are pedaling a bicycle down the road and moving very quickly.

Where is your concentration focused as you are speeding down the road?

Are you concentrating on what is behind you?   
Are you concentrating on the ground just below you?   
Or are you concentrating on what is ahead of you?

When you are riding a bike, you are in motion, and when you're in motion, you have to think about what is ahead of you.

Otherwise you might arrive at a turn in the road and not know to turn the handlebars, and the turn would go one way, and you would go the other way, and you would crash.

So when you're in motion, you have to think differently than when you're at rest.

When you're in motion, you have to think ahead.

Now when you play music, you are in motion, so where should your concentration be focused as you are moving through the music?

Let's look at the first two measures of 'Royal Fanfare' again and follow a path of concentration.

This music begins with a series of eighth notes on the note G Open.

Before you even begin to play, your thoughts should be focused on the place where there is a change in pitch, which is beats 3 and 4, where the pitch changes to A Second Fret.

Just as you play the pitch A, your thoughts should be focused on the first two beats of measure 2, where the pitch changes to B Open.

As you start to play the dotted quarter note, eighth note group, you should move your thoughts ahead to the next pitch change, C First Fret, which rings through beats 3 and 4 of the second measure.

This process of thought outlines Practice Utility 6. Think Ahead of the Music.

Let's play through the first two measures again, only this time we'll color code the notation to show the path of concentration.

The notes actually sounding will highlight in red, and the notes that you're anticipating will highlight in blue.

If you can use Practice Utility 6 and learn to think ahead of the music, you may begin to play more fluently with fewer pauses and breaks.

For something in motion, like music, it's essential to develop this skill.

Here is the complete version of 'Royal Fanfare' with the special color-coding for thinking ahead in the music.

####  Race Against Time

This music is written in 3/4 meter and begins with an anacrusis on beat 3, so the music clock for this song will display three numbers.

The clock will also display the '&' symbol, since there are eighth notes in the music.

To count this meter, you would say, "3 & 1 & 2 & ", and you would continue to count this pattern to the end of the piece.

Can you see the small pieces of music that match the counting pattern?

When you use Practice Utility 6 to think ahead of the music, focus on these pieces.

Instead of looking ahead from one pitch to the next, try looking ahead from one counting group to the next.

####  Tempo Changes

This music begins with an instruction to the musician on how fast to play.

####  Andante

The word Andante is a tempo marking, which may be described as 'an easy walking pace'.

For this music, we'll interpret the Andante marking to mean a tempo of 80 beats per minute.

This means that quarter notes will be sounding out at a tempo of 80 beats per minute, which is a little faster than the second hand on a watch.

Here is an example of 80 beats per minute from a metronome.

####  Allegro

The Andante tempo is maintained until the repeat sign at the end of the piece, which takes you back to the beginning.

On the second pass, the tempo changes to Allegro, which may be described as 'fast, with a sense of cheerfulness'.

We will interpret the Allegro marking to mean a tempo of 160 beats per minute, which is exactly twice as fast as the original tempo.

Here is an example of 160 beats per minute from a metronome.

Use your Practice Utilities to work on 'Race Against Time'.

This piece will include the special color-coding for thinking ahead in the music.

Be aware of the change to a faster tempo on the second pass through the music.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.

##  Lesson 5: Beethoven 'Ode to Joy' - Playing Simultaneous Parts

Now that you have learned about dotted quarter notes and eighth notes, we can show Beethoven's melody in a form closer to the original work.

####  Measure 4

The first two beats of measure 4 have a combination, dotted quarter note, eighth note rhythm.

The dotted quarter note will ring for a duration equal to three eighth notes, so the note E Open will ring for the counts, 1 & 2.

The eighth note that follows is played on the '&' of beat 2, so the note D Third Fret will ring for the short count, &, but it's immediately followed by another D Third Fret on beat number 3.

Count out the eighth note rhythm as you play this measure.

####  Measure 10

The second beat of measure 10 is divided into two eighth notes.

The note E Open is played on beat number 2, and the note F First Fret is played on the '&' of beat 2.

Count eighth notes out loud as you play this measure.

####  Measure 11

Measure 11 has the same rhythm as measure 10, but the picking directions are opposite.

Play measure 11 and start on beat number 1 with an up stroke of the pick.

####  Measures 10 & 11

Now try playing through measures 10 and 11.

As you play, concentrate on a smooth, continuous sound as you alternate the direction of the pick for each note.

####  Playing Simultaneous Parts

The guitar is called a polyphonic instrument.

The prefix 'poly' means 'many', and the word 'phonic' means 'sound', so the guitar is an instrument that can produce many sounds at the same time.

Because the guitar can produce more than one sound at a time, there may be places in the music where an earlier note will still be sounding as a new note is played.

When this happens, it becomes necessary to write the music in two parts.

####  Measures 12 & 13

Measures 12 & 13 are showing two simultaneous parts.

####  Lower Voice

There is a lower voice that begins on beat number 1 with a half rest, then continues on to beat number 3 with the note G Open.

The note G Open rings into measure 13, as the note is tied.

On beat number three, there is another half rest, which lasts to the end of the measure.

####  Upper Voice

The upper voice begins on beat number 1 with the note C First Fret, then continues with the note D Third Fret on beat number 2.

On beat number 3, there is a quarter rest, and on beat number four, the note E Open is played.

The note E Open rings through beat number 1 in measure 13, as the note is tied.

On beat number 2, the note E Open is played again and is followed by the note F First Fret on beat number 3.

The final note in the upper voice is G Third Fret, which falls on beat number 4.

The music returns to a single part in measure 14.

####  Stem Direction

To help a musician better read two part writing, a composer places the stems of the lower voice in a downward direction, and the stems of the upper voice in an upward direction.

As you play measures 12 & 13, listen for the harmony that is formed temporarily by the simultaneous ringing of notes in two voices.

Did you allow the note G Open to ring for its full value as you played the notes in the upper voice?

Now that you've worked on the new additions to this music, use your practice utilities to work on the complete melody.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.

##  Lesson 6: Traditional 'Frere Jacque' - A Fifth Fret - Hammer-on, Pull-off, Slide

When you play 'Frere Jacque', your fretboard hand is placed in first position, but in measure 5, there is a marking indicating a position shift.

####  Moving to a new position

The Roman Numeral 'III' indicates that the note G Third Fret on beat number 1 should be played with your fretboard hand in third position.

When you play in third position, the fingers of your fretboard hand take the following assignments:

Your first finger plays notes on fret number 3.   
Your second finger plays notes on fret number 4.   
Your third finger plays notes on fret number 5.   
And your fourth finger plays notes on fret number 6.

Your hand remains in third position until the second half of beat number 2, where there is a mark directing you back to first position.

The Roman Numeral 'I' indicates that the note F First Fret on the '&' of beat number 2 should be played with your fretboard hand in first position.

Measure 6 is identical to measure 5, showing the two shifts in position.

####  Hammer-on, Pull-off, Slide

Together with the shifts in position, measure 5 is showing three new playing techniques.

####  Hammer-on

Let's examine beat number 1 of measure 5.

The Roman Numeral 'III' indicates that your fretboard hand should be in third position, so the note G Third Fret is played with finger number 1.

The note falling on the '&' of beat 1 is A Fifth Fret, and this note is played with finger number 3.

The two notes are connected with a special slur, which has an 'H' symbol above the curved line.

This notation is directing you to hammer-on the note A Fifth Fret, instead of using the pick to sound out the note.

To perform this hammer-on technique, place the first finger of your fretboard hand on the note G third Fret and pick the note with a down stroke.

Without lifting your first finger, drop the third finger of your fretboard hand down on the note A Fifth Fret with enough force that the pitch sounds without using the pick to vibrate the string.

After your third finger has dropped down to hammer-on A Fifth Fret, keep the finger tip pressed down so you can hear the pitch A resonate.

If you use more force to hammer-on, the note will resonate more loudly.

####  Pull-off

Beat number 2 is showing a return to the note G Third Fret, but with a special slur, which has a 'P' symbol above the curved line.

This notation is directing you to pull-off to the note G Third Fret, instead of using the pick to sound out the note.

A pull-off is the inverse of a hammer-on.

To perform this pull-off technique, check that the first finger of your fretboard hand is still anchored on the note G Third Fret.

Now with the third finger of your fretboard hand pressed on the note A Fifth Fret, use your finger tip to pick the string as you pull-off from the note A.

To pick with the same finger that is holding the note, it's necessary to pull-off in a slight downward direction, so the finger plucks the string to make it vibrate.

If the first finger of your fretboard hand is well anchored on G Third Fret, then as you pull-off from the note A Fifth Fret, the string should vibrate and sound out the note G.

If you pull-off with greater force, the note will resonate more loudly.

####  Hammer-on & Pull-off Combinations

Since a pull-off is the inverse of a hammer-on, it's possible to play a continuous series of hammer-on and pull-off combinations.

With the first finger of your fretboard hand anchored on the note G Third Fret, pick the note G once, and then use a series of hammer-on and pull-off combinations to quickly play between the notes A Fifth Fret and G Third Fret.

####  Slide

On the second half of beat number 2, there is a shift back to first position, but this position shift is made using a slide technique.

To perform the slide, place the first finger of your fretboard hand on the note G Third Fret and pick the note.

While keeping your first finger pressed down on the fretboard, slide to fret number 1.

If you keep your first finger pressed down while you slide, you should hear that the string is still ringing as you reach the note F First Fret.

If you relax your first finger as you slide, it will dampen the string, and you will not hear the pitch F when you slide to fret number 1.

####  Playing Beat Numbers 3 & 4

On beat number 3, there is a pull-off to the note E Open.

After the slide, the note F First Fret is ringing.

Pull-off your first finger in a slight downward direction, so the tip of your finger plucks the string as it pulls away.

On beat number four, play the note C First Fret with an up stroke of the pick.

####  Measures 5 & 6

Now that you have practiced each new technique in turn, let's play through measures 5 and 6.

Moving through the series of special slurs should create a smooth, even sound, without pause.

If you're feeling comfortable with measures 5 and 6, use your practice utilities to work on the complete song.

Keep in mind, there is repeat sign at the end of measure 8, which takes you back to the beginning.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.

##  Lesson 7: Traditional 'Amazing Grace' - Rhythmic Variation

####  Meter

'Amazing Grace' is written in 3\4 meter, so there are three beats in a measure, but the first measure is incomplete.

####  Anacrusis

Because beats 1 and 2 are missing, the music begins with an anacrusis on beat number 3, so the count will start on beat number 3.

####  Smallest Note Duration

Since the smallest note duration present is the eighth note, the count will include eighth note values.

####  Counting the Meter

Counting the meter in this song follows this pattern: 3 & 1 & 2 &

This metric pattern continues to the end of the piece.

####  Metric Pulses

Although the meter begins on beat number 3, the strongest metric pulse is still on beat number 1, so as you practice this music, try to place greater emphasis on beat number 1 as you cycle through the meter.

####  Rhythmic Variation

In 'Amazing Grace', there is a small rhythmic pattern that repeats throughout the song.

It matches the counting pattern of the meter.

The simplest form of this small group of note durations is shown at the beginning.

The music begins on beat number 3 with a quarter note, which is followed by a half note on beat number 1 in the next measure.

It may be easier to see the repetition of this rhythmic pattern if we mark out all of the places it occurs throughout the song.

Can you see all of the different places where the pattern appears?

This simple pattern forms the fundamental rhythm that motivates the entire song.

Let's play the pattern that begins on beat number 3 of the second complete measure with the note D Third Fret.

The note D is followed by the note C First Fret on beat number 1.

We'll call this quarter note, half note group the fundamental rhythm.

####  Rhythmic Variation

Some of the little note groups look different than the fundamental rhythm, even though they count out in the same way.

These are called variations of the rhythm, and they are similar to the basic pattern but include slight changes.

The first variation occurs on beat number 3 of the first complete measure.

In this rhythmic variation, the quarter note on beat 3 has been divided into two eighth notes.

When you play this variation, count out the eighth note rhythm.

The second variation occurs on beat number 3 of measure 8.

In this rhythmic variation, the half note on beat number 1 has been divided into a dotted quarter note, eighth note combination.

When you play this variation, counting out the eighth note rhythm will help you play the eighth note on the '&' of beat 2 at the right time.

The fundamental rhythm and its two variations motivate this piece of music.

This pattern of rhythm presents a way for you to practice the song in small, repeating note groups.

As you use your practice utilities to work on 'Amazing Grace', challenge yourself to use Practice Utility 6 in a new way.

As you think ahead of the music, try to anticipate each upcoming rhythmic group, instead of reading only one note at a time.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.

##  Lesson 8: Pierpont 'Jingle Bells' - Verse & Chorus Sections - Da Capo

Songs are often written in two separate but related sections.

####  Verse Section

A verse section will often set the mood or establish the nature of the song.

If a piece of music were like a short story, the verse section would likely describe the setting of the story, introduce the characters, and initiate the rising action.

In the song 'Jingle Bells', the verse section acts in this way.

Even before a note is played, there is an expression mark instructing you to play the song in a lively fashion.

As the verse section of this music plays out, it suggests a lively scene with characters having a joyful, exciting time.

####  Chorus Section

A chorus section will often be more dynamic than the verse section.

If this piece of music was a short story, the chorus would represent the story's climax and resolution.

When many people think of the song 'Jingle Bells', the chorus is the first section that comes to mind.

A listener will often anticipate the chorus section and join in singing when it arrives.

####  Da Capo

At the end of this song, there is a new type of repeat marking.

Da capo is a directional mark from the Italian language; it means 'from the head', which directs you to the beginning of the song.

When you reach the 'da capo' marking, return to the beginning for another pass through the music.

In this song, you would continue returning to the beginning for each new verse section.

Since the words are not included in this version of 'Jingle Bells', we will make two passes through the music and end after the second pass.

As you practice the complete version of 'Jingle Bells', you may find Practice Utility 5 helpful.

The tempo in this song is quick, so isolating difficult spots may be necessary in order to work the entire song up to speed.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.

##  Chapter 7 - String Number 4 with notes F, E, & D

##  Lesson 1: F Third Fret - Key Signatures - Traditional 'Ah! vous dirai-je Maman'

On string number 4, we'll continue moving downward through the musical alphabet by step.

Find string number 4 and place the third finger of your fretboard hand just behind fret number 3.

You are holding the note F Third Fret, which is one step lower in pitch than the note G Open on string number 3.

The pitch F is written in the first space on the staff, which is the lowest staff space.

While you are holding F Third Fret, let's play through these two measures of music.

This music is written in 4/4 meter and begins on beat number 1.

Did you alternate your picking direction as you played through the music?

Is simple notation like this example becoming easier for you read?

####  Key Signatures

At the beginning of a staff, just after the treble clef and just before the meter, there may be a symbol called a key signature written in the music.

The key signature symbol contains one or more accidentals and will display as either a group of sharps or a group of flats.

The order and placement of the accidentals follows a regular pattern.

####  Sharp Key Signatures

If there is one sharp in a key signature, it is always placed on the top staff line where the note F is written.

This tells a musician that when the pitch F appears anywhere in the music, the pitch F sharp is played in its place.

The presence of the F sharp symbol in the key signature applies to any pitch F in the music notation.

If a musician encounters the note F written in the first staff space, this note is played F sharp as well, as are any other notes F written in the music.

Let's play through this stepwise scale exercise, which begins on beat number 1 with the note G Open.

Since there is one sharp in the key signature, we'll play the note on beat number 3 in the third measure as F Sharp Second Fret, instead of F First Fret.

The same is true for the note on beat number 2 in the fifth measure.

If you found it hard to resist your original training and are automatically moving to the note F First Fret, spend more time with this exercise until you become comfortable with the key signature and playing the note F Sharp Second Fret.

####  Flat Key Signatures

If there is one flat in a key signature, it is always placed on the middle line of the staff where the note B is written.

This tells a musician that when the pitch B appears anywhere in the music, the pitch B Flat is played in its place.

The presence of the B Flat symbol in the key signature applies to any pitch B in the music notation.

On the guitar, the pitch B is played by picking string number 2 open, so to play the pitch B Flat, we have to move over to string number 3.

Find string number three and place the third finger of your fretboard hand just behind fret number 3.

Now you're holding the note B Flat Third Fret.

Let's play through this stepwise exercise, which begins on beat number 1 with the note F Third Fret.

The single flat in the key signature indicates that the notes falling on beats 3 and 4 in measure 2 should be played as B Flat Third Fret, instead of B Open.

The same is true for the notes falling on beats 1 & 2 in measure 7.

In this exercise, you may find that your original training is causing you to play the note B Open after playing the note B Flat Third Fret.

It may have become habit to move to the next higher open string as the music moves up by step, instead of moving to the note C First Fret as the music shows.

Moving down by step may be as challenging.

As you move away from the note C First Fret, your original training may cause you to play the open string, instead of playing the note B Flat Third Fret on string number 3.

If this is the case, spend some time working with this exercise to become familiar with the key signature and playing the note B Flat Third Fret, instead of B Open.

Now that you have been introduced to key signatures, let's play a song that uses one.

####  Ah! vous dirai-je Maman

This traditional French melody has been written using a single flat in the key signature.

Since a single flat key signature always appears on the same line, we know that all of the notes written on the middle line of the staff will be played, B Flat Third Fret.

Let's highlight all of the B Flat notes, so that you may anticipate the new placement.

Use your practice utilities to work on this song before playing with the recorded music.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.

Does this traditional melody remind you of any songs you have heard?

##  Lesson 2: E Second Fret - Sixteenth Notes - Fermata

####  Sixteenth Notes

A sixteenth note is written with a dark note head, a stem, and two flags.

A sixteenth note has a duration of a quarter of a beat.

Like eighth notes, musicians visualize sixteenth notes in beat groups.

Since a sixteenth note rings for a quarter of a beat, then four sixteenth notes equal one beat.

Composers beam sixteenth notes together in groups of four.

As you play sixteenth note groups in the music, you'll see that each beat has been subdivided into four pieces.

####  Playing and Counting Sixteenth Notes

The quarter notes and sixteenth notes in this measure have been aligned so you can see where the sixteenth notes fall within the meter.

The first sixteenth note is played on beat 1, just as you would play the quarter note above.

The second sixteenth note is played on the second quarter subdivision of beat 1, and is counted, 'ee'.

The third sixteenth note is played on the third quarter subdivision of beat 1, and is counted, 'And'.

The fourth sixteenth note is played on the fourth quarter subdivision of beat 1, and is counted, 'ah'.

The remaining beats in the measure play out in the same way.

If we add the eighth note beat groups to the measure, you can see how the notes in each group line up with the meter and where some notes overlap on the count.

Before we play this practice measure, let's add another pitch in first position.

####  E Second Fret

Find string number 4 and place the second finger of your fretboard hand just behind fret number 2.

You are holding the note E Second Fret.

The pitch E is written on the first staff line, which is the lowest line on the staff.

This measure is filled with sixteenth notes, which means that each of the four beats in the measure has been subdivided into four pieces.

Sixteenth notes are well executed by alternating your picking direction.

As note durations become smaller and the tempo of the music increases, an alternate picking technique becomes necessary in order to play the music.

Play this measure now, and as you play, use Practice Utility 4. Play and Sing the Beat Numbers.

At the beginning of each beat, where the numbered downbeat occurs, use a slightly stronger attack on the string to emphasize the metric pulses of strong and weak beats in the sixteenth note sets.

Now let's continue with E Second Fret and play through the display measure.

We'll start at the top of the display and play the quarter notes on the first pass.

Then we'll play the sixteenth notes in the center on the second pass.

Then we'll play the eighth notes on the final pass.

Even though the note durations are different, the tempo of the music will remain constant throughout the exercise.

Play though this exercise as many times as you need to get a feel for how the different note durational values fit within the meter.

####  Sixteenth Note Practice

Now that you've been introduced to sixteenth notes, let's try some practice measures with more melodic movement.

We'll start with a measure where all of the beats are subdivided into sixteenth notes.

The measure begins with the note E Second Fret on beat number 1.  
On beat number 2, the pitch changes to F Third Fret.   
On beat number 3, the pitch returns to E Second Fret.   
And on beat number 4, the pitch moves upward to G Open.

As you play this measure, try including slight accents on the downbeats as you alternate your picking direction.

Since a sixteenth note group divides a beat into four pieces, which is an even number, every downbeat in the measure will play out with a down stroke of the pick.

You may find it helpful to sing the count as you play through the pitches.

In the next practice measure, many of the sixteenth note groups have been replaced with quarter notes, but the pitch changes still occur on the downbeats of the meter.

As you play this measure, maintain a sixteenth note count; even on the quarter notes, which will ring through your counting.

####  Tie

The next practice measure includes a tie, which causes the note E Second Fret on beat number 1 to ring into the downbeat of beat number 2.

The pitch change to F Third Fret occurs just after the downbeat.

Practicing this measure slowly and counting out loud while you play will help you execute the tied note correctly as it lingers into the sixteenth note group.

####  Elegant Dance

This music begins with an anacrusis on beat number 4.

In a majority of the music, the eighth note is the smallest note duration, so your counting will start on beat number 4 and follow an eighth note rhythm: 4 & 1 & 2 & 3 &.

Even though the count starts on beat number 4, the strongest beat in the meter falls on beat number 1.

In the music notation, numbers are included for special finger placements.

####  Fermata

On beat number 1 of the fourth complete measure, there is a new symbol written over the note A Second Fret.

This symbol is called a Fermata.

A fermata is a form of pause.

If a fermata is written over a note, the note is sustained for a longer time than its original written duration.

If a fermata is written over a rest, the rest is held for a longer time than its original written duration.

How long the fermata is held is up to the individual performer.

In this song, we will hold the fermata for the value of three beats before playback resumes on beat number two of the meter.

Let's play through the section of the music where the fermata is written.

Because of the anacrusis, we'll start on beat number 4 of the third complete measure with the note B Open, and end on beat number 3 of the fourth complete measure on the note G Open.

With the fermata present, the count will be special.

Because of the pause in the meter, you should sing the count: 4 & ( 1 & 2 & 3 & ) 2 & 3 & ...

####  Sixteenth Note Group

Measure 7 has a sixteenth note group on beat number 2 and includes a tied note.

Let's start on beat number 4 of measure 6 with the note G Open and play through beat number 3 of measure 7 to the note C First Fret.

Up to this point in the music, you'll be visualizing a consistent eighth note rhythm, but as soon as you hit beat number 4 of measure six, you will have to switch your thinking to a sixteenth note rhythm,

counting: 4 e & a | 1 e & a | 2 e & a | 3 e & a

####  Simultaneous Parts

The final cadence of the music includes simultaneous parts and uses split notation.

Starting on beat number 4 of measure 7 with the note B Open, the music moves to the note C First Fret on beat number 1 of measure 8.

The note C First Fret is still ringing on beat number two when you play the note G Open.

The note G Open is still ringing on beat number 3 when you play the note C First Fret again.

The two notes ring together to the end of the piece.

Now that you've worked through the details, let's play the entire song.

If the sixteenth note group in measure 7 seems a little fast, use Practice Utility 5. Isolate a difficult spot.

Once you have the section well worked out, play the music again at the original tempo.

####  Barefoot in the Grass

This music is written in 3/4 meter and begins with an anacrusis on beat number 3.

An eighth note is the smallest note duration, so the meter is counted: 3 & 1 & 2 &.

Just to the right of the treble clef is the key signature, which consists of a single flat placed on the middle line of the staff.

The key signature indicates that any note B on the staff should be played B Flat.

In this music, there are two places where the note B Flat appears.

The first is on beat 1 of measure 4, and the second is on beat 1 of measure 12.

The tempo of the piece is written as Andante, which is an easy walking pace.

Use your practice utilities to work on this song before playing with the recorded music.

Practice Utility 1: Say the name and address of each note out loud.   
Practice Utility 2: For your first warm-up play, concentrate on your technique.   
Practice Utility 3: Play and sing the pitch letter names.   
Practice Utility 4: Play and sing the beat numbers.   
Practice Utility 5: Isolate a difficult spot.   
Practice Utility 6: Think ahead of the music.

##  Lesson 3: D Open - Major Keys - Major Scale - Half Steps & Whole Steps

We'll move down by step and finish string number 4 by adding the note D Open.

The pitch D is written just below the first staff line.

Let's get warmed up with the note D Open by playing the first two measures of this small piece of music.

Try to sight read this example, keeping up with the recorded music on your first try.

The next two measures include the notes E Second Fret and F Third Fret.

Try to sight read these measures.

Are you becoming familiar with the dotted quarter note, eighth note combination?

The final two measures of this music include the note G Open on string number 3.

Although the pitches are different, the rhythm is identical to the previous two measures.

Try sight reading these measures, keeping up with the recorded music on your first try.

Did you handle the move to an adjacent string smoothly, without having a pause or break in your playing?

Now let's start from the beginning and play through the entire six measures.

As you sight read the piece, it may help if you count eighth notes out loud with the meter.

####  Major Keys

Earlier in this chapter, you were introduced to key signatures.

The presence of a key signature usually indicates that a song or passage of music is written in a key, and mostly uses the musical material and tonal relationships of either a major scale or a minor scale.

####  Major Scale

In this lesson, we'll look at the major scale and examine some of its properties.

These note heads are written out on the staff by step and range from the note F Third Fret on string number 4 to the note F First Fret on string number 1.

The key signature at the head of the staff indicates that all of the notes B in the music should be played as B Flat.

The dark notes heads in scale degrees 1 and 8 mark out the tonal center of the key, which is the point of greatest stability.

In the F Major Scale, which represents the key of F Major, the pitch F is the tonal center and the point of greatest stability.

To hear the importance of the note F in this set of tones, let's play through the scale.

We'll play each of the notes twice and sing the pitch names as the notes change.

Playing each note in the scale two times allows for two syllables when singing pitch names.

For notes affected by accidentals, like B Flat, you can sing each syllable of the pitch name with the rhythm of the notes.

When you played this scale, did you hear stability as you reached the pitch F?

In this arrangement of tones, F is the key note of the scale.

It's referred to as the tonic note, which is the tonal center in the key of F Major.

####  Half Steps & Whole Steps

An important part of why we hear a tonal center has to do with the distance between successive pitches in the scale.

####  Half Steps

In the F Major Scale, the third scale degree is the note A.

The fourth scale degree is the note B Flat, which is one step higher than the note A.

But not all steps are the same distance apart on the fretboard.

In our scale, the note A is on fret number 2, and the note B Flat is on fret number 3.

The two successive pitches are one fret apart; this difference in pitch is called a Half Step.

The F Major Scale contains another half step between the notes E and F.

####  Whole Steps

In the F Major Scale, the fifth scale degree is the note C, and the sixth scale degree is the note D, which is one step higher than the note C.

On the fretboard, the note C is on fret number 1, and the note D is on fret number 3.

Between these notes lies fret number 2, which is passed over when you play the notes C and D.

The two successive pitches are two frets apart; this difference in pitch is called a Whole Step.

The F Major scale contains a number of whole step relationships.

The letters written above the staff and between successive pitches show the order of half steps and whole steps in the F Major Scale.

This pattern of distance relationships is an important part of why we hear the note F as the tonal center or key note of the F Major Scale.

####  G Major Scale

The note heads in this scale are arranged from the note G Open on string number 3 to G Third Fret on string number 1.

The key signature at the head of the staff uses a sharp symbol and indicates that all of the notes F in the music should be played as F Sharp.

Let's play through this scale and sing the pitch names as we move through the music.

As before, we'll play each note twice.

Did this scale sound familiar?

In this scale, the note G represents the point of greatest stability.

If you look at the order of half steps and whole steps in the G Major Scale, you'll find they are identical to the stepwise relationships in the F Major Scale.

However, in order to keep the pattern the same, slightly different pitches are required.

In the key of F Major, a B Flat is included among the natural notes in the scale.

In the key of G Major, an F Sharp is included among the natural notes in the scale.

Let's play through each scale in turn and listen for the similarities in the pattern of notes.

First let's play the F Major Scale, where the tonic is the note F.

Now let's play the G Major Scale, where the tonic is the note G.

Even though a different note functions as the tonic in each scale, the pattern of half steps and whole steps is the same because of the presence of the key signature.

####  C Major Scale

The C Major Scale uses only natural notes, so music written in the key of C Major will have no key signature at the head of the staff.

Let's write out the C Major Scale in a different way.

We'll place the tonic note, the tonal center, in the center of the scale and place the other notes around the tonic, ascending and descending.

This arrangement seems to better represent the idea of a tonal center.

Now we will play this scale, starting at the tonic note C First Fret and ascending to the note G Third Fret.

Then we will descend to the note F Third Fret and finish by ascending back to the tonic note C First Fret.

Play each note twice.

Did you notice that even though the notes were arranged differently, the tonic note still functioned in the same way, with the note C sounding as the point of greatest stability?

####  Functional Names for Scale Degrees

Like the tonic, the other notes in a major scale have special names.

The names represent how the note functions in the key and how the note relates to the tonic.

At this time, you are not required to memorize all of these names, but there is one name you should know well.

When you are working with a piece of music, take a moment to locate and listen for the tonic note.

Since the tonic is the point of greatest stability in the key, then it is also the point of greatest stability in the song.

So as you practice a song, try to identify the tonic.

##  Lesson 4: Practice Utilities - Identify the Melodic Structure

####  Melodic Structure

Music is a language, and like other languages you may know, it has a written form, and it has an aural form, which means that it can be heard and understood even without seeing the writing.

We are going to look at a special part of the language of music called melody.

####  Melody

In music, a melody is described as being monophonic.

The word monophonic has two parts; the prefix 'mono' means 'one', and the word 'phonic' means 'sound'.

So a melody forms by playing one sound at a time, a succession of tones.

Can you imagine all of the instruments that can produce one sound at a time?

A trumpet, a flute, a violin, a guitar, the human voice, and many more.

Even animals, like birds or whales, can sing a melody.

####  The English Language & Melody in Music

Because the form of a melody unfolds over time, it's similar to our spoken language.

So to better understand how a melody works, we'll compare it to structures you might find in the English language.

Right now, you are probably more familiar with the English language than the language of music.

So let's start our comparison by filling in the structures we find in the written word.

If you open a book to the page where chapter 1 begins and look at the writing on the page, what structures do you see in the writing?

Some structures may come to mind instantly, but let's start with the smallest and work down to the larger structures.

####  Letter

The smallest element in the written English language is a letter.

This tiny structure is written as a single character and typically represents one sound.

All of the letters in the English alphabet use a different character, and all of them make a different sound.

Let's move over to the music side of our comparison tree.

Can you imagine what tiny structure in music is like a letter in English?

####  Note

A note is very similar to a letter.

Each note on the staff represents a different sound by a change in pitch.

Music borrows letter names from our spoken language to describe a difference in pitch and to name the notes.

Just as a letter represents one sound in English, a note represents one sound in Music.

####  Word

In the English language, there are small groups of letters separated by spaces.

A small group of letters is a collection of sounds forming a word.

A word is the smallest pattern that forms definite pictures in your mind.

Whether you're reading a name, a place, an object, or a concept, a word communicates a great deal of information to the listener.

This may have you wondering if there are small groups of notes that form musical pictures in your mind, like a word in English.

####  Motive

In music, a small group of notes is a collection of sounds forming a motive.

A motive is often a repeated pattern in the music that is introduced early in the piece and appears throughout, only shifted or manipulated as the pattern continues to unfold.

Listen to this motive, and if you recognize it, continue by singing the next part.

Did you recognize the motive?

It's the first four notes of Beethoven's Symphony Number 5.

The next four notes hold the same pattern but are shifted downward on the staff.

Then the motive continues to shift around, appearing in different registers.

Motives are often more repetitive than words in English, which have varying lengths and a changing number of syllables.

A motive may be thought of as a repeated pattern that motivates or drives the music.

A motive may also be imagined as a musical heartbeat.

In Blues, Rock, and Jazz music, a motive is often referred to as a Riff.

####  Phrase

In the English language, small groups of words are often written together to extend the mental picture beyond a single word.

'over the top'

'through the woods'

'the hopeful student'

The words in this small group, called a phrase, usually fall short of forming a complete thought, but work together to form a thought fragment.

####  Phrase Member

In music, small groups of motives are often written together to form a phrase member.

The phrase member is a musical thought fragment.

Let's look at a song and try to identify the phrase members.

####  Red River Valley

You were introduced to this song in an earlier lesson.

First can you locate the motive?

To find the motive, look for a small, repeated pattern in the music.

The rhythm of this pattern is shown by the first three notes.

After hearing this pattern, the other occurrences may be easier to see in the music.

Now can you locate the phrase members?

####  Antecedent & Consequent

Phrase members in music often sound like a spoken conversation between two people.

Person 'A' may ask a question or make a statement.

And person 'B' may answer the question or remark on the statement.

The initial question or statement is called the antecedent, and the response is called the consequent.

This type of question and answer behavior is prevalent throughout music and may help you identify phrase members in your practice.

####  Adding Up Beat Counts

Let's play the next pair of phrase members:

First phrase member 'A',

Then phrase member B.

Did you notice that each phrase member has the same number of beats?

Phrase member 'A' sounds out through eight beats, and phrase member 'B' sounds out through eight beats.

Successive phrase members will often have an equal number of additive beats, which may help you to identify them.

####  Sentence

A sentence is a group of words forming a complete thought.

In the written word, sentences are easy to find; they begin with a capital letter and end with a period.

Within a sentence is all of the information needed to form a complete mental picture:

'The tired cat curled up on the couch and fell asleep.'

####  Phrase

A complete musical thought is called a phrase.

A phrase is often composed of two phrase members, where the question and answer parts together form a complete musical sentence.

Can you locate the first phrase in the song 'Red River Valley'?

It begins on beat number 3 at the initial incomplete measure and ends on beat number 2 on the half rest in measure number 4.

The entire song contains four phrases, which means that it's composed of four complete musical sentences.

####  Practice Utility 7

When you practice music, it's important to work with pieces that make musical sense.

Because of the anacrusis in the song 'Red River Valley', you've learned that melodic parts do not always fit neatly between the barlines and into the boxes we call measures.

So when you practice a song, use Practice Utility 7 and Identify the Melodic Structure.

If you can find the significant parts of a melody: a note, a motive, a phrase member, and a phrase, then your interpretation of the music will be more accurate, and your performance will be closer to the composer's intentions.

Identifying the melodic structure will also help you with Practice Utility 6. Think Ahead of the Music.

Instead of reading one note at a time, moving your sight from note to note, try reading one motive at a time, moving your sight from one motive to the next.

####  Practice Utilities

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

##  Lesson 5: Ward 'America the Beautiful' - C Sharp

'America the Beautiful' begins with an anacrusis on beat number 4 and eighth notes are included in the rhythm, so our count with the meter is: 4 & 1 & 2 & 3 &

If we include the natural metric pulses of strong and weak beats in 4/4 time, the count may be represented by:

A motive is established within this metric pattern.

The first phrase member includes two motives and sounds out the antecedent.

The second phrase member sounds out the consequent and completes the first phrase.

Can you hear the question, answer relationship in the two phrase members?

####  Phrases

The song is composed of four phrases.

Each phrase begins with a quarter note on beat number 4 and ends with a dotted half note ringing through beat number 3.

####  C Sharp

Beat number 1 of measure 7 is showing the note C Sharp.

To play a C Sharp, place the second finger of your fretboard hand just behind fret number 2.

Since an accidental like the sharp symbol only affects the notes within a single measure, all other notes C in the music are played natural.

####  Key Signature

This song is written in the key of C Major.

In its pure form, the key of C Major uses only natural notes, so there is no key signature present at the head of the staff.

The tonic note is C, which we will play on the first fret of string number 2.

To acquire a sense of the song's tonal center, let's warm up by playing the C Major Scale you looked at earlier.

In this version of the C Major Scale, the tonic note C is positioned in the center, and the other notes of the key are positioned ascending and descending.

Does the note C sound like the point of greatest stability in the scale?

####  Practice Utilities

Use your practice utilities to work on this song.

Give some thought to Practice Utility 7, and Identify the Melodic Structure.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

##  Lesson 6: Traditional 'Angels We Have Heard on High' - Dynamics

This traditional, spiritual song is often heard around the holidays.

####  Key Signature

At the head of the staff, a sharp symbol is placed on the line where the note F is written.

Any notes F in the music should be played as F Sharp.

For this song, the presence of a single sharp in the key signature also indicates that the song is written in the key of G Major.

To get a sense of the key, let's play through the G Major Scale.

Does the note G sound like the point of greatest stability in the scale?

####  Last, Lowest Note

Often, the tonal center of the key can be determined by the last, lowest note of the composition.

In 'Angels We Have Heard on High', the last and only note in the final measure is the note G Open on string number 3.

In this case, the tonic note G, which sounds as the point of greatest stability in the song, is also conveying a sense of finality as the piece comes to an end.

####  Dynamics

This music has well defined verse and chorus sections.

The double repeat sign at the end of measure 4 separates the two parts.

The sections are further marked by a change in dynamic level.

The verse section begins the song with the dynamic marking 'mf', which stands for mezzo forte, or medium loud.

The chorus section is dynamically louder and displays the marking 'f', which stands for forte, or loud.

On the guitar, you can determine a dynamic by playing through a single phrase member at each dynamic level.

As you play the phrase member, try to remember the relative strength of attack on the string that produces each dynamic.

At the softest dynamic, you should just barely hear the notes in a quiet room.

At the loudest dynamic, you should hear the notes without over playing the string and producing unwanted effects, like string buzzing or a warped pitch.

Try playing the first phrase member at each dynamic level.

As you play, try to remember the relative attack on the string that produces each dynamic.

When you have a good feel for the different dynamic markings as they sound on your instrument, you'll be able to better interpret the dynamic markings in the song.

####  Practice Utilities

Use your practice utilities to work on the music.

As you work on the melodic pieces, focus on the different level of dynamic between the verse phrases and the chorus phrases.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

##  Lesson 7: Traditional 'Greensleeves' - F Sharp - G Sharp

'Greensleeves' is written in 3/4 meter and begins with an anacrusis on beat number 3.

There are eighth notes in the music, so the count will be: 3 & 1 & 2 &

The natural position of strong and weak beats within the meter calls for a strong pulse on beat number 1.

So the count may be written to reflect the strength of the metric pulses:

The motive is outlined within one metric count; it includes the first two notes.

####  Rhythmic Variation

The next instance of the motive shows how motives may transform in the course of a composition.

Like the first motive, it begins with a quarter note on beat number 3.

But the expected half note on beat number 1 has been transformed into a dotted quarter note, eighth note combination.

You've seen an example of rhythmic variation like this in an earlier lesson.

####  Accidentals

Measure 10 contains some new notes with accidentals.

####  G Sharp

Beat number 1 is showing the note G Sharp First Fret.

To play G Sharp, find string number 3 and place the first finger of your fretboard hand just behind fret number 1.

####  F Sharp

The note following on beat number 2 is F Sharp Fourth Fret.

To play F Sharp, find string number 4 and place the fourth finger of your fretboard hand just behind fret number 4.

Let's play the motive containing these sharped notes.

This motive starts with the note A Second Fret on beat 3 of measure 9, and ends with the note F Sharp Fourth Fret on beat 2 of measure 10.

There is an identical motive over measures 21 & 22.

####  Practice Utilities

Use your practice utilities to work on 'Greensleeves'.

As you play, think about how the motive is changing as the music progresses.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

##  Lesson 8: Mozart 'The Marriage of Figaro' - A Sharp - Enharmonic Equivalents

This beautiful melody from Mozart's opera is written in 4/4 meter and begins with an anacrusis on beat number 4.

There are sixteenth notes present in the music, but since the sixteenth notes appear only in the last phrase member, we'll imagine an eighth note count until we reach beat number 4 of measure 8.

The regular count will be:

On the last phrase member, we'll switch to a sixteenth note count to prepare for the sixteenth note group on beat number 2 of measure 9.

On the last phrase member, the count will be: 4 e & a | 1 e & a | 2 e & a | 3 e & a

####  Key Signature

This melody is written in the key of G Major, and according to the key signature, any notes F in the music should be played as F Sharp.

There is one instance of the note F Sharp Fourth Fret on beat number 2 of measure 2.

####  Fermata

In measure 4, there are three fermatas written above beat numbers 1, 2, & 3.

A note held by a fermata is subject to the performer's interpretation and may vary slightly from one player to the next.

For these notes, we will consider playing them for approximately double there original durational value.

We'll hold each of the two quarter notes and the one quarter rest for approximately two beats.

####  A Sharp

The first note held by the fermata marking is the note A Sharp Third Fret.

To play A Sharp, find string number 3 and place the third finger of your fretboard hand just behind fret number 3.

####  Enharmonic Equivalents

You have played a note in this place before, only it had a different name.

Do you remember the pitch name?

It was the note B Flat Third Fret; a note that may show up often in the key of F Major.

Because these two different pitches are found in the same place on the guitar fretboard, they are referred to as enharmonic equivalent notes.

There are many examples of enharmonic equivalence.

If a sharp raises a pitch one half step, and a flat lowers a pitch one half step, then you can imagine all of the places where enharmonic equivalent notes occur.

####  Sixteenth Notes

The last phrase member is counted out in sixteenth note values.

Play this phrase member now and count out the meter as you play.

Keep in mind that sixteenth notes subdivide each beat into four pieces.

The tied note causes a delay as the next change in pitch occurs just after the second downbeat in measure 9.

The sound of this notation generates a kind of springboard effect, like a diving board.

The note C First Fret on beat number 1 of measure 9 may be visualized as a springboard being depressed.

The tied note C First Fret on beat number 2 may be visualized as a springboard at its elastic limit in the lowest position.

The sixteenth notes that follow may be visualized as a springboard popping upward, sending its occupant flying into the air.

As gravity quickly takes over, the diver splashes down into the water, which slows down his movements.

Did you imagine a diver springing off the board as you played the special tied rhythm?

####  Practice Utilities

This melody by Mozart is very articulate and a perfect example of the power of melody in music.

You may want to work with your practice utilities until you have this music memorized.

After working through the technical details, you can direct more of your concentration on how you are playing the music -- on your delivery.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

##  Chapter 8 - String Number 5 with notes C, B, & A

##  Lesson 1: C Third Fret - Key of C Major - C Major Scale - 2/4 Meter

On strings 5 and 6, you'll be playing a group of common notes in the lower pitch range.

####  Ledger Lines

For each of these notes, the staff is extended with ledger lines.

Let's look at the first note in this lower pitched group.

Find string number 5 and place the third finger of your fretboard hand just behind fret number 3.

You are holding the note C Third Fret.

The pitch C is written on the first ledger line below the staff.

####  Key of C Major

Since C is the tonic note in the key of C Major, we'll recall the scale showing the note relationships in the key.

Play through this scale, starting at the tonal center and moving upward to the dominant tone G Third Fret.

Then descend through the scale, past the tonic, to the lower subdominant tone F Third Fret.

And finish by ascending to the tonic note.

We'll play each note twice.

####  C Major Scale

Now let's play in the key of C Major using the C Major Scale.

In this form, the tonic note is found at both the bottom and top of the scale.

The whole step and half step relationships are shown above the staff by the placement of a 'W' or an 'H' between the notes.

The numbers below the staff represent the scale degrees; the scale degrees 1 and 8 both represent the tonic note of the key.

You'll be starting and ending this scale with the new note, C Third Fret on string number 5.

Again, we'll play each note twice.

When you are practicing a piece of music written in a major key, it's a good idea to warm up by playing these two scale forms.

####  2/4 Meter

Before we look at a song written in the key of C Major, let's examine the distribution of beats in 2/4 meter.

2/4 meter is a simple duple meter with a strong pulse on beat number 1 and a weak pulse on beat number 2.

Each of the two beats may be divided into eighth note groupings, as the lower line shows.

Hold the note C Third Fret on string number 5 as you play this measure.

We'll play the quarter notes in the top line on the first pass, then we'll play the eighth notes in the lower line on the second pass.

A practice measure, like this one in 2/4 meter, is a good place to check your picking direction.

Did you play the downbeats with a down stroke of the pick and the upbeats with an up stroke of the pick?

####  Song 'Lazy Days'

'Lazy Days' is written in the key of C Major and uses 2/4 meter.

The first measure has the appearance of an anacrusis, but there is a rest on beat number 1, so the first measure is complete.

####  Rhythms

In measure three, the note E Second Fret is played on beat number 1.

The note D Open is played on the '&' of beat 1, and the note C Third Fret is played on the '&' of beat 2.

Try this measure now and count the beats out loud as you play.

Measure 5 is similar, only the note D Open on the '&' of beat 1 is held to the end of the measure by the dotted quarter note.

Play this measure and count the beats out loud as you play.

In this song, there is a good deal of repetition, and you can see all of the places where these rhythms appear.

The recurring patterns may help you sight read the music faster.

As you practice this song, think about the tonic note, C Third Fret.

It should be the point of greatest stability in the music.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

##  Lesson 2: B Second Fret - Traditional 'When the Saints Go Marching In' - Modulation

On string number 5, place the second finger of your fretboard hand just behind fret number 2.

You are holding the note B Second Fret.

On the staff, the note B is written below the first ledger line.

The note B Second Fret and the note C Third Fret are one half step apart.

On the guitar, a half step sounds when you play notes with different letter names that are one fret apart.

####  Song 'Laboring in the Field'

This music begins with the half step relationship between the notes B and C.

There is a single sharp in the key signature, so all of the notes F you encounter in the music should be played as F Sharp.

There are a number of places where the note F Sharp Fourth Fret appears.

Play this song by sight reading the music on the first pass.

Although the notation in this song is simple, there are still some challenges for a sight reader.

The new notes, C Third Fret and B Second Fret, are less familiar to you.

The note F Sharp Fourth Fret is common in the piece, but you have to remember to play this note on the fourth fret.

In measure 9, the distance between the pitches is wide and may have caused you to stall on the first pass.

If any part of the music was difficult and caused a pause in your sight reading, use your practice utilities to work on the song until you can play with the recorded music without pausing.

####  Practice Utilities

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

####  Modulation

During the course of a composition, the tonal center may change.

A change of key center is called a modulation.

In this version of 'When the Saints Go Marching In', the original key is F Major.

The key signature at the beginning of the song is showing a B Flat, and the tonic note is F.

The first section begins and ends on the tonic note, F Third Fret.

Just after measure 15, there is natural sign, which is placed on the middle line of the staff where the note B is written.

The natural is used here to cancel out the key signature.

Section 2 begins in the key of C Major.

Now there is no key signature at the head of the staff, and the tonic note is C.

Section 2 begins and ends on the new tonic note, C Third Fret.

There are different ways in which a modulation may occur in a composition.

Since the modulation in this song begins at the start of a new phrase, it's called a Phrase Modulation.

The two sections have the same form and only differ by the change in key.

####  Practice Utilities

Use your practice utilities to work on this traditional American tune.

As you practice, listen for the change in tonal center as the music modulates to a new key.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

##  Lesson 3: A Open - Traditional 'Scarborough Fair' - Skips - Circle of Skips

Let's descend one more step on string number 5 and play the note A Open.

The note A is written on the second ledger line below the staff.

With the addition of the note A Open, you can now play two complete musical alphabets.

####  Musical Alphabet in Steps

In the first phrase of this exercise, you will start at the note A Open on string number 5 and ascend stepwise until you reach the note G Open on string number 3.

The top line shows the musical alphabet in the lower range.

In the second phrase, you will continue moving upward by step, starting at A Second Fret on string number 3, and you will ascend until you reach the note G Third Fret on string number 1.

The second line shows the musical alphabet in the higher range.

In the third and fourth phrases, you will descend by step until reaching the note A Open in the final measure.

####  Sight Reading

Try to sight read this music on the first pass.

Keep in mind that the notes in this exercise play out completely in stepwise order.

If you had difficulty keeping up with the recorded music, go back through the exercise and use your practice utilities to work out the tough spots.

####  Scarborough Fair

Now we'll put the note A Open to work in a song.

This traditional English melody plays out in the lower range.

The highest note is D Third Fret on string number 2, and the lowest note is A Open on string number 5.

The music is written in 3/4 meter.

The first phrase begins on beat number 1 with the note D Open, and it ends on beat number 1 of measure 5 with the tied note D Open.

The second phrase has the appearance of an anacrusis.

It begins on beat number 2 of measure 5 with the note A Second Fret, and it ends on beat number 2 of measure 9 with the tied note A Second Fret.

The third phrase also has the appearance of an anacrusis.

It begins on beat number 3 of measure 9 with the note D Third Fret, and it ends on beat number 3 of measure 14 with the tied note C Third Fret.

The fourth phrase has a form similar to the first phrase.

It begins on beat number 1 of measure 15 with the note D Open, and it ends on beat number 3 of measure 19 with the tied note D Open.

Because the second and third phrases have the appearance of an anacrusis, you will have to watch the timing closely.

Counting out loud will help you play into the phrases on the correct beats.

As you work on this song, use your practice utilities.

Special attention to practice utilities 4 and 7 will help you with the phrasing in Scarborough Fair.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.

Now that we have covered two complete alphabets, you are ready to learn a new musical pattern.

####  Skips

Let's write the pitch letter names on the page according to their range.

At the bottom of the list is the note A Open on string number 5.

And at the top of the list is the note F First Fret on string number 1.

We give this pattern a name according to how far apart a given pitch is from the surrounding pitches.

After the note A Open, the next higher pitch on the list is C Third Fret.

To play from the note A, to the note C, we have to skip over the note B Second Fret.

If we continue upward from C Third Fret, each successive note is played by skipping over a pitch letter name.

####  Memorizing Skips

Just like the pattern of steps, memorizing your skips is an important part of your daily practice.

You should be able to recite your musical alphabet in skips in both an upward and a downward direction.

Without looking at the letters on the page, see how fast you can recite them without pausing.

Did you leave out any letters?

Did you put all of the letters in the correct order?

####  Playing Skips

On the staff, skips have a certain look that you can recognize.

When you play the distance of one skip, the notes move from a line to a line or from a space to a space.

If we look at the complete musical alphabet in skips, you can see that the notes change in this continual pattern: line, line, line ...

Let's play through this pattern of skips, and as you play, sing the letter name of the pitch.

Try your best to match your singing voice to the pitch you are playing on the guitar, instead of just speaking the pitch letter name.

Make this exercise part of your daily practice.

As you gain experience, you will build a tonal memory of these note relationships, and before long, you may be able to sing your musical alphabet in skips, even without your guitar.

####  Circle of Skips

The order of skips repeats as we add successive pitches to the list.

So let's write out the letters in a way that shows their skipwise relationship.

On this circle, if we start at the note A and move around in a clockwise direction, each note in succession is one skip higher in pitch.

After reaching the note F, the next higher pitch is A, and if we continue to move in a clockwise direction, the pitch continues to rise in a skipwise manner.

If we stop and begin to move in a counter-clockwise direction, each note in succession is one skip lower in pitch.

After reaching the note A, the next lower pitch is F, and if we continue to move in a counter-clockwise direction, the pitch continues to lower in a skipwise manner.

The Circle of Skips shows that in music the notes A and F are one skip apart.

Playing the notes A Second Fret and F Third Fret on your guitar sounds out this relationship.

Another place to see this relationship is on the staff.

The note A Second Fret, which is written in the second space on the staff, and the note F Third Fret, which is written in the first space on the staff, shows a space-to-space relationship, indicating a pitch difference of one skip.

Consecutive skips will show on the staff as either a series of notes falling in the spaces, or as a series of notes falling on the lines.

##  Lesson 4: Practice Utilities - Use Repetition - 3/8 Meter - Ritardando - A Tempo

####  Repetition

One of the most powerful devices for learning something new is in the use of repetition.

Human beings improve their skills through experience and by repeating actions.

Each time a person repeats an action, they have an opportunity to improve the results, and through the process of trying, they learn.

Let's look at some ways to use repetition in your practice.

This song is written in 4/4 meter and begins on beat number 1.

The top line, which is an introduction, shows a series of eighth notes in steps.

If you were performing the piece, you would play the music as written.

But in practice, you can manipulate the music in different ways to improve your skill.

####  Repetition on the Note

When you are unfamiliar with a piece of music, you may find that the performance tempo is too fast for practice.

One way to slow down the pace is to use repetition on each note.

Let's play the introduction at the performance tempo, but instead of playing the music as written, we'll pick each note four times.

As you become familiar with the music, decrease the number of repetitions.

Let's play the introduction again, only this time, we'll pick each note two times.

Practicing in this way gives you time to look ahead in the music and prepare for the next note.

And it's great if you need practice alternating your picking direction.

####  Repetition on the Motive

Let's try this device on a group of notes and use repetition on each motive.

The first motive begins on beat number 1 with the note F Third Fret and ends on the '&' of beat 2 with the note G Open.

We don't need to play this little group at performance tempo yet, so we will slow down the tempo for this exercise.

Let's play this motive four times.

Be sure and maintain your alternate picking, even though you are playing each of the notes only once.

After you have practiced each motive in turn, you could chain them together and play the entire introduction.

As you become familiar with the note patterns, you could reduce the number of repetitions.

Let's play the complete introduction again, only on this pass, play each motive twice.

When you're comfortable with the practice tempo, start working up to the performance tempo.

Here is the complete introduction again, playing each motive twice, only at the performance tempo.

####  Repetition on the Phrase Member and the Phrase

Beyond the motive, you may find it helpful to use repetition on the phrase member or the phrase.

The phrase members are marked in this view.

Two phrase members complete one phrase in this music.

As you practice the entire exercise, experiment with the new Practice Utility 8, and Use Repetition.

####  Meter

Up to this point, all of the meters you have seen in the music have had something in common.

2/4, 3/4, and 4/4 meter all have the number 4 written in the lower entry.

The lower number in a meter indicates the note durational value that will be counted as one beat.

If the lower number is a 4, then a quarter note rings for one beat in the music.

You can use a simple math trick to figure out the durational value.

If we turn the meter into a fraction and write the number 1 as the top entry, the fraction will represent the note durational value that receives one beat.

Any meter where the number 4 is written in the lower entry would make the fraction 1/4.

Since 1/4 represents one quarter, then a quarter note is counted as one beat.

Now let's try a meter where the lower number is different.

####  3/8 Meter

In 3/8 meter, the top number indicates that there are three beats in a measure.

But which note durational value is counted as one beat?

If we put the number 1 over the number 8, we get the fraction 1/8.

1/8 represents one eighth, so an eighth note is counted as one beat.

In this measure, the note durations are lined up with the count numbers.

The distribution looks similar to a meter you have already learned.

3/8 meter is counted the same as 3/4 meter, only in 3/8 meter, an eighth note is counted as one beat.

A sixteenth note rings for half of a beat.

The sixteenth note groups in this measure look like typical eighth note groups in 3/4 meter, showing that each beat has been divided into two pieces.

Let's play this measure.

Using the note A Open on string number 5, we'll play the eighth notes in the top line on the first pass, then we'll play the sixteenth notes in the bottom line on the second pass.

Count the beats out loud as you play.

Metric pulses in 3/8 meter are identical to 3/4 meter.

Beat number 1 is still the strongest pulse.

####  Up and Around the Oak Tree

This song is written in 3/8 meter and begins with an anacrusis on beat number 3.

The sixteenth notes in the opening phrase member are counted just like eighth notes in 3/4 meter.

So this music will count: 3 & 1 & 2 &

Play the first three groups of sixteenth notes to get a feel for counting in 3/8 meter.

Count out loud as you play.

If 3/8 meter and 3/4 meter count out in the same way, then why might a composer choose 3/8 meter to write this music?

3/8 meter uses smaller note types more frequently.

For a performer, seeing the smaller note types may help stimulate a feeling of quickness.

Since this song is to be played 'Lively', the 3/8 meter seems appropriate.

####  Octaves

In measure 5, starting on the '&' of beat number 2, there is a series of notes connected with slurs.

All of these notes have the same pitch letter name, yet they are widely separated by pitch range.

Each slur connects the notes G Open and G Third Fret.

Because the notes G Open and G Third Fret are eight steps apart, the distance between the notes is referred to as an Octave.

####  Playing the Octaves

Place your fourth finger on G Third Fret and play the octaves starting in measure 5.

Start the first note, G Open, with a down stroke, and follow with an up stroke on the note G Third Fret.

Let the notes ring freely; each note may overlap and continue to ring while the next note is played.

We'll play slowly for this practice.

####  Picking Outside the String Group

Playing wider pitch distances requires getting a feel for moving the pick over strings.

In this example, the note G Open is played by picking string number 3 with a down stroke.

As you strike G Open, let the pick move downward over string number 2 and string number 1 without hitting them.

Now the pick is in position to play G Third Fret on string number 1 with an up stroke.

As you strike G Third Fret, let the pick move upward over string number 2 and string number 3 without hitting them.

Now the pick is in position to play G Open a second time and the pattern continues.

We'll call this pattern: Picking Outside the String Group.

It may be easier to execute this pattern if you can visualize the three strings involved as one large and very thick string.

If strings 3, 2, and 1 were collected into one big string, then alternating your picking direction would be simple.

You would still pick the big string with a down stroke, then follow with an up stroke.

The pick would end up in the same starting position on each side of the larger string, as it did when the strings were divided into three units.

So no matter how many strings are involved in the pattern, picking outside the string group is similar to picking one large string.

####  Picking Inside the String Group

Let's use the same example and try the opposite pattern.

This time we'll start by picking the note G Open with an up stroke, then follow by picking the note G Third Fret with a down stroke.

In this case, you'll have to hop over string number 2 without hitting it.

We'll call this pattern: Picking Inside the String Group.

Each time you pick inside the string group, you are picking two strings that are separated by some distance.

Any group that includes more than two strings will have a string or strings in between, which have to be avoided.

In this example, there are three strings involved in the group, and string number 2 must be avoided.

These two patterns, picking outside or inside the string group, occur often and interchangeably as you alternate your picking direction.

At any moment, you may not notice which one is occurring.

But if you're working on a difficult spot in the music, changing the direction of the pick may help you play the passage more smoothly.

####  Ritardando

The second phrase begins on beat number 3 of measure 6; it includes a marked change in tempo.

The marking 'ritardando' means to 'hold back', gradually slowing down the tempo.

####  A Tempo

A return to the original tempo occurs on beat number 3 of measure 7, at the marking 'a tempo'.

Like most markings of articulation, these tempo markings are interpreted by the performer and may play out differently from one player to the next.

####  Practice Utilities

As you practice 'Up and Around the Oak Tree', use the eight practice utilities as needed.

You may find the new Practice Utility 8: Use Repetition helpful, especially when the music requires your attention to picking direction.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 5: Tilzer 'Take Me Out to the Ball Game' - Musical Pictures - Lyrics

####  Musical Pictures

'Take Me Out to the Ball Game' was written in 1908, and it is baseball's most famous song.

The words were written by Jack Norworth, and the song was put to music by Albert Von Tilzer.

Tilzer's music is a good example of how patterns of sound can be written to create abstract pictures in a listener's mind.

Let's play the opening phrase member and imagine what scene might be suggested by the music.

Let's consider one possible picture for this music.

The first note, C Third Fret, is marked with an accent.

We know that in 3/4 meter, beat number 1 is given the strongest pulse, but the accent mark is suggesting a stronger pulse than the usual meter provides.

This place in the music could be representing the crack of the bat as the batter hits a ball into the outfield.

The quarter notes that follow might create a picture of the ball bouncing on the grass.

In measure 3, the note G Open could represent the ball snapping into the glove of the fielder.

And in measure 4, the note D Open might represent the ball being thrown into the player's glove at second base.

Was the picture in your mind close to this outline?

####  Lyrics

Sometimes the musical pictures are more easily defined by the accompanying lyrics.

A lyric is a line of words, which are either spoken or sung on the notes of the melody.

In measure 24, starting on beat number 2 on the note A Second Fret, is the lyric: 'And it's one, two, three strikes you're out ...', and we stopped on the note G Open on beat number 1 of measure 28.

Play this phrase member and imagine a batter swinging desperately at the ball and missing.

The lyric made this musical picture clear.

As you practice this song, imagine what other scenes the melody may be suggesting.

Use your practice utilities as needed.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 6: Mozart 'A Little Night Music' - Rests - Staccato - Trill - Grace Note

Mozart's music is written with excellent detail and can look a little daunting at first, but as you work through the piece, the logic and beauty of Mozart's direction make the music a joy to play.

####  Rests

New players tend to think of rest as the opposite of playing, since a rest denotes an absence of sound.

But the careful placement of note values and rest values will form rhythmic character in the music.

In this serenade, the first phrase sounds out a musical introduction.

Look at all of the places Mozart uses rest to create rhythmic character.

Let's play the first four measures.

The careful placement of rhythmic values, whether notes or rests, make for a dynamic introduction.

And music that is hard to forget.

Rhythmic character is an important part of why this melody is easy on the memory.

####  Staccato

In measure 5, the last note, G Open falling on the '&' of beat 4, is showing a new articulation marking.

The small dot placed directly below the note is a staccato.

A staccato indicates to play the note 'short'.

In this example, the note G Open has an eighth note duration, but we'll shorten the duration by about half.

So we'll treat the note as if it were written as a sixteenth note.

If you look through the music, you can see other places where the staccato is used.

In each case, the note durational value will be shortened by about half.

####  Trill

In measure 6, beat number 1 is marked with a 'tr' symbol above the note.

The lower case 'tr' indicates a trill.

A trill is a quick wavering between the written pitch and the pitch one step higher.

On beat number 1 of measure 6, the note G Open is quickly followed by the note A Second Fret, which is hammered-on and immediately pulled-off back to the note G Open, just before playing the note F Sharp Fourth Fret, which falls on the '&' of beat 1.

It's a very quick hammer-on and pull-off between the notes A and G.

Let's try the staccato and the trill.

Play from the start of the second phrase on beat 1 of measure 5.

We'll stop on beat 2 of measure 6, on the note F Sharp Fourth Fret.

The staccato is simply a shortened note value.

The trill uses notes with very short rhythmic values, which are not actually notated.

For the trill, the entire exchange needs to occur within the duration of the eighth note on beat 1.

####  Measures 9 & 10

In this series of motives, you will be picking the staccato eighth notes, then you will be using a pull-off and hammer-on technique to play the sixteenth note groups that follow.

The first motive is played on string number 4 in second position.

The second motive is played on string number 3 also in second position.

And the third motive is played on string number 2 only in first position.

Let's practice this phrase at half tempo.

####  Grace Note

A grace note has no durational value of its own, but borrows a small amount of time from either the beat before the grace note, or the beat just after the grace note.

In measures 12 and 13, you'll see a series of notes accompanied by grace notes.

We'll play the grace notes just before the down beats and borrow a little time from the previous beats.

Start at the beginning of the phrase on beat number 1 of measure 11.

In this note series, we borrowed a little time just before the down beats, so the quarter notes could sound out on the down beats.

There are many technical challenges in this music.

Use your practice utilities to help you work through the new techniques.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 7: Beethoven 'Fur Elise' - D Sharp - Crescendo - Diminuendo

This well known piano work by Beethoven adapts well to the guitar.

The music is written in 3/8 meter and begins with an anacrusis on beat number 3.

####  D Sharp

The first note is E Open on string number 1, followed by a new note, D Sharp Fourth Fret on string number 2.

Since both of these notes can ring simultaneously, hold D Sharp with your fourth finger and let the notes ring over one another, even beyond their written values.

####  Expression Marks

Beethoven has well marked this music for expression.

He has chosen a meter of 3/8 for this music, and even though there is little difference between the meters 3/8 and 3/4, the visual affect of smaller note values may help stimulate a feeling of motion.

If not by the meter, the expression mark just above the staff makes the composer's intentions clear.

'Poco moto' means, 'with motion'.

####  Dynamic Marks

Just below the staff is the dynamic marking ' _p_ ' or 'piano', which means to play the music softly.

####  Slur

And the music is further marked by a slur, which covers nearly the entire opening phrase member.

All of the marks together tell you to play the music softly, but with motion, while connecting the notes as much as possible.

Now with that in mind, try out the first phrase member.

As you get more comfortable with the music, you will be able to put more of your focus into the music's expressive nature.

####  Special Finger Placements

In some places, special finger placements are required in order to play the note groups legato as the slur indicates.

In measure number 2 on the second half of beat number 2, the slurred group beginning with the note C Third Fret is played with the finger placement:

C Third Fret, third finger,   
E Second Fret, first finger,   
A Second Fret, second finger,   
B Open.

In this piece, you'll encounter other places that require special attention to finger placement.

For help, you may rely on the reference numbers for placement written next to the notes.

####  Dynamic Marks

Some new dynamic markings for gradual increases or decreases in loudness are present in the piece.

####  Crescendo

A crescendo indicates a gradual increase in loudness.

It is marked by either a wedged-shaped symbol, which opens to the right, or by the word mark 'crescendo'.

The word mark is sometimes abbreviated to 'cresc.'

In measure 9 on the second half of beat number 2, a crescendo begins on the note B Open.

Before the increase in loudness, the dynamic level was 'piano' or 'soft'.

The crescendo increases the dynamic level to 'mezzo forte' or 'medium loud'.

The new dynamic level is reached on beat number 1 of measure 10 on the note E Open.

####  Diminuendo

A diminuendo indicates a gradual decrease in loudness.

It is marked by either a wedged-shaped symbol, which closes to the right, or by the word mark 'diminuendo'.

The word mark is sometimes abbreviated to 'dim.'

In measure 11 on the second half of beat number 2, a diminuendo begins on the note F Third Fret.

The dynamic level decreases until reaching the note B Open on beat number 1 of measure 13, where there is a return to the original dynamic level, 'piano'.

The series of dynamic changes is the focus of this phrase.

Let's play this phrase now, starting at the sixteenth rest in measure 9.

Playing this music requires that you first learn the distribution of the notes and any special finger placements.

Then as you become familiar with the music, you can give more attention to marks of expression and dynamics.

####  Octaves

In the next phrase, a series of three octaves plays out using the pitch E in different registers.

We'll go through this section note by note.

The first octave is played using the notes E Second Fret and E Open.

You'll use a familiar finger placement between these notes:

E Second Fret, second finger,   
E Open.

Start playing this octave with a down stroke on E Second Fret.

You will be alternating your picking direction and playing outside the string group, so the note E Open will be played with an up stroke.

To play between these notes, you have to hop over strings.

Strings 2 and 3 lie between the strings involved in the octave, and they have to be avoided.

####  Second Octave

The second octave involves the same pitches, but it's played in second position.

The notes involved are E Second Fret and E Fifth Fret.

Here you will use a normal finger placement for second position:

E Second Fret, first finger,   
E Fifth Fret, fourth finger.

To play this octave, you have to pick outside the string group and hop over string number 3.

####  Harmonics

The third octave starts with a familiar note, E Open.

The note that follows is a special tone called a harmonic.

Follow string number 1 up the neck until you reach fret number 12.

On most guitars, fret number twelve lies just after the double-dot fretboard marking.

If you place your fourth finger just behind fret number 12 and press down, you can strike the string to hear the note E Twelfth Fret, which is the correct pitch.

But we are not going to play the pitch this way; instead, we are going to play the harmonic.

On string number 1, place the fingertip of your fourth finger directly over the twelfth fret, so that your finger isn't just behind the fret as you would normally play, but actually over the fretwire.

Now instead of pressing the string down as you would normally, just allow your fingertip to rest on the string, dampening the string over the fretwire.

It requires only a light touch.

With your finger still dampening over the fretwire, pick the string, and just after you strike, pull your finger straight up and away from the string, allowing the harmonic to ring on its own.

The resounding pitch is identical to the held note E Twelfth Fret, but the harmonic has the timbre of a charm or bell.

Let's play this third octave starting with a down stroke on the note E Open, followed by an up stroke on the E Twelfth Fret harmonic.

The note following the harmonic is D Sharp Fourth Fret, as the music returns to the familiar.

Now we'll put the pieces together and play the entire series of octaves.

To help you target the notes and execute the octaves in time with the meter, keep in mind that your fingers will follow your eyes.

If you are looking in the right place and targeting the right fret, your finger will go to the place where your eyes are looking.

If you were playing the game of baseball, and you were standing at the plate, the first rule would be, 'Keep your eye on the ball.'

If you keep your eye on the ball, the bat will swing to the place where your eyes are looking and make contact with the ball.

If you are looking at the bat instead of the ball, you will most likely miss.

A similar rule applies to moving around the guitar neck.

'Move your eyes to the place where you want your fingers to go.'

This means that your eyes are usually just ahead of the music, which should remind you of Practice Utility 6: Think ahead of the music.

Keep these two thoughts in mind as you practice each phrase member:

First, become familiar with the note placements and any special fingering.

Second, apply the expressions or dynamics marked out in the music.

For challenging passages, use 'Practice Utility 5. Isolate a Difficult Spot' and 'Practice Utility 8. Use Repetition'.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 8: Bach 'Bourree 1' - Harmony - Chords - D.C. al Fine

####  Harmony

Harmony is the simultaneous sounding of two for more notes.

You have already played some music with simultaneous parts in the notation.

Each of those moments in the music, where two or more notes would ring at the same time, is a moment of harmony.

####  Chords

A chord is the simultaneous sounding of three or more notes, each having a different pitch letter name.

In this music by Bach, beat number 1 of measure 2 is showing a chord.

Starting with the lowest pitch, the notes read:

D Open,   
G Open,   
and B Open.

All of these notes are played at the same time, and since each note represents a different pitch, a chord sounds out on beat 1.

We will pick this chord in a special way.

Using the pick, play the note D Open with a down stroke, and at the same time, use finger number 2 of your picking hand to play G Open, and finger number 3 of your picking hand to play B Open.

When you pick this way, the pick makes a down stroke while your fingers make up strokes.

It feels like you are lightly pinching the strings as you pull your fingers away.

Can you see the other place in this music where a chord is written?

It's on beat number 1 of measure 4.

Although the music in this measure looks very busy, the notes of the chord are actually:

C Third Fret,   
E Second Fret,   
and G Open.

In this measure, the notes F Third Fret and D Open are non-chord tones, even though the note F Third Fret sounds out first, right on beat number 1.

You'll learn about non-chord tones in an advanced lesson.

A special finger placement is required to execute the chord and melody in measure 4.

On beat number 1, the placement is:

C Third Fret, third finger,   
F Third Fret, fourth finger,   
G Open.

Pick this chord in the same way you played the chord in measure 2.

Play C Third Fret with a down stroke of the pick, and at the same time, use the second and third fingers of your picking hand to pluck the notes F Third Fret and G Open.

The rest of the melody is played with the pick.

Plucking chords this way requires only a very light pinch as you pull your fingers away from the strings.

It feels like pinching because the pick and your fingers are plucking in opposite directions.

####  D.C. al Fine

In measure number 8, there is a directional marking that you have already seen in part.

The mark reads 'D.C. al Fine'.

The 'D.C.' part of the mark means 'Da capo', which you learned in an earlier lesson means 'From the head'.

After playing the note G Open on beat number 3 of measure 8, you will return to the beginning of the piece and continue playing.

The 'al Fine' part of the mark indicates to play until you reach the word 'Fine', as the music ends at that spot.

Just under the 'Fine' marking is a dashed final barline marking the end of the piece.

Since the music began with an anacrusis on beat number 4, the music ends on beat number 3 in the fourth measure.

Within Bach's music, you will hear a wonderful combination of logical structure and rhythmic character.

As you work through this music, use Practice Utility 8, and use repetition as needed.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Chapter 9 - String Number 6 with notes G, F, & E

##  Lesson 1: G Third Fret - Triplets - Leaps - Poco a Poco - G Major Scale

We'll continue downward by step in the lower pitch range.

One whole step lower than A Open on string number 5 is the pitch G Third Fret on string number 6.

With the note G Third Fret, we begin another musical alphabet in the guitar's lowest range.

This alphabet will be cut short due to the range limits of the guitar.

Since a typical guitar has only six strings, our third copy of the musical alphabet will end after playing only three notes.

On string number 6, place the third finger of your fretboard hand just behind fret number 3.

You are holding the note G Third Fret.

The note G is written just under the second ledger line below the staff.

####  Triplets

Before you put the note G Third Fret to work in a piece of music, let's review the subdivisions of one beat in music.

At the top of our rhythm tree is the quarter note.

A quarter note is the common beat unit; it's the note that receives one beat in any of the common time signatures.

Whether playing in 2/4, 3/4, or 4/4 meter, a quarter note has a duration of one beat.

You have learned that one beat of music can be subdivided into different groups of smaller note durations.

If one beat is divided into two pieces, the note durations are eighth notes, and each note in the group rings for half of a beat.

If one beat is divided into four pieces, the note durations are sixteenth notes, and each note in the group rings for a quarter of a beat.

By now, you may be able to see what part of the rhythm tree is missing.

If we can divide one beat into two pieces, or into four pieces, then we should also be able to divide one beat into three pieces.

And here is the missing part of the rhythm tree.

Dividing one beat into three pieces makes a triplet eighth note group.

A common triplet note group is written using eighth notes as the durational values, but the group also includes the script number 3 to indicate that each of the three notes is shorter in duration than eighth notes.

For a triplet, three notes will sound out within the space of one beat.

This practice measure shows the distribution of beats within a measure of 3/4 meter.

The quarter notes fall in the usual places on the down beats, but the triplets are spaced evenly throughout each of the beats.

A good way to count out triplets is shown between the upper and lower lines.

The first note in a triplet figure is played on the downbeat and is counted with a number.

The second note in a triplet figure is counted by saying the word 'trip'.

And the third note in a triplet figure is counted by saying the word 'let'.

Let's play this practice measure using the new note, G Third Fret on string number 6.

On the first pass, we'll play the quarter notes in the top line, and on second pass, we'll play the triplets in the bottom line.

On both passes, use a triplet count.

Did you space the notes in the triplet groups evenly?

If you need more time to get a feel for triplets, try Practice Utility 8 and use repetition on this practice measure.

To add more variety to the sound, you could also try moving to a different pitch on each pass.

####  Leaps

Within these lessons, you have learned some general terms for describing the distance between pitches.

The first pattern involved the musical alphabet in a stepwise relationship.

The second pattern involved the musical alphabet in a skipwise relationship.

Committing these patterns to memory, both upward and downward, is part of your regular practice.

A third pattern, which is the last in our general discussion of pitch distance, is called leaps.

If you look to the middle of the graphic displaying leaps, you will see the pitch A.

Moving upward from A, to the pitch D, or to any pitch higher than D, is an upward leap.

Moving downward from A, to the pitch E, or to any pitch lower than E, is a downward leap.

Simply put, a leap is any distance greater than a skip.

####  Song 'Reaching the Finish Line'

This music is written in 2/4 meter and every beat in the first nine measures is subdivided into triplet eighth note groups.

Each measure begins with the note G Third Fret on string number 6, which is held throughout the piece.

On beat number 1, there is a leap between G Third Fret and the next note in the triplet group.

The remaining notes play out in a stepwise pattern.

Since your third finger will remain on the note G Third Fret throughout the piece, you'll have to use your first, second, and fourth fingers to handle the stepwise patterns following beat number 1.

Let's try the first measure.

Place your third finger on G Third Fret.

To play the steps that follow, use your fourth finger on C Third Fret, play D Open, and use your second finger on E Second Fret.

Well placed fingers help this music sound smooth and connected.

The rest of the measures play out in a similar way, but the leap following beat number 1 gets wider.

In measure 10, the triplet pattern is replaced with standard eighth note tuplets.

These are counted in the usual way: 1, &, 2, &

Keep in mind that the tempo remains the same, even though each beat is now divided into two parts instead of three.

This will have a slowing effect on the music as the piece comes to a close.

Changing from three to two subdivisions may require some repetitive practice, so use Practice Utility 8 and use repetition over this rhythmic transition.

The song ends with the chord C Major in first position.

####  Poco a poco

The character of this music is enhanced by the dynamic build-up.

In measure 1, the marking 'mp' or 'mezzo piano' indicates to begin at a medium soft intensity.

At measure 3, the crescendo marking indicates a rise of intensity.

The term 'poco a poco' means 'little by little', so there should be a gradual rise of intensity from measure 3 to measure 9, where the marking 'ff' is written.

'ff' or 'fortissimo' indicates to play 'very loud'.

In measure 11, the intensity drops slightly to 'forte', which means 'loud', and the music ends in the 'forte' dynamic.

Dynamics are best handled after you have become familiar with the distribution of the pitches and any special finger placements.

After you are comfortable with the notes, concentrate on the dynamics to add the final touch.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

####  Key of G Major

You were introduced to the key of G Major in an earlier lesson, so let's revisit the key and play through its functional tones.

The key signature is showing an F Sharp, so the leading tone will be the note F Sharp Fourth Fret on string number 4.

We'll start on the tonic note, G Open and proceed upward by step to the dominant tone, D Third Fret.

Then we'll descend by step, back through the tonic and down to the subdominant tone, C Third Fret.

And we'll finish by returning by step to the tonic note, G Open.

Play each of the notes twice and sing the pitch names.

####  G Major Scale

Now let's play in the key of G Major, only this time, we'll use the G Major Scale.

Again, play each note twice and sing the pitch names.

Playing these scale exercises helps you in two ways.

First, they will help you establish a sense of the tonal center of the key.

Second, they provide a simple, organized setting for becoming familiar with note placements on the guitar.

####  Exercise 'G Major & Triplets'

Let's use some of the new musical elements you've learned in this section and play a complete warm-up exercise.

This music includes:

The new note G Third Fret on string number 6.

Triplet eighth note groupings.

The key of G major, which requires the note F Sharp as the leading tone.

And the G Major Scale.

This exercise is in a more musical setting, something closer to music you may encounter when you are practicing a song.

##  Lesson 2: F First Fret - F Major Scale - Changing Meter - Larghetto - Arpeggios

Continuing downward by step in the lower pitch range, and one whole step lower than the note G, is the note F First Fret.

The note F is written on the third ledger line below the staff.

To play F First Fret, find string number 6 and place the first finger of your fretboard hand just behind fret number 1.

####  Holding the Guitar

Some students find that reaching for the note F First Fret requires a bit of a stretch.

If you are experiencing a little difficulty, or if playing lower notes on the guitar is feeling a little awkward, it may be a good time to examine how you're holding the guitar.

So let's review:

You should be sitting in a chair without arm rests.

You should be sitting on the edge of your seat, so the body of the guitar doesn't come into contact with the chair.

Your left leg should be resting on a stool or footrest of some kind, so that your left knee is elevated.

If you are a left-handed guitar player, your right foot and right knee will be elevated.

The curve on the guitar body will sit on your left leg, or the opposite for a left-handed player.

The guitar should sit at about a 45 degree angle, with the end of the body supported by your right leg, again, the opposite for left-handed players.

This way of holding the instrument allows:

Your body position to be upright,   
Places the bridge and your picking hand directly in front of you,   
Allows for a free moving fretboard hand and arm,   
And brings the guitar neck closer to your eyes.

As we work on new musical elements and forms in this section, which will include the lower notes on string number 6 and some new chords, holding the guitar correctly will help ease the difficulty these new challenges bring.

####  Key of F Major

Our upcoming musical study is written in the key of F Major, so we'll warm-up by playing through the functional tones in the key.

We will play this in the usual way, starting on the tonic note F Third Fret.

From there, we will ascend by step to the dominant tone C First Fret, then descend past the tonic to the subdominant tone B Flat First Fret.

And we'll finish by ascending back to the tonic.

The key of F Major includes a B Flat in the key signature, and there are two places in this scale where a B Flat note appears.

The subdominant tone is found at the lowest note in the scale, B Flat First Fret on string number 5, and it appears again at the second note from the top, B Flat Third Fret on string number 3.

Play each note twice, and as you play, sing the pitch letter names.

####  F Major Scale

For our second warm-up, we'll play the F Major Scale.

This scale form includes the note B Flat First Fret as the fourth scale degree.

Play each note twice and sing the pitch names as you play.

If you are comfortable with the key, and you can keep up with the recorded music, then you are ready to move on to the next musical study.

####  Song 'Tranquil Diversion'

As the key signature shows, this music is written in the key of F Major.

The meter is 3/4, and the eighth note is the shortest note duration.

The piece begins on beat number 1 with the note B Flat Third Fret.

The first eight measures are played at an Allegro tempo and with a Forte dynamic intensity.

Most of the pitch movement is stepwise, however, there are octave leaps on measures 7 and 8.

Let's focus on these measures.

The first beat of measure 7 is divided into an eighth note group, which includes the pitch C Third Fret on the down beat and an eighth note rest on the upbeat.

It helps to use a combination of techniques to execute the note/rest notation.

Your picking hand should be set on the bridge so that the heal of your hand is partially muting the strings.

To partially mute the strings, let the heal of your hand rest just slightly in front of the bridge saddle.

At the same time, your third finger, which first is holding down C Third Fret, will relax at the moment of the upbeat and initiate the rest.

The note on the downbeat is played with a down stroke of the pick, and the rest on the upbeat is played with a silent up stroke, so the pick will pass the string without making contact.

The second beat of measure 7 outlines the octave leap from C Third Fret to C First Fret.

We are going to pick outside the string group to play this octave.

There are four strings involved in this string group:

The pitch C Third Fret is played on string number 5 with a down stroke.   
Continuing in the direction of the down stroke, the pick passes over strings 4, 3, and 2.   
Then the note C First Fret is played on string number 2 with an up stroke.

Since we are going to play outside the string group, the note C Third Fret is played with a down stroke, and the note C First Fret is played with an up stroke.

The third beat of measure 7 shows a rest on the downbeat and the pitch C First Fret on the upbeat.

On the downbeat, the pick will pass over the string with a silent down stroke.

On the upbeat, the pick will strike the note C First Fret with an up stroke.

Measure 8 is identical to measure 7.

For the first half of each measure, you are striking on the downbeats, and for the second half of each measure, you are striking on the upbeats.

The movement of your picking hand is continuously alternating as it moves in time with an eighth note rhythm.

For practice, let's play measures 7 and 8 at a slower pace than the performance tempo.

To play these measures well, you need a partial mute at the bridge saddle, and you need to coordinate your finger presses and releases with the alternating strikes and passovers of the pick.

####  Changing Meter

The meter in a piece of music is not always constant.

In measure 9, the meter changes to 1/4 for only one measure.

The quarter note C Third Fret, which is played with a down stroke of the pick, fills the only beat in this measure.

####  Larghetto

There is also a marked change in tempo at measure 9.

The tempo marking Larghetto is only slightly faster than the Largo marking; it means 'slow and dignified'.

We will be playing the Allegro section at about 152 beats per minute and the Larghetto section at about 56 beats per minute.

So the tempo will slow by more than half.

####  Chords

At measure 10, there is another change of meter to 4/4 and a change in dynamic intensity to mezzo piano.

These changes, along with the whole note chords that follow, add to the effect of the new, slower tempo.

The music switches from short, up tempo motives to something tranquil and expansive.

The whole note chords are played using the multi-finger picking technique that you learned in an earlier lesson.

The lowest note in each chord is played with the pick striking downward, while the two other notes in the chord are played with your second and third fingers plucking upward.

The technique feels like softly pinching as you pull away from the strings.

Let's make a pass through these four measures.

####  Arpeggios

The same chords remain after measure 14, but they are played differently.

The notes are played one at a time as the chord unfolds in a pattern of eighth notes throughout the measure.

The slur above the notes indicates to let the notes continue to ring as you move through the measure.

Chords played in this way are called Arpeggios.

These arpeggios follow a consistent picking pattern.

Try measures 14 and 15 now, and remember to hold the chords throughout each measure.

At measure 20, the chords expand to include lower notes.

Here, you will be holding the complete versions of these chords in first position.

####  Barring

Two of the chords in this section are played using a Barring technique.

The chord F Major is played by extending your first finger across every note on fret number 1.

To make the bar effective, press just behind fret number one with the side of your first finger, instead of pressing with the pad.

Use the outside of your first finger, which is the side closest to your thumb and away from your second finger.

After you have placed your first finger, place your other fingers on their respective notes.

Check that your second, third, and fourth fingers are set just behind the fret wires.

They should be well arched and each should be resting on the fingertip.

Now that you have a hold on the F Major chord, let's play measure 20.

If a chord like F Major seems difficult to hold, don't worry.

Most players require some time to build up the strength and flexibility required to play barred chords well.

Holding the guitar correctly will make playing these chords a little easier.

####  B Flat Major Chord

Measure 24 is showing the chord B Flat Major.

The chord B Flat Major is played by extending your first finger across fret number 1, covering strings 1 through 5.

Your first finger is also placed so that it just touches string number 6, dampening the string.

So at the same time you are using your first finger to bar strings 1 through 5 on the first fret, you are also using it to dampen string number six.

If your first finger is placed correctly, you should be able to strike string number 6 with the pick and only hear a short percussive sound.

The other notes in the B Flat Major chord require that you also bar with your third finger.

In this case of barring, you will use the pad of your third finger, between the finger tip and the first joint, to hold the notes F Third Fret, B Flat Third Fret, and D Third Fret.

When barring with the third finger, let it collapse at the first joint as you press down with the pad.

If you are holding the chord perfectly, you should still be able to play the note F First Fret on string number 1, after you have played the note D Third Fret on string number 2.

If you are having difficulty sounding out the note F First Fret on string number 1 due to finger interference, do not dismay.

This music doesn't require the note F First Fret, but in the future, you may see it.

If you have a good grip on the B Flat Major chord, try measure 24.

As you practice barred chords, your forearm may become sore from muscle fatigue.

It's good to take a break every few minutes.

Let your arm hang loose below your waste and gently shake it about.

This will relax your tired muscles and allow blood to circulate through your arm and hand.

If you're ready to work on the music, here is the complete version.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 3: E Open - Minor Keys - A Minor Scale - Minor Scale Forms - D.C. al Coda

The final note in first position may be the easiest to play.

One half step lower than F First Fret on string number 6 is the note E Open.

On the staff, the note E Open is written just below the third ledger line.

E Open on string number 6 is the lowest note on the guitar when the guitar is in standard tuning.

Let's look at E Open in a musical context and play a song that utilizes all of the new notes on string number 6.

####  Song 'At the End of the Day'

The lack of a key signature, the absence of any accidentals, and the C Major chord in the final measure, all indicate that this music is written in the key of C Major.

The Larghetto tempo marking indicates that the pace of this song should be slow and dignified.

The notation is written showing two distinct voices, but like many pieces written for the guitar, the two voices may actually represent three or four voices with the music written in the usual two voice format.

The first measure is a good example.

On beat number 1, play the note G Third Fret with a down stroke of the pick, and at the same time, play the note E Second Fret with the middle finger of your picking hand.

It's the technique where you slightly pinch as you pull away from the strings.

On beat number 2, play the note G Open with the ring finger of your picking hand.

So beats 1 and 2 are actually a group of notes that all ring simultaneously on beat number 2, even though the notation in the top voice shows that the note E Second Fret only rings through beat number 1.

In your lessons, situations like this one have been further notated with an extended slur.

The slur is an indicator to hold over or arpeggiate the music.

Some composers will notate music like this with word marks like, 'Hold chord forms', or 'No chord, hold throughout'.

Other times, like this example, the music will have no extra notation, and it's up to you to interpret the music as three voices, which are held like chords.

Try measure 1 now, and assign the fingers of your picking hand accordingly:

The pick is assigned to the lowest voice, G Third Fret.

Your middle finger is assigned to the middle voice, E Second Fret.

And your ring finger is assigned to the highest voice, G Open.

Measure 2 is played in a similar way:

The pick is assigned to the lowest voice, F First Fret.

Your middle finger is assigned to the top voice, D Open.

And the pick will play the middle voice, C Third Fret.

Let's jump to measure 4.

Here, the pick is assigned to the lowest voice, F First Fret.

Your ring finger is assigned to the highest voice, A Second Fret.

Your middle finger and ring finger will play the two notes, G Open.

And on the fourth beat, the pick plays the lower note, F First Fret, as your middle finger plays the higher note, F Third Fret.

The new note, E Open on string number 6, appears in measure 7.

The piece ends with a C Major chord in first position.

As you practice, pay close attention to the finger assignments of your picking hand.

####  Minor Keys

In our study of major keys, you have learned to listen for the tonal center of the key.

This note is called the tonic, and the tonic represents the point of greatest stability.

Minor keys also have a tonal center and a compliment of tones with functional names similar to major keys.

The key of A Minor is displayed here, and you may have already noticed that the key signature for the key of A Minor is the same as the key signature for the key of C Major.

In fact, A Minor and C Major are called relative keys.

####  Altered Tones

When composers write in a minor key, they may alter some of the tones.

The most common change is to raise the subtonic one half step.

In the key of A Minor, the subtonic note is G Natural.

When composers write music in the key of A Minor, they will often raise the subtonic note one half step to G Sharp.

When the G Sharp is present, the functional name of the note changes to 'leading tone'.

By changing the subtonic note to a leading tone, a composer creates a stronger melodic and harmonic push back to the tonal center.

Let's play the two different versions of the A Minor Key and listen for the difference between the subtonic note, G Natural, and the leading tone, G Sharp.

First let's play the natural form of the A Minor Key.

Next let's play the altered form of the A Minor Key.

Could you hear the greater melodic push back to the tonic note?

####  More Alterations

Sometimes composers will alter the minor scale further and raise the submediant tone one half step.

Usually the submediant tone is only raised when the scale is ascending, and only when the subtonic is raised as well.

To hear this effect, we'll play the third version of the A Minor Key in the usual way, starting at the tonic and ascending up to the dominant tone.

Then we'll descend by step, past the tonic and down to the subdominant tone.

As you descend, play all of the notes in the natural scale.

But when you ascend by step from the subdominant tone to the tonic, raise the submediant tone and the subtonic tone one half step.

Now the subtonic becomes a leading tone.

This version of a minor key has a very strong melodic push back to the tonal center.

In fact, the last five notes you played as you ascended back to the tonic are the same five notes found in the key of A Major.

This shows that although composers enjoy the difference in mood that a minor key provides, they often prefer the strength of sound that a major key provides at cadences.

Altering the natural minor scale makes for a stronger finish.

####  Minor Scale Forms

Let's get some more practice with the key of A Minor by playing the A Minor Scale.

Because minor keys are manipulated by composers in different ways, minor scales are studied in three different forms.

The first scale form is called the Natural Minor Scale, and as the name suggests, there are no alterations to the scale degrees.

Play each note of the scale twice, and as you play, sing the pitch letter names.

The second form is called the Harmonic Minor Scale.

This scale includes the altered subtonic note, G Sharp First Fret.

When the subtonic note is raised to create a leading tone, the gap between the submediant tone and the new leading tone increases to one and a half steps.

The wider pitch distance is a feature in this scale; it creates a more exotic sound than the Natural Minor Scale provides.

The third form is called the Melodic Minor Scale.

This scale includes the altered submediant tone, F Sharp Fourth Fret and the altered subtonic note, G Sharp First Fret, now the leading tone.

The altered notes are only played as the scale ascends.

When the scale descends, the subtonic note, G Open and the submediant tone, F Third Fret return.

The difference in the scale as it rises and falls is a feature of the Melodic Minor Scale.

It has the mood of the Natural Minor Scale with the added strength of the parallel major scale as the notes rise in pitch toward the tonic.

When composers write in a minor key, the music may reflect any or all of the three scale forms at different times.

In your continual effort to look for patterns in music, you will develop the ability to recognize these forms when they appear.

####  Song 'Galleon'

This song is written in the key of A Minor and favors notes in the lower pitch range.

A new directional marking appears at measure 32.

####  D.C. al Coda

The mark 'D.C. al Coda' indicates to return to the head and play until reaching the Coda Sign.

The Coda Sign is written at the end of measure 15, so on the second pass through the music, you will play through measure 15, then jump directly to the Coda.

The word Coda means 'Tail', and in music, the Coda is a section, separated from the rest of the form, that ends the piece.

It is marked with a larger Coda Sign, which will sometimes include the word 'Coda'.

The last measure of the Coda contains the final double barline.

This music contains extensive stepwise motion in 3/4 meter.

The chorus section shows simultaneous parts in two voices, so pay attention to finger placements on the fretboard when you are working on the chorus.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 4: Bach 'Jesu, Joy of Man's Desiring' - Key of G Major - Simile

This wonderful melody by Johann Sebastian Bach is part of a larger choral work.

The key signature is showing one sharp, and the piece begins and ends on the note G.

The last two measures of the music arpeggiate a G Major Chord.

All of these occurrences are signs that the music is written in the key of G Major.

####  Simile

There is a consistent pattern throughout the piece, where each beat of the 3/4 meter is subdivided into triplets.

Because the pattern is so regular, the script number 3 accompanying the triplet note figure is eventually omitted and replaced with the word mark 'simile' (pronounced: see'- mee - lay).

Simile means 'the same' or 'in a similar way', and in the days of hand written music, hand copying, and eventually manual typesetting, the Simile marking saved quite a few pen strokes for the composer and copier, and made a little less work for a typesetter at the printing press.

The Simile mark is used today to help a musician.

It's easier to read music on a page with less clutter.

As you work on this melody, use Practice Utility 4: Play and sing the beat numbers.

Singing the triplet count as you play will help you evenly distribute the notes throughout each beat.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 5: Traditional 'Scarborough Fair' - Composite Meter - Two Measure Repeat

In an earlier lesson, you played the melody from 'Scarborough Fair'.

This arrangement includes simultaneous parts and some special music in between parts of the melody.

####  Composite Meter

The introduction has a peculiar look.

The meter is displayed as a sum of two different meters, and the first two measures are separated by a dashed barline.

It's called a composite meter.

The first measure holds three beats, and the second measure holds two beats.

Another directional mark indicates to play the introduction three times.

Let's get familiar with the pitches and finger placements before playing and singing the beats.

The introduction is written a in typical two-voice format, which is common for guitar notation.

However, the music plays out in a four-voice format.

The four voices can be named as if the music had been written for a choir.

A choir has:

A lower male voice, called the Bass.   
A higher male voice, called the Tenor.   
A Lower female voice, named Alto.   
And a higher female voice, named Soprano.

Even though this music is written for two voices, we'll play it as if it was written for four voices.

Let's start with beat number 1.

####  Bass Voice

The first note is D Open, followed by A Second Fret.

A slur underneath the notes, which continues over the higher voice, shows that the notes should be held over, if it's possible.

If you follow the first note D Open and look across the first two measures, do you see any other notes that interfere with string number 4?

It looks as if the note D Open can ring all the way through the first two measures.

You have just found the Bass Voice, and even though the note D Open only appears as an eighth note on beat number 1, it rings throughout the entire introduction.

####  Tenor Voice

Now follow the note A Second Fret across the first two measures.

The note A Second Fret can ring freely, and it will sound again on the second half of beat three.

From there, A Second Fret will ring until the second beat of measure 2, where it has to be released to play G Open.

The line of notes moving from A Second Fret to G Open is the Tenor Voice.

####  Soprano Voice

The three notes in the top voice are all played on string number 1.

F First Fret is played with your first finger.

E Open is played by pulling off your first finger to sound the open string.

And G Third Fret is played with your fourth finger.

The last note in the high voice, G Third Fret, is held to the end of measure 2.

The notes F first Fret, E Open, and G Third Fret represent the Soprano Voice.

####  Alto Voice

On beat 1 of the second measure, the note C First Fret is played with your first finger.

The note C First Fret represents the Alto Voice.

The Alto Voice is silent until beat number 1 of the second measure, but the moment you play the note C First Fret, all of the four voices are sounding together.

####  All Voices

The note D Open on string number 4 is ringing in the Bass Voice.

The note A Second Fret on string number 3 is ringing in the Tenor Voice.

The note C First Fret on string number 2 is ringing in the Alto Voice.

And the note G Third Fret on string number 1 is ringing in the Soprano Voice.

And when you play the last note of the introduction, which is G Open in the Tenor Voice, all four voices should still be ringing.

Let's try the first two measures.

We'll follow the directional marking and play the introduction three times.

The techniques you are using in the introduction are the key to practicing the rest of the song.

If you can hold notes over, it's usually correct to do so.

Now that you're warmed up with the first two measures, let's use Practice Utility 3: Play and sing the pitch letter names.

Even though this music is written for simultaneous parts, only one note is played at a time.

In the first measure, each beat is subdivided into eighth note groups, and a note is played on every half beat.

In the second measure, a note is played on each of the two downbeats.

To get a good feel for how the rhythm adds character to this music, we'll count the introduction in a special way.

When you are counting in the first measure, count out eighth notes.

When you reach the first beat of measure 2, switch to counting quarter notes.

For the whole introduction, you will be counting: 1 & 2 & 3 & 1 (&) 2 (&)

We'll keep the '&' beats in measure two, silent.

Try the introduction again, only this time, play and sing the beat numbers.

####  Changing Meter

The song's melody starts on measure 3, where there is a change in meter to 3/4.

It's the melody you played in an earlier lesson, but now it's written for two voices, and like the introduction, it should be played as if the music was written for four voices.

####  Interludes

If you look ahead to measure 6, you can see a return to the composite meter and the music of the introduction.

Looking further ahead to measure 13, there's another composite meter and music that looks similar to the introduction.

These blocks of music, which are placed in between the phrases of the melody, are called interludes.

An interlude is a musical break from the main composition.

It's like looking up from reading a book and enjoying the scenery around you.

####  Two Measure Repeat

A new type of repeat sign is written over measures 8 & 9; it's called a Two Measure Repeat.

A Two Measure Repeat is used when two consecutive measures with different notation are repeated.

In this case, it's the two measures of the first interlude.

Just like the introduction, the first interlude uses a composite meter.

The first measure holds three beats, and the second measure holds two beats.

The Two Measure Repeat indicates to repeat the two measures of the composite meter.

So the first interlude notation is played twice before returning to the second phrase in the main melody.

####  B Flat First Fret

The note B Flat First Fret on string number 5 appears in measure 29, as the music approaches the final cadence.

####  Arpeggio Sign or Rolled Chord

In the final measure, the wavy line preceding the notes indicates to play the chord as an arpeggio or rolled chord.

To visualize the technique, you may imagine a harpist rolling over chords.

A harpist will at times play chords in a quick arpeggiated fashion.

A guitar player does this by strumming slowly.

If you strum too slowly, then the music could just as well be notated over specific beats.

But the idea of an arpeggio mark is to disregard normal rhythm and strum the chord on the beat, only just slowly enough that you can still hear each note in turn.

As you practice this music, remember the four voice format.

The voices match the voicing of a choir.

If you need help with finger placements, you may rely on the finger placement markings written in the music.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 6: Traditional 'Auld Lang Syne' - Key of F Major - B Flat

'Auld Lang Syne' is a Scottish folk song.

Like many folk songs, both the music and the lyrics have evolved, accommodating changes in time and culture.

This song has been reshaped many times.

For this version of the song, we have to go back to 1788, when Robert Burns wrote a poem and set it to a folk song from his time.

Although you may recognize the melody, it's a little different from the song we sing at the coming of the new year.

Just after 1900, the music and the lyrics were reshaped again for our time.

This arrangement will give you more experience with notes in the lower pitch range.

The music is written in the key of F Major and begins with an anacrusis on beat number 4.

####  F Major Chord

The first note, C Third Fret, is played again as part of the F Major Chord on beat number 1.

Before starting the song, you should be holding an F Major Chord in first position, then you're ready for the anacrusis and the entire first measure.

Let's play the beginning.

In this case, instead of barring across all of the first fret, you only need to hold notes on the three lowest strings.

Then the note G Open is accessible when you reach beat number 3.

####  C Major Chord

Beat 1 of measure 6 is showing a C Major Chord.

In this version of C Major:

Your third finger is placed on G Third Fret.   
Your fourth finger is placed on C Third Fret.   
And your second finger is placed on E Second Fret.

Your first finger must be ready to play F First Fret on the '&' of beat 2.

The note F First Fret only sounds for a moment, then your third finger lands back on G Third Fret.

A Open finishes the measure, sounding on the '&" of beat 4.

It may feel awkward lifting your third finger away from G Third Fret when your fourth finger and second finger are still held down.

These situations show the importance of developing finger independence.

In measure 6, the majority of your fingers are clamped down firmly on notes.

So your third finger is more comfortable staying clamped down on G Third Fret.

As you continue to practice, you will develop better independent muscle movement, so you can relax some of your fingers while others are busy holding down notes.

####  Measure 8

Measure 8 is similar to measure 6, only your fingers are placed a little differently.

On beat 1, your third finger is placed on C Third Fret.

On the '&' of beat 1, your second finger is placed on G Third Fret, as the note C is still ringing.

On beat 2, your fourth finger is placed on F Third Fret.

On the '&' of beat 2, the note C is struck again, as your third finger should still be holding the note.

On beat 3, the note F is released to play E Second Fret with your first finger.

And the measure finishes with another C Third Fret, which is still held by your third finger.

Like measure 6, measure 8 is also sounding out a C Major Chord, and something called a Suspension, but you will learn more about that in a later lesson.

Here is the complete version of 'Auld Lang Syne'.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 7: Beethoven 'Fur Elise' - Key of A Minor - G Sharp

This arrangement of 'Fur Elise' includes notes on string number 6.

If you look past the introduction to measure 2, you'll see the note E Open on the '&' of beat 1, followed by the note A Open on beat 2.

In the previous arrangement, these beats showed only rests.

In this arrangement, a note is played on every half beat.

####  G Sharp

In measure 3, the note G Sharp Fourth Fret is played on beat number 2.

Use your fourth finger to play this note.

####  Octaves

Another octave has been added in the lower pitch range at measure 13.

The series of notes 'E' now includes the octave leap from E Open to E Second Fret, starting on the '&' of beat 1.

####  Key of A Minor

'Fur Elise' is written in the key of A Minor.

There is no key signature present.

You can see places where the subtonic note G Natural is played, like measure 10 shows, and other places where the subtonic is raised to form the leading tone G Sharp, like measure 3 shows.

Many of the phrases, and the composition as a whole, end on the tonic note A.

As you practice this music, watch and listen for the subtonic and leading tone notes.

These notes will eventually lead back to the tonic, which is the point of greatest stability in the key.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

##  Lesson 8: Bach 'Bourree 1' - Two Part Form - Pedal Tone

####  Two Part Form

You discovered in an earlier lesson that the first section of this music is written in the key of C Major.

The first section starts at the head of the staff and ends at the repeat sign, just after measure 8.

The complete version of 'Bourree 1' has two sections, and Section 2 modulates to the key of A Minor.

Can you see the first place in the music where the A Minor Key is represented?

There is a clue in measure 10.

The note G Sharp First Fret is played on the second half of beat 4.

If you look further ahead in the music, the note G Sharp is common.

The A Minor Key remains through measure 16.

After measure 16, the music begins the transition back to the key of C Major.

At beat 4 of measure 16, we hear the last bit of the A minor key as the transition starts to unfold over measures 17 & 18.

In the final measure, the tonic note of the master key is played, C Third Fret.

The structure of this music is called Two Part Form.

The two sections are easy to see, because each section is set between repeat signs.

So each section is played twice.

The master key is C Major, and C Major is heard throughout the first section and at the end of section 2.

The secondary key is A Minor, and A Minor is heard through the first half of section 2.

Transitional music lies in between the changes in key center, making modulation to a new key and back, a very smooth process.

####  Finger Placements

Let's look at some places in section 2 where special finger placements are required to play the music smoothly.

We'll practice these examples at half of the performance tempo.

The first place is in measure 10, where the key of A Minor begins to show itself.

On beat 4, the note C First Fret is played with your second finger, so your first finger can play the note G Sharp First Fret on the '&' of beat 4.

On beat 1 of measure 11, the note A Second Fret is played with your third finger.

In this motive, your fingers are tightly collected.

A similar placement occurs at measure 12.

On beat 1, the note E Second Fret is played with your second finger.

On the '&' of beat 1, your third finger plays A Second Fret.

On beat 2, your first finger plays G Sharp First Fret.

On beat 3, your second finger should still be holding E Second Fret.

Try this five note passage.

Both of the last two examples are similar, and each placement helps solve a common problem guitar players encounter when fretting notes.

Whenever two consecutive notes on different strings are played on the same fret, some type of special placement is usually required.

We have handled these situations by barring,

or by dropping fingers on frets contrary to normal first position placement.

####  Pedal Tone

From beat 1 of measure 12, to the end of the phrase on beat 3 of measure 16, your second finger will hold the note E Second Fret exclusively.

The note E Second Fret is actually a pedal tone in this phrase.

A pedal tone is a single pitch that remains constant as the other pitches around it change.

Let's look at the next series of notes, from beat 4 of measure 12, through beat 3 of measure 13.

This eight note passage is playing out around an A Minor Chord in first position.

The rest of the phrase plays out in a similar way.

It's a good idea to use Practice Utility 5: Isolate a difficult spot, and Practice Utility 8: Use Repetition, on special finger placement areas.

The complete version of 'Bourree 1' concludes this Beginning Contemporary Guitar Course.

I would like to take this moment to thank you for participating.

With all of your hard work and dedication, you now have a good understanding of both the guitar and the language of music.

I would encourage you to retain these habits as you work to improve your skill on the instrument.

Practice Utility 1. Say the name and address of each note out loud.   
Practice Utility 2. For your first warm-up play, concentrate on your technique.   
Practice Utility 3. Play and sing the pitch letter names.   
Practice Utility 4. Play and sing the beat numbers.   
Practice Utility 5. Isolate a difficult spot.   
Practice Utility 6. Think ahead of the music.   
Practice Utility 7. Identify the melodic structure.   
Practice Utility 8. Use Repetition.

  1. Title Page
  2. Copyright
  3. Dedication
  4. Preface
  5. Table of Contents
  6. Chapter 1 - Getting to Know the Guitar
    1. Lesson 1: Headstock
    2. Lesson 2: String End Points
    3. Lesson 3: Neck
    4. Lesson 4: Body
    5. Lesson 5: Holding the Guitar
    6. Lesson 6: Holding the Pick
  7. Chapter 2 - Tuning
    1. Lesson 1: Guitar Tuning Video
    2. Lesson 2: Tuning with a Piano
    3. Lesson 3: Electronic Tuners
    4. Lesson 4: Relative Tuning
    5. Lesson 5: Using a Pitch Pipe
    6. Lesson 6: Using a Tuning Fork
    7. Lesson 7: Alternate Tunings
  8. Chapter 3 - Learning the Language of Music
    1. Lesson 1: Pitch
    2. Lesson 2: Duration
    3. Lesson 3: Rest
    4. Lesson 4: Meter
    5. Lesson 5: Tempo
    6. Lesson 6: Intensity
    7. Lesson 7: Timbre
    8. Lesson 8: Articulation
  9. Chapter 4 - String Number 1 with notes G, F, & E
    1. Lesson 1: G Third Fret - Rhythm - 4/4 Time - Legato
    2. Lesson 2: F First Fret - Dotted Half Note
    3. Lesson 3: E Open - 3/4 Meter - Quarter Rest
    4. Lesson 4: Practice Utilities - Approach to Practice
    5. Lesson 5: Beethoven 'Ode to Joy' (reduced) - Half Rest
    6. Lesson 6: Larson 'Common Time Cadence'
    7. Lesson 7: Larson 'Triple Time Modulation' - Sharps
    8. Lesson 8: Larson 'Minor Cadence' - Flats - Ledger Lines
  10. Chapter 5 - String Number 2 with notes D, C, & B
    1. Lesson 1: D Third Fret - Metric Pulses in 4/4
    2. Lesson 2: C First Fret - Transposing Instruments
    3. Lesson 3: B Open - Metric Pulses in 3/4
    4. Lesson 4: Practice Utilities - Isolate a Difficult Spot
    5. Lesson 5: Beethoven 'Ode to Joy' - Moving to an Adjacent String
    6. Lesson 6: Traditional 'Frere Jacque' - Consistent, Even Timing
    7. Lesson 7: Strauss II 'Roses from the South' - Slurs
    8. Lesson 8: Pierpont 'Jingle Bells' - Accent - Section Repeat Sign
  11. Chapter 6 - String Number 3 with Notes A & G
    1. Lesson 1: A Second Fret - Steps - Scale - Tie
    2. Lesson 2: G Open - Circle of Steps - Anacrusis - Traditional 'Red River Valley'
    3. Lesson 3: Eighth Notes - Dotted Quarter Note - Larson 'Minor Cadence'
    4. Lesson 4: Practice Utilities - Think Ahead of the Music - Andante - Allegro
    5. Lesson 5: Beethoven 'Ode to Joy' - Playing Simultaneous Parts
    6. Lesson 6: Traditional 'Frere Jacque' - A Fifth Fret - Hammer-on, Pull-off, Slide
    7. Lesson 7: Traditional 'Amazing Grace' - Rhythmic Variation
    8. Lesson 8: Pierpont 'Jingle Bells' - Verse & Chorus Sections - Da Capo
  12. Chapter 7 - String Number 4 with notes F, E, & D
    1. Lesson 1: F Third Fret - Key Signatures - Traditional 'Ah! vous dirai-je Maman'
    2. Lesson 2: E Second Fret - Sixteenth Notes - Fermata
    3. Lesson 3: D Open - Major Keys - Major Scale - Half Steps & Whole Steps
    4. Lesson 4: Practice Utilities - Identify the Melodic Structure
    5. Lesson 5: Ward 'America the Beautiful' - C Sharp
    6. Lesson 6: Traditional 'Angels We Have Heard on High' - Dynamics
    7. Lesson 7: Traditional 'Greensleeves' - F Sharp - G Sharp
    8. Lesson 8: Mozart 'The Marriage of Figaro' - A Sharp - Enharmonic Equivalents
  13. Chapter 8 - String Number 5 with notes C, B, & A
    1. Lesson 1: C Third Fret - Key of C Major - C Major Scale - 2/4 Meter
    2. Lesson 2: B Second Fret - Traditional 'When the Saints Go Marching In' - Modulation
    3. Lesson 3: A Open - Traditional 'Scarborough Fair' - Skips - Circle of Skips
    4. Lesson 4: Practice Utilities - Use Repetition - 3/8 Meter - Ritardando - A Tempo
    5. Lesson 5: Tilzer 'Take Me Out to the Ball Game' - Musical Pictures - Lyrics
    6. Lesson 6: Mozart 'A Little Night Music' - Rests - Staccato - Trill - Grace Note
    7. Lesson 7: Beethoven 'Fur Elise' - D Sharp - Crescendo - Diminuendo
    8. Lesson 8: Bach 'Bourree 1' - Harmony - Chords - D.C. al Fine
  14. Chapter 9 - String Number 6 with notes G, F, & E
    1. Lesson 1: G Third Fret - Triplets - Leaps - Poco a Poco - G Major Scale
    2. Lesson 2: F First Fret - F Major Scale - Changing Meter - Larghetto - Arpeggios
    3. Lesson 3: E Open - Minor Keys - A Minor Scale - Minor Scale Forms - D.C. al Coda
    4. Lesson 4: Bach 'Jesu, Joy of Man's Desiring' - Key of G Major - Simile
    5. Lesson 5: Traditional 'Scarborough Fair' - Composite Meter - Two Measure Repeat
    6. Lesson 6: Traditional 'Auld Lang Syne' - Key of F Major - B Flat
    7. Lesson 7: Beethoven 'Fur Elise' - Key of A Minor - G Sharp
    8. Lesson 8: Bach 'Bourree 1' - Two Part Form - Pedal Tone

  1. Cover

