Download Guitar for Dummies (ISBN - 0764599046) PDF

TitleGuitar for Dummies (ISBN - 0764599046)
TagsFor Dummies
File Size7.6 MB
Total Pages410
Table of Contents
                            Guitar For Dummies, 2nd Edition
	About the Authors
	Authors’ Acknowledgments
	Contents at a Glance
	Table of Contents
		About This Book
		Not-So-Foolish Assumptions
		What You’re Not to Read
		Conventions We Use in This Book
		How This Book Is Organized
		Icons Used in This Book
		Where to Go from Here
	Part I: So You Wanna Play Guitar
		Chapter 1: Guitar 101
			Anatomy of a Guitar
			How Guitars Work
		Chapter 2: Turn On, Tune In
			Counting on Your Strings and Frets
			Everything’s Relative: Tuning the Guitar to Itself
			In Deference to a Reference: Tuning to a Fixed Source
		Chapter 3: Ready, Set . . . Not Yet: Developing the Tools and Skills to Play
			Hand Position and Posture
			You Don’t Have to Read Music to Understand Guitar Notation
			How to Play a Chord
	Part II: So Start Playing: The Basics
		Chapter 4: The Easiest Way to Play: Basic Major and Minor Chords
			Playing Chords in the A Family
			Playing Chords in the D Family
			Playing Chords in the G Family
			Playing Chords in the C Family
			Playing Songs with Basic Major and Minor Chords
			Having Fun with Basic Major and Minor Chords: The “Oldies” Progression
		Chapter 5: Playing Melodies without Reading Music!
			Reading Tablature While Listening to the CD
			Getting a Grip on Left-Hand Fingering
			Using Alternate Picking
			Playing Songs with Simple Melodies
		Chapter 6: Adding Some Spice: Basic 7th Chords
			Dominant 7th Chords
			Minor 7th Chords — Dm7, Em7, and Am7
			Major 7th Chords — Cmaj7, Fmaj7, Amaj7, and Dmaj7
			Playing Songs with 7th Chords
			Fun with 7th Chords: The 12-Bar Blues
	Part III: Beyond the Basics: Starting to Sound Cool
		Chapter 7: Playing Melodies in Position and in Double-Stops
			Playing in Position
			Playing Songs in Position and in Double-Stops
		Chapter 8: Stretching Out: Barre Chords
			Playing Major Barre Chords Based on E
			Playing Minor, Dominant 7th, and Minor 7th Barre Chords Based on E
			Playing Major Barre Chords Based on A
			Playing Minor, Dominant 7th, Minor 7th, and Major 7th Barre Chords Based on A
			Wailing on Power Chords
			Playing Songs with Barre Chords and Power Chords
		Chapter 9: Special Articulation: Making the Guitar Talk
			Getting the Hang of Hammer-Ons
			Getting Playful with Pull-Offs
			Getting Slippery with Slides
			Getting the Bends
			Varying Your Sound with Vibrato
			Getting Mellow with Muting
			Playing a Song with Varied Articulation
	Part IV: A Cornucopia of Styles
		Chapter 10: Rock
			Classic Rock ’n’ Roll
			Modern Rock
			Playing Songs in the Rock Style
		Chapter 11: Blues
			Electric Blues
			Acoustic Blues
			Playing Blues Songs
		Chapter 12: Folk
			Playing Fingerstyle
			Using the Capo
			Arpeggio Style
			Thumb-Brush Style
			Carter Style
			Travis Picking
			Playing Folk Songs
		Chapter 13: Classical
			Getting Ready to Play Classical Guitar
			Free Strokes and Rest Strokes
			Arpeggio Style and Contrapuntal Style
			Playing Classical Pieces
		Chapter 14: Jazz
			Introducing a Whole New Harmony
			Rhythm Comping
			Playing Solo: Chord-Melody Style
			Taking the Lead: Jazz Melody
			Playing Jazz Songs
	Part V: Purchasing and Caring for Your Guitar
		Chapter 15: Perfectly Good Guitars
			Before Breaking Out Your Wallet
			Beginner Guitars
			Models for a Particular Style
			The Second (And Third . . .) Guitars
			Buying an Ax to Grind
		Chapter 16: Guitar Accessories
			A Case for Cases
			Effect Pedals and Devices
			Electronic Tuners
			Some Other Helpful (But Nonessential) Goodies
		Chapter 17: Getting Strung Along: Changing Strings
			Restringing Strategies
			Removing Old Strings
			Stringing a Steel-String Acoustic Guitar
			Stringing Nylon-String Guitars
			Stringing an Electric Guitar
		Chapter 18: Staying Fit: Basic Maintenance and Repairs
			Cleaning Your Guitar
			Protecting Your Guitar
			Providing a Healthy Environment
			Do-It-Yourself Repairs
			Having the Right Tools
			Ten Things That You Can’t Do Yourself
	Part VI: The Part of Tens
		Chapter 19: Ten Guitarists You Should Know
			Andrés Segovia (1893–1987)
			Charlie Christian (1916–42)
			Chet Atkins (1924–2001)
			Wes Montgomery (1925–68)
			B. B. King (1925– )
			Chuck Berry (1926– )
			Jimi Hendrix (1942–70)
			Jimmy Page (1944– )
			Eric Clapton (1945– )
			Eddie Van Halen (1955– )
			Guitarists Who May Be on Someone Else’s Top Ten List
		Chapter 20: Ten Guitars You Should Know
			D’Angelico Archtop
			Fender Stratocaster
			Fender Telecaster
			Gibson ES-335
			Gibson J-200
			Gibson Les Paul
			Gretsch 6120
			Martin D-28
			Ramirez Classical
			Rickenbacker 360-12
	Part VIII: Appendixes
		Appendix A: : How to Read Music
			The Elements of Music Notation
			Finding Notes on the Guitar
		Appendix B: 96 Common Chords
		Appendix C: How to Use the CD
			Relating the Text to the CD
			System Requirements
			Using the CD with Microsoft Windows
			Using the CD with Mac OS
			What You’ll Find on the CD
Document Text Contents
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by Mark Phillips and Jon Chappell




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For example, in the key of A (as in Figure 11-1) the A chord is I (Roman
numeral one), the D is IV (four), and E is V (five). (You can count letter names
on your fingers, starting from A, to confirm that A is I, D is IV, and E is V.) In
the key of G, on the other hand, G is I, C is IV, and D is V. By using such a
system, if you decide to switch keys, you can always just say, “Start playing at
the IV (four) chord in bar 5.” If you know which chords are I, IV, and V in that
key, you’re ready to play. See Table 11-1 for a handy reference that shows the
I, IV, and V chords in common keys.

Table 11-1 I, IV, V Chords in Common Keys
Key I IV V





F F B% C


If you’re playing your blues accompaniment by using barre chords (see
Chapter 8 for more information on barre chords), you can remember which
chords are which merely by their position on the neck. Say, for example, that
you’re playing a blues progression in A. If you make an E-based barre chord
at the fifth fret (A), you’re playing the I chord in A. If you switch to the A-
based barre chord form at that same fret, you’re now playing the IV chord, or
D. Move that same A-based barre two frets higher on the neck — to the sev-
enth fret — and you’re playing the V chord, E. See how easy playing the blues
can be! Use those same positions anywhere on the neck — an E-based barre
chord at any fret, following it with an A-based barre chord at the same fret,
and moving that barre up two frets — and you know the I-IV-V progression for
whatever key goes with the starting fret.

The following are two important variations of the 12-bar blues form:

� Quick IV: Still using the key of A as an example, you substitute a D (IV)
chord for A (I) in bar 2. Ordinarily, you must wait until bar 5 to play the
IV chord, so switching to it in bar 2 feels pretty quick, hence the name.

� Turnaround: A turnaround is a V chord that you play on the last bar
(bar 12) instead of a I chord. This change helps draw the music back to
the I chord of the first bar, “turning the progression around” to bar 1.
Blues guitarists base many lead licks just on the turnaround at the pro-
gression’s end.

185Chapter 11: Blues

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Try substituting 7th or 9th chords (A7, D9, or E9, for example) for the basic I-
IV-V chords to make the music sound even bluesier (see Chapters 6 and 8).

Triplet feel
Blues relies heavily on a rhythmic feel known as a triplet feel (sometimes
called a shuffle feel or a swing feel). In a triplet feel, you divide each beat into
three parts (instead of the normal two). You can hear this feel on the CD
recording of Figure11-2, but here’s a good way to get an understanding of the
difference between straight feel and triplet feel. Recite each of the following
phrases out loud, snapping your fingers on each capitalized syllable. (Make
sure that you snap your fingers — it’s important!)

1. TWIN-kle TWIN-kle LIT-tle STAR.

That’s a straight feel — each finger snap is a beat, and each beat you divide
into two parts.

2. FOL-low the YEL-low brick ROAD.

That’s a triplet feel — each finger snap is a beat, and each beat you divide
into three parts. Because lots of blues use a triplet feel, you need to know
how to play a 12-bar blues accompaniment figure with that feel.

Figure 11-2 shows you an accompaniment figure — here with the quick IV
(bar 2) and turnaround (bar 12) variation — consisting of nothing more than
strummed chords in a triplet rhythm. Typically, the last bar of a blues song
uses a progression in which you approach the final chord from one fret above
or below it (see measure 13). See the chord diagrams on the figure for the fin-
gerings of the 9th chords in the song.

If you know how to play a rock boogie-woogie accompaniment figure (in
Chuck Berry–style — see Chapter 10), you should have no trouble at all play-
ing Figure 11-3, which is actually the same boogie accompaniment figure (but
with the quick IV variation), except that you play it in a triplet feel. Again, you
approach the last chord from a fret above.

In the music in Figure 11-2, the equivalency (qr = qce) that appears next to
the words “Triplet feel” indicates that you should substitute triplet (or shuf-
fle) eighths for straight eighth notes. In triplet eighths, you hold the first note
of each beat a little longer than the second.

186 Part IV: A Cornucopia of Styles

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