When you can play both parts, combine them in the optional solo below. H l OO ; The audio sounds like the record. To begin you will be playing chords on three strings with only one finger depressed.
Strike strings 3, 2 and 1 with a downward motion. All three strings should sound as one, not separately. Keep a steady beat, and change chord fingerings quickly. Now combine the chords and the melody. When you feel you know the melodies well enough, strum each chord. Finally, combine the melody and the chords. Practice the exercise slowly and steadily and gradually increase the tempo as you progress. G7 9 E - ven lit - tie chil dren love Mar - - anne, c 13 Down by the sea side sift - in' sand.
Remember to keep YOllf fingers arched over the strings. When you begin after beat one, the notes before the first full measure are called pickup notes. Count the missing beats out loud before you begin playing. Practice playing both the notes and then the chord strums as a duet with your teacher, a friend or a tape recorder.
You can play the full version of this chord right away. Arch your fingers so that the tips touch only one string each. Strum strings 4 through 1 for D7.
JIll' JIll' Whenever you are moving between the C chord and the D7 chord, keep the first finger down. JIll' I The first note is struck and held for the value of both notes. The second note should not be played again. Look at the following illustration of tied notes. You should play the melody only on this piece.
Remember to look ahead as you play 50 you can prepare for the next notes. The second half of Johnny Has Gone for a Soldier is written one octave higher than the first half. The distance from one fret to the second fret in either direction is called a whole-step. Whole [ Step t.
This is called a key signature and indicates that every F in the song should be played as Fit In Shenandoah there will be an arrow above each F to remind you to play F. Shenandoah is written for 1, 2 or 3 guitar parts. Part 1 the melody will d emand that you count out the bed notes accurately.
Use a metronome or tap your foot and count aloud at first. With your teacher, other friends, or a tape recorder, play part 2 and the chords. Sea Shanty T Part 2 I. G -r "'! Em optional ':- Each type of note has a matching rest which has the same name and receives the same number of counts. Whole Half Quarter 4 beats 2 beals 1 beat A rest often requires that you stop the sound of your guitar strings with your right hand as is shown in the photo to the right. This process is called dampening the strings.
Use the edge of your right hand to tOllch the strings, and work for a quiet economy of motion with little unnecessary movement. As you play the following exercises that contain both notes and r,ests, count aloud using number" for the notes and say the word, "Rest," for each beat of silence.
You can play these chords on more strings ilnd the sound will be much full - er. Study the illustrations below for the five -s tring C chord and the six-string G7 chord. Place each finger in the position shown and strum the chord several times. Iro 2 lI. Now try the full six- string G chord for a fuller sound. Study the illustrations for the correct finger posi- tion. The formation using fingers 2, 3, and 4 will seem more difficult at first, but it will be easier to move to the C chord or the G7 chord.
If your hand is small, use the formation with fingers I, 2, and 3 or the G chord you learned earlier. Practice trading off on melody and chords in these pieces. J 4 I u Oh, oh, Cor - in - na where you been so long? You can vary the strumming by alternating between a bass note usually the lowest note of a chord and the name of the chord and the remainder of the chord. It may help if you think that your pick is tied to your toe. Whe n you tap your foot on the beat, the pick goes down.
When your foot goes up on " and," your pick goes up. Are you sleep - ing? Frere Jacques can be played as a round. Enter when 1st player reaches the astf!
Always check the key signature before you begin. I"""""'""' rI r T -- ""11""11 ""11""11 - - C Practice the example until you ca n s ix -string chord and a three -s tri ng partial play it easily and dearly. Sha - 10m, sha n I J. Whenever two chords have a common finger position one or more fingers stay in the same pl you should keep the common finger on the string.
In the following progression there 15 a commo ger between the G and Em chord and a common finger between the C and 07 chord. Practice the ample until you can play it steadily and without any hesitation between chord changes. When you can play the chords ly, try a bass note with two after-strums that you learned in exercise number As you practice strumming the following exercises, keep your wrist relaxed and flexible.
Book 2 continues the instruction started in Book 1 and covers: Am, Dm, A, E, F and B7 chords; power chords; fingerstyle guitar; syncopations, dotted rhythms, and triplets; Carter styl Bass Method. The Hal Leonard Bass Method is designed for anyone just learning to play electric bass. It is based on years of teaching bass students of all ages and it also reflects some of the best Guitar Tab Method.
Get started quickly and easily with songs y It is based on years of teaching guitar students of all ages, and it also refle Guitar for Kids is a fun, easy course that teaches children to play guitar faster than ever before. Continuing where Book 1 left off, popular songs in this volume, such as 'Eight Days Book 3 covers: the major, minor, pentatonic and chromatic scales, sixteenth notes; barre chords; drop D tuning; movable scales; notes in fifth position; slides, hammer-ons, pull-offs
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