· 2021. 2. 4. · 2 contents...

Advanced Guitar For the Classroom

Rock Guitar

Tenth Edition

Lou Warde .

Platso Music Copyright © 2019, Platso Music

International Copyright Secured All Rights Reserved

A Comprehensive Approach

2 Contents

Scales……………………….....…………………..…………………………………….. 3 The Major Scale ……………………………………………………………………….. 4 Picking Exercises…………….…………………………….………………….… 5 Tabs, A Major, C Major…………………………………………………..……… 6 E Major ………………………………………………..………………..…….….. 7 Soloing in the Key of G…………………………………………………………… 8 The Minor Scale …………………………………………….………..…………..…… 9 Soloing in Minor Keys.………………………………………….…………….. 10 The Minor Pentatonic Scale ……………………………………………………….…. 11 Minor Pentatonic Licks………………………………………………………….… 12 Classic Rock Licks……………………………………………………..…..…… 13 The Blues Scale ………………………………………………………..………….…… 14 Blues Intros.……………………………………………….…….…………….. 15 Classic Blues Progression in A……………………………………………….…… 16 Solos…………………………………………………………….…………………….... 17 Tango to Evora…………………………………………………..……………….. 18 Over the Waterfall, Red-Haired Boy…………………………………………….. 20 Ashokan Farewell………………………….…..………………………….…….. 21 Dueling Banjos…………..……………………………………….…………….. 22 Saria’s Songs…………..……………………………………..………………….. 24 Natural Minor Solo…………………………………..………………………….. 25 Pink Panther…………..………………………………………………………….. 26 Gerudo Valley………………………………………………………………………………. 28 Opaque…………………………………………………………………………… 30 Stairway to Heaven solo (Acoustic Version)……………………………………… 32 Stairway to Heaven solo (Electric Version)………………………………………. 33 Eruption………………………………………………………………………… 34

Songs……………………………………………………………..……………………. 35 Green Eyes…………………………………………..………………….…….….. 36 You and Me ………………………………..…………………………………….. 37 Karma Police…………………………………………..………………………….. 38 Yellow……………………………………………………………………..……….. 39 Drive………………………………………………………………………..……… 40 Daughters……………………………………………………………..…………. 41 Give A Little Bit…………………………………….…………………………….. 42 Blackbird…………………………………………………………………..…….. 44 Babe, I’m Gonna Leave You…………………………………………………….. 46 Over the Hills and Far Away…………………………………………………….. 48 Going to California……………………………………………………………… 50 Hotel California Intro…………………………………………………………… 52 Roundabout……………………………………………………………………… 53 Guitar Fretboard………………………………………………………………… 54

3

SCALES

& œ œ œ œ œ œ œ# œ

2

4

1

2

4 4 4 4

1 1

3 3

2

1

2

2

4

1

2

4

1

1

3

3

1

2

4 4

1

3

& # 44 œ(Fs)

Learning to Solo

The Major Scale

whole step half step

Constructing a major scale is really simple once you understand half step and whole step intervals. The pattern is this:Half steps between scale steps 3 & 4, and 7 & 8. Between all other scale steps are whole steps. That's it!

1 2 3 4 5 6 7 8 Steps:half step half step

1 2 3 4 5 6 7 8half step half step

C Major Scale G Major Scale

Notice scale steps 6-7 (E to F) is a half step. It needs to be a whole step, so, F has to be changed to F#. Conveniently, since scale step 7 is now F#, a half step exists between scale steps 7 and 8.

When a song is written using the notes in say, a G major scale, it is said to be in the “key of G”. It’s referring to the key signature. The key signature is shown at the beginning of each staff. It not only tells you what notes will be sharped or flat throughout the song, but because each scale is unique, each key signature is unique, and as such, you can tell what the key a song is in by the number of sharps or flats in the key signature. For instance, since the G major scale is the only scale that has only one sharp (F#), the key signature tells you that you're playing in the key of G.

4

The first step in learning to solo is to learn scales. A scale is a series of notes that follow a specific pattern. There are many types of scales and each follows a different pattern, giving each scale a unique sound. Scales are very important in that they are the building blocks of everything in a song. The notes contained in the chords, vocal melody, bass notes,and guitar solo are all taken directly from the same scale. This is very important to realize as a soloist. If, in your solo, you play notes from the same scale everything else is built from, then what you play will always sound right. With that said, some notes will sound better than others. The notes you play should be primarily the same notes in the chordssupporting your solo. You will need to train your ears to listen to your solo to make sure your notes match the chords.

Most songs are based on the major scale. The major scale is a series of eight notes separated by intervals of either half steps or whole steps. An interval is the distance between notes, and a half step is the smallest interval. On the piano, a half step is going from one key to the very next key, i.e. C to C#, or E to F. (see right) On the guitar, a half step is moving from one fret to the very next fret, i.e., moving from F to F#. A whole step is a slightly wider interval. On the piano, a whole step skips one key, i.e. C to D. (see right) On the guitar, a whole step skips one fret.

=

Key SignatureScales and Keys

Pattern #1This 2-octave major scale pattern starts on the 6th string. You can play this pattern anywhere on the fretboard. Here, the pattern starts on the 3rd fret. The note on the 6th string, 3rd fret is G. Therefore, playing the pattern here forms a G major scale. Playing this pattern on the 5th fret forms an A major scale since that is where the note, A is. Obviously, it's very important to know where to play this pattern when soloing. Of course, first you have to know what key the song is in!

Pattern #2 begins on the 5th string. Here, the pattern begins on the 3rd fret, which is where the note, C is. Therefore,playing the pattern here forms a C major scale.

The numbers indicate fingering, not frets.

Two Major Scale Patterns Pattern #2

If you played a C on the piano and played all the white keys after C until you played C again, you will have played aC Major scale. (see below) The C major scale is the only major scale in which all the notes are white keys on the piano. In other words, there are no sharps or flats in a C major scale. However, if we start a scale on any other note, one or more notes have to be altered with a sharp or flat so that the pattern of half and whole steps works out. Such is the case with the G major scale. (see below) Notice that the note, F, has to be modified to F# so that the pattern works out. No two scales are exactly alike. The D major scale, for instance contains F# and C#. B major contains 5 sharps: F#, C#, G#, D#, and A#.

Notice that the hand must shift in order to play the second octave.

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Picking Exercises

In most popular styles of guitar, soloing is usually done with a pick. Therefore, before we begin to learn to solo, it's important to get comfortable playing individual notes using the pick. Just as when strumming, downbeats are usually played with a downstroke ( ) and upbeats are played with an upstroke ( ). Below are a few simple exercises to assist you in learning picking technique.

5

Learning to Solo

&TAB

# # # 44 œ2 œ4 œ1 œ25 7 4 5

A A (add9)œ4 œ1 œ3 œ47 4 6 7

E E7

œ1 œ3 œ4 œ24 6 7 5

Bm B m(add9)œ4 œ1 ˙2

7 4 5

D E sus4 E

& # # # ....

œ2 œ1 œ4 œ25 4 7 5

A A (add9)œ4 œ3 œ1 œ47 6 4 7

E E7

œ3 œ1 œ4 œ26 4 7 5

Bm B m(add9)

œ1 œ4 ˙24 7 5

D E A

& 44 œ œ œ œ

8 5 7 8

C

œ œ œ œ5 7 4 5

Am7

œ œ œ œ

7 5 6 8

G

œ œ ˙

5 7 8

F G

& ....

œ œ œ œ8 7 5 8

C

œ œ œ œ6 5 7 5

Am7

œ œ œ œ4 7 5 8

G

œ œ ˙7 5 8

F G C

6

Pattern 1: A Major Scale

Pattern 2: C Major Scale

Notice the staff below the standard notation staff. This is called tablature, or more commonly referred to as tabs. Tabs are an easy way for non-reading guitar players to learn music. The lines represent the strings of the guitar; thetop line being the 1st string. The numbers represent the frets. Tabs are used here to supplement the standard notation since most of the notes are out of first position, which we have not learned to read yet.

Tablature

Play the scale pattern a few times with the chord progression shown. Then, try making up your own solo to the same progression. Listen carefully to make sure the notes you play match the notes in the chords being played! It may take awhile for you to hear that. Once you can, then try to create a melody that has direction: a beginning, middle and end.

& # # # # 44 œ œ œ œ7 4 6 7

E G#m4fr.

œ œ œ œ4 6 4 5

A (add9) A B B sus4œ œ œ œ5 4 6 4

C#m4fr.

A (add9) Aœ œ ˙7 6 4

E sus4 E B

& # # # # œ œ œ œ

5 7 4 5

E G#m4fr.

œ œ œ œ

7 9 11 12

A (add9) A B B sus4œ œ œ œ

12 11 9 7

C#m4fr.

A (add9) Aœ œ ˙5 4 7

E sus4 E B

7

Pattern 2: E Major Scale

& # 44 ’ ’ ’ ’G

‘ ’ ’ ’ ’Bm

‘ ’ ’ ’ ’C

& # ‘ ’ ’ ’ ’D

‘ ’ ’ ’ ’C

’ ’ ’ ’D

& # ..’ ’ ’ ’G

’ ’ ’ ’Em

’ ’ ’ ’C

’ ’ ’ ’D

& # 44 ’ ’ ’ ’G

’ ’ ’ ’C

’ ’ ’ ’G

‘

& # ’ ’ ’ ’G

’ ’ ’ ’C

’ ’ ’ ’D

‘

& # ’ ’ ’ ’G

’ ’ ’ ’C

’ ’ ’ ’G

‘

& # ..’ ’ ’ ’G

’ ’ ’ ’D

’ ’ ’ ’G C

.Û JÛ |G D

Soloing in the Key of G

8

Progression No. 1

Progression No. 2

Practice soloing using pattern #1 or pattern #2 of the G major scale. This is a time to explore your creativity. Themost important thing is to listen carefully! Make sure the notes you play match the notes being played in the chordaccompanying you. Once you feel comfortable doing this, then try to make up a singable melody. This will make your solos far more interesting than just playing scales or random notes that make no melodic sense. It will also teach you to create solos that have shape, direction, and growth—a beginning, middle and end. This is your goal.

& w w w w w w w w w ww w w

1C

2D

3E

4F

5G A

6

1

7

2

B8

3

C

4

D

5

E

6

F

7

G

8

AC Major Scale A minor Scale

& w w w w w w w w1

A

2

B

3

C

4

D

5

E

6

F

7

G

8

A

1/2 step 1/2 step

& w w w w w w w w1 2 3 4 5 6 7 8

Natural Minor

w w w w w w w# w1 2 3 4 5 6 #7 8

Harmonic Minor Raised 7th

w w w wwwww# w w# w

1 2 3 4 5 6 #7 8E7

& 44 œ œ œ œ œ œ œ œ1 3 4 1 3 4 1 3

A minor scale (natural)

œ œ œ œ œ œ œ# œ1 3 4 1 3 4 2 3

A harmonic minor scale

The scale lets you know which notes you can play. It's literally the pallete of notes you can choose from. Once you know what keya song is in, you then choose which corresponding scale you will use. After that, your only limit is your imagination (and technique).

Every note has a corresponding major scale and minor scale. In fact, the major and minor scales are related to each other. Each minor scale shares its notes with one major scale. For instance, the notes in the A minor scale are exactly those in the C Major scale. The A minor scale simply starts on a different note—specifically, the sixth scale degree. This is why we say for instance, that the A minor scale is the "relative minor" to C major.

So then, if C major and A minor share the same notes, how are they different? First of all, because the starting note is different, the pattern of whole and half steps is also different. Whereas the half steps in a major scale are between scale steps 3 & 4 and 7 & 8, the half steps in a minor scale are between scales steps 2 & 3, and 5 & 6.Because the pattern is different, the quality of the sound is different, just as the quality of a minor chord is different from that of a major. Furthermore, because the notes have a different position in the scale, they have a different hierachy. For instance, in the A minor scale, A is the tonic, (1st note of the scale), and as such, it is the most important note of the scale. Therefore, the chord built on this scale degree (Am), is the most important chord. The Am chord was much less significant residing on the 6th scale degree in the C major scale.

We already know that the dominant 7th chord (the chord built on the 5th scale degree) has a function—it causes us to anticipate the tonic chord. But in a minor scale, the chord built on the 5th scale degree is always a minor chord. If we could make this chord major, the pull to the I chord would be greater. Therefore, it is very common to raise the 7th scale degree of the minor scale so that dominant chord will be major. Since the raising of the 7th scale degree changes the harmony of the dominant chord (or simply, the "Five chord"), we call this version of the minor scale "harmonic minor." (see below)

The key of C major & A minor share the same notes.

V chord now has G# as its 3rd, making it an E7 instead of Em7.

"Once you know which notes you're suppose to play, and which notes you aren't suppose to play, then you can go crazy. There's no limit to what you can do." —Yngwie Malmsteen

9

The Minor Scale

To the right are two patterns for the natural and harmonic minor scales. One pattern starts on the 6th string and the other starts on the 5th string. These patterns can be moved anywhere on the fretboard to match the key that you're playing in.

So, which scale should you use? You would use the harmonic minor scale when the V chord in the progression you're soloing over is major. If the V is minor, use the natural minor scale.

Lastly, raising the 7th scale degree gives this scale a very exotic sound, particularly when playing the 6th, 7th, and 8th scale degrees.

Tonic on the 6th String Tonic on the 5th String

Natural Minor

HarmonicMinor

A Minor Scale

Natural and Harmonic Minor Scales

Minor Scale Patterns

& # 44 ’ ’ ’ ’Em

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

& # ’ ’ ’ ’Am

’ ’ ’ ’ ’ ’ ’ ’Em

’ ’ ’ ’

& # ’ ’ ’ ’Bm

’ ’ ’ ’ ’ ’ ’ ’Am

’ ’ ’ ’

& # ..’ ’ ’ ’Bm

’ ’ ’ ’ ’ ’ ’ ’Am

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& 44 ’ ’ ’ ’Am

5fr.

’ ’ ’ ’F

’ ’ ’ ’Am

5fr.

’ ’ ’ ’F

& ..’ ’ ’ ’G

3fr.

’ ’ ’ ’Em

5fr.

’ ’ ’ ’G

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3fr.

’ ’ ’ ’Am

5fr.

Soloing in Minor Keys

10

E Minor Progression

Improvise a solo using pattern #1 or pattern #2 of the E natural minor scale. Again, listen to what you play and try to make your notes match the notes in the chords accompanying you. With that said, you don't want to just play random notes, even if those notes do match the chords being played. That's like speaking nonsense words – the individual words may be all in English, but put together, they do not form a coherent phrase or sentence–it's just gibberish. The same applies to music. When soloing, you want to create musical sentences – melodies that flow, have shape, and have movement. Strive to make your solos melodically and rhythmically interesting. Of course, you need to be comfortable with your scales and technique before you can be freed up to spontaneously create solos that are musical and confident. So, be patient with yourself. Again, for a few, soloing comes more natural. For most, soling is not so intuitive. How do you get better? By listening. This is the most importantthing to learn—even more important than learning scales and technique.

A Minor Progression

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1

A

2

B

3

C

4

D

5

E

6

Fs

7

G

8

G Major Scale œ œ œb œ œ œb œ œG

1

A

2

Bf

3

C

4

D

5

Ef

6

F

7

G

8&G Minor Scale

& œ œb œ œ œnG

1

Bf

f3

C

4

D

5

Fn

f7

G Minor Pentatonic Scale œ œb œ œ œ

G

1

Bf

3

C

4

D

5

F

7

& G Minor Pentatonic Scale

21

3456

3rd Fret

PATTERN 1

111111

333

4

44PATTERN 2

111

5th Fret

2

22 344444

PATTERN 3

1

7th Fret

22211

44443 4

10th Fret

11111 2

33 44

44PATTERN 5

11PATTERN 4

12th Fret

2222

444444

& # 44 ......

....

..œ≥

œb≤

œ≥

œ≤ œn œ œb œ

3 53 5

3 53 6

etc. œ œn œ œb œ œ œ œ3 6 3

3 6 6 35

œb œ œn œ œ œb œ3

5 35 3

6 3

The Minor Pentatonic Scale

Below are five patterns to the Minor Pentatonic scale. You can use these patterns anywhere on the fretboard. However, make sure the scale you play corresponds with the key of the song. For instance, the five patterns below are all G Minor Pentatonic scales, asindicated by the fret numbers below the pattern. If the song is in the key of G Major or G Minor, you would play these patterns at those locations.

The numbers indicate the fingering (not frets) and the circled numbers indicate the tonic (the first note in the scale). In other words, all the circled numbers below are G's. If we used pattern 1 (which is the most common pattern), we would begin the pattern on the 3rd fret, because that is where G is on the 6th string. In the key of A, we would begin pattern 1 on the 5th fret, since that's where A is.

Notice how the patterns overlap each other. For instance, compare the notes in the first two frets of Pattern 2 (frets 5 & 6) with the last two frets in Pattern 1 (frets 3 & 4). They're the same notes. The brackets indicate the overlap between all patterns.

5 Minor Penatonic Scale Patterns

Below is an exercise using Pattern 1 of the G minor pentatonic scale. Use an alternating, up ( ≤ ) and down ( ≥ ) picking pattern.

One of the most useful scales for guitarists is the minor pentatonic scale. As the name implies, a minor pentatonic scale is a five-note scale. It is used extensively in all styles of guitar, especially in rock styles. Below (left) is a major scale and a minor pentatonic scale. Notice that when compared to the major scale, the minor pentatonic scale omits scale steps 2 and 6, and flattens scale steps 3 and 7. Looked at this way, the pattern for a minor pentatonic scale is: 1, 3, 4, 5, 7.

However, when compared to a minor scale, the notes of the minor pentatonic scale are unaltered. (Below right) The only difference between a minor pentatonic scale and a natural minor scale is that scale steps 2 and 6 are eliminated. Looked at it this way, the minor pentatonic scale is like playing the minor scale (or five notes from it), even when you're in a major key. In other words, whether a song is in the key of say, G major or G minor, you can use the G minor pentatonic scale. Of course, you can also use other scales. It all depends on the style of the music and the sound that you want to acheive through that scale.

(3rd & 7th flatted) (No notes are altered)

11

f f

&TAB

# 44 ....

..

..

.œ Jœb œ œ œn œ5 3 5 3 5

3fr.

1. q q q e3

=Swing the notes

.œ Jœb œ œ œn œ3

5 3 5

.œ Jœb ˙3

œ œb œ œ œ œ œ œn5 3 5 3 5 3 5 3

&TAB

# 44 ....

.œ Jœb œ œ œn œ3 6 3 6 3

2. œ œn œ œ œ œ œ6 3 5 3 5

.œ Jœb œ œ œn œ3 6 3 6 3

œ œn œ œ ˙6 3 6 3

&TAB

# 44 ....

œ œb œ œ œn œ œbœ

3 6 3 53 5 3 5

3. œ œn œ œ ˙3 6 3 6

œ œb œ œ œn œ œbœ

3 6 3 53 5 3 5

œ œ œ œ ˙3 5 3

3

&TAB

# 44 ....

œ œn œ œ œ œ3 6 3 6 3 5

4. œ œ œb œ œ œ3 5 3 5 3 5

œb œ œn œ œ œ3 5 3 5 3 5

œn œ œ œ ˙3 5 3 5

&TAB

# 44 ....

œ œn œ œ œb œ œ œ œ3

3

3 6 3 5 3 5 3 5

5. œ œn œ œ œb œ œ œn œ3

3

3 6 3 5 3 5 3 3

œ œn œ œ œb œ œ œ œ3

3

3 6 3 5 3 5 3 5

œb œ œn œ œ œ ˙3 3

3 5 3 5 3 5 3

&TAB

# # # 44 ....

œ œn œ œ œ œ œ œ œn œ œ œ3 3 3 3

5 8 5 8 5 7 5 7 5 7 5 7

5fr.

6. œn œ œn œ œ œ œ œ3 3

5 7 5 7 5 7 5 7

œ œn œ œ œ œ œ œ œn œ œ œ3 3 3 3

5 8 5 8 5 7 5 7 5 7 5 7

œn œ œn œ œ œ œ œ œ œ œ œn3 3 3

3

5 7 5 7 5 7 5 75 7 5 8

12

Minor Pentatonic Licks

"Don't play with your fingers; play with your ears. Although I play fast sometimes, I don't believe speed and technique are as important as a lot of people say. As far as I'm concerned, music is ultimately about creating melodic ideas and making sure that the stuff you're playing is musical and fits over a chord progression." — Yngwie Malmsteen

Now that you've learned the minor pentatonic scale, the next step will be to learn licks based on that scale. Licks are simply short musical fragments. Learning licks will allow you to see the relationship between the lick and the scale. For instance, licks 1 - 5 on this page are based on pattern 1 of the G minor pentatonic scale. Also, learning licks will help you to get comfortable with the whole idea of soloing without actually having to create anything. When it is time to create, these licks will give you some ideas to use, allowing you to draw upon them. You can use the whole lick or take portions of a few and splice them together to create something that is your own. Don't worry, this is how everyone starts out. Every beginning artist needs to first imitate others before they find their own creative voice. Even when your own voice does manifests itself, it will still reflect its influence from other artists. We are all influenced by the music we listen to. It's unavoidable.

&TAB

# # 44 ....

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6

6

66

10 7 10 7 9 7 10 7 9 7 9 7 9 7 9 7 9 7 9 7 9 7 10 7

7fr.

7.etc.

4

w

9

œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ

œ6 66

6

7 10 7 97 9 7 9 7 9

7 9 7 9 7 97 10 7 9 7 10

7 10

w

7

&TAB

# # # 44 87 ....

44 ....

‰ jœn jœ5 7

8. jœnjœ œ œ œn Œ Œ

5 7 5 7 8

œ œ œn œ œ œ œa œ œ œ œ jœn œ

5 7 5 5 7 7 4 7 5 7 5 7

&TAB

# # # 44 ‰ . rœ œn œ# œ œ œn œ œ œ œ œ œ œ3

7 5 6 7 75 7 7

5 5 7 5 7

9. œ œ œn œ œn œ œ œ œ œn œ .œ7 7 5 7 5 7 7 5 7 3 5 0

www220

&TAB

# 44 .. .... ..

# # # 44œ œ œn œ œb œ œ œ œ œ œ œ œ œ œ œ5 3 6 3 6 3 6 3 5 3 6 3 6 3 6 3

q = 148Outro to Lynyrd Skynrd's Freebird.G

Bf 2nd timeC 3rd & 4th times œ œn œ œ œ œn œ œ œ œn œ œ œ œn œ œ

3 3 3 3

5 8 5 7 5 8 5 7 5 8 5 7 5 8 5 7

A 7q = 172From Rock and Roll, by Led Zeppelin

&TAB

bb 44 Jœ œ œ

7 6 8

q = 1602

jœœn œœ> œœ œœ jœœn œœ> œœ œœ jœœn œœ> œœ5566 66 66 5566 66 66 5566 66

œœ œb œ œ œ# œ œ œb66 9 8 6 6 7 8 6

jœœ# œœ> œœ œœ jœœ œœ> œœ œœ jœœ œœ> œœ

6778 78 78 6778 78 78 6778 78

32

jœ# œ œœ œœ œœ œn œ œ6 7 67 87 67 5 3 5

2*

*( )

*optional

&TAB

bb ....

..

..

œ jœ œ œ œ jœ œ œ jœ

8 6 8 6 8

Jœ œ jœ Jœ œ jœ œ

6 8 6 8 6

œ œ œb œ œ œ œ

6 6 9 8 6 8 6

œb œ œ œ œ# œ œ œ œ

9 8 6 8 6 766 9

œ œ œ jœ œ œ œ jœ œ

8 6 8 6 8 6

œ jœ# œ .˙

8 6 7 8

full full full full full full full

Classic Rock Licks

13

"To get fast on guitar, you just have to play everything a million times. It's a matter of repetition and practice."—Zakk Wylde

This Zakk Wylde lick is nothing more than a minor pentatonic scale which dovetails itself. Initially, use alternate picking. Then, use pull-off's going down the scale, and hammer-on's going up.

This next lick's from Black Dog. Notice the passing note, G# (3rd note on 6th fret).

These next two licks are by Jimmy Page of Led Zeppelin. In both licks, Page uses uses a note which is outside the minor pentatonic scale, but within the key the song is in. Notice how these notes give the lick flavor and poignancy. The first is from The Ocean.

Chuck Berry's opening motif in "Johnny B. Goode" is one of the greatest and most-copped rock licks of all time.

These next two licks are looped. They're easy to play, not the most creative, but they sound impressive at quick tempos.

11111

12 3

334

444111

2222 3

44444

4

41

22211

3

2

44434

44

11111

22 33

4444 4 4 11

2222 3

44444

4 4

&TAB

# # # 812 Œ jœ jœn œ# œ œ œn œ œ œ œ œ

75 6

55

85 7 5

8 5

q. = 88 jœn œ# jœ œn jœ Ó .5 6

7 5 4

&TAB

# # # # 812 # # # # # 812œ œ œn jœ œ œn œ œn œ œb œ œ œ œn2 4

34 2 0

2 02 1 0 1 0

3

q. = 1002

1

22 1

3

.˙ Ó .

2

Œ . ‰œn œ# .˙

13

B7q. = 60 œn œ œ œ œ œ œn Jœ Œ .

1012

1012

1110 10

13

21

1/2

1/4

1/4

&TAB

# # 812 jœ7

q. = 1001 œ œ# œ œ œ œ œ œ œ œn Jœ#

7 8 9 9 1211

10 12 1010 11

32

1 3 1 œ œ œ œ ‰ jœ œn œ Jœ .œ

7 9 79

9 9 7

1 33

3 1

1/2

14

The Blues

The blues scale is essentially a minor pentatonic scale with an added note — the 4, which is the note on 4th scale stepraised by half step. Compare the scales to the right. Notice that the only difference between the A blues scale and the A minor pentatonic scale is that the blues scale adds the D , which is the raised 4th scale degree in the key of A.

The blues patterns are identical to the minor pentatonic, and the added note (circled) usually fits right under the fingers. Again, notice how the patterns dovetail each other.

Pattern One Pattern Two Pattern Three Pattern Four Pattern Five

This blues lick is in open position, which means that is located within the first five frets, uses open strings, and doesn't follow the pattern of any of the five block patterns above.

s

Blues LicksThis lick, based on pattern one, can be traced back to Delta bluesmen like Robert Johnson and Son House. Notice the grace notes that move on the 3rd (C to C#). This is a pianistic way of playing a blues note (i.e. 3), as opposed to bending the C up to C#. f

This Stevie Ray Vaughan lick is from his recording of "The Sky is Crying", by Elmore James.

= Tonic (1st scale degree)o= Raised 4th scale degree

s

Blues Scale ScalesA MinorA Minor Pent.A Blues

1AAA

2B

3CCC

4DDD

4#

D#

5EEE

6F

7GGG

8AAA

&TAB

# # # # 812 œ œ œ œœ œ .˙

21

20

20

2

B7

q. = 68

œ œ œn œœ œ .˙

02

02

02

0

A7

.œ œnœ œ œ œ# œ œn œn œ

05

45 4

34 3

23

21

2œœ ‰ œ œ# J

œœœœœ.....

˙̇˙˙̇20

0 1 JÛ |

B7

&TAB

# # # # 812 # # # # 812œjœ œn œ œ œ œ œ œn œ œ

02

52

5 42

4 32

3

³ ² ³ ² ³ ³ ² ³ ³ ² ³

q. = 68

1 4 3 2œœ ‰ œ œœn#

jœœ# ..˙̇20

001

12

³ ³ ³ ³

21

œ œ œ œn œ œ œ œ œ œn œ œ5

05 3

03 2

02 1

01

³ ² ³ ³ ² ³ ³ ² ³ ³ ² ³

2 0 2œœ ‰ œœ œœn# Jœœ# ..˙̇00 2

233

44

³ ³ ³ ³

&TAB

# # # # 812 œ œ œn œ œ œ œ# œn œ œ œ œ

44

34

43

33

23

32

q. = 60

2 3 1

œn œ œn œ œ œ jœn œ# œ œ œ ‰2

21

22

10 1

00

2

1

2

œ œ œn œ œ œ œ# œn œ œ œ œ

44

34

43

33

23

32

œn œ œn œ œ œ Jœœœœ Œ Œ .

22

12

21

0012

E

&TAB

# # # # 812 œ œ œ œ œ œ œ# œn œ œ œ œ4

44 4

44 3

33 3

33

q. = 60

Jœœœ Œ jœn ..œœ jœ ..œœ jœ ..œœ440 3

05 3

05 3

05

œ œn œ œb œ œn œ œn œ œb œ œn5 3 0

3 2 02 0

2 1 03

jœŒ Œ . Ó .

0

&TAB

# # # # 812 jœœn œœ œœ œœ œœ œœ œœ œœ ‰ œœ ..œœ32

54

54

54

54

54

54

34

34

³ ³ ³ ³ ³ ³ ...etc.

q. = 8823 2

1jœœn œœ œœ œœ œœ œœ œœ ..˙̇

32

54

54

54

54

54

54

34

jœœn œœ œœ œœ œœ œœ œœ œœ œœ œœ ..œœ32

54

54

54

54

54

54

34

34

34

34

œ œb œ œn œ œ œ œ œ# .œ4 3 2 0

2 2 20 1 2

3 2 1

21 2

&TAB

# # # # 812 œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ20

20

40

40

20

20

40

40

q. = 76

œœn ‰ œœ œœ ‰ œœŒ Jœœ

> ..œœ

50

20

40

20

54

œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ20

20

40

40

20

20

40

40

œœn ‰ œ œ#‰ œœœœœ# >

.....˙˙˙̇̇

50

0 1 JÛ> |

B7

Blues Intros15

The most common four-bar blues intros are generally based around the last four bars of a standard 12-bar blues progression.

Another typical blues intro is to use a descending line based around only the tonic chord. Notice the triplet picking pattern.

Similar to the last intro, this lick uses the open first string as a pedal tone as the second string's notes descend.

This intro uses a descending dominant 7th shape. The picking pattern is in the following order: 3rd, 1st, & 2nd string.

Palm mute

& # # # 812 Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛA

3

5fr.A 6

3

4

5fr.A 7

3

5fr.A 6

3

4

5fr.

Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛD

3

5fr.D 6

3

4

5fr.D 7

3

5fr.D 6

3

4

5fr.

& # # #3 Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛA

3

5fr.A 6

3

4

5fr.A 7

3

5fr.A 6

3

4

5fr.

‘

& # # #5 Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛD

3

5fr.D 6

3

4

5fr.D 7

3

5fr.D 6

3

4

5fr.

‘

& # # #7 Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛA

3

5fr.A 6

3

4

5fr.A 7

3

5fr.A 6

3

4

5fr.

‘

& # # #9 Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛE

3

7fr.E 6

3

4

7fr.E7

3

7fr.E 6

3

4

7fr.

Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛD

3

5fr.D 6

3

4

5fr.D 7

3

5fr.D 6

3

4

5fr.

& # # # ..11 Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛA

3

5fr.A 6

3

4

5fr.A 7

3

5fr.A 6

3

4

5fr.

Û ‰ Û Û ‰ Û Û ‰ Û Û ‰ ÛE7

Classic Blues Progression in A16

Optional: Palm mute

17

SOLOS

&

&TAB

&TAB

#

#

#

44

44

44

Rhythm

I

II

Û≥g Û≤ ‰ JÛ≤ Û≥. Û≥.

œ œ œ œ œ œ

7 7 7 7 8 7

œ œ œ œ œ œ

8 8 8 8 10 8

Em

12

2

2

4

A

With a smooth, tango feel q = c118

‰ Jœ œ œœ œ

7 7 7 12 7

‰ Jœ œ œ œ œ

8 8 8 8 8

44

3

œ œ œ œ œ œ

10 10 10 10 7 10

œ œ œ œ œ œ

7 7 7 7 8 7

B7

2

1

1

2

2

‰ Jœ œ œ œ œ

10 10 10 7 10

‰ Jœ œ œ œ œ

7 7 7 8 7

2 œ œ œ œ œ œ

8 8 8 8 10 8

œ œ œ œ œ œ

9 9 9 9 7 9

Em

4

3

3 1

&

&

#

#

..

..

..

..

..

..

..

..

..

..

..

6 ‰ Jœ œ œ œ œ

8 8 8 10 8

‰ Jœ œ œ œ œ

9 9 9 7 9

œ œ œ œ œ œ

7 7 7 7 8 7

œ# œ œ œ œ œ

8 8 8 8 9 8

B7

1 2

2

3

3

‰ Jœ œ œ œ œ

7 7 7 8 7

‰ Jœ# œ œ œ œ

8 8 8 9 8

w

9

w

9

Em

3

3

3

w

w

18

Tango to EvoraLoreena McKennittarr. L.Warde

*Depending on its function, all parts can be played with or without a pick. As a duet, a rest stroke is preferred. As a picking exercise, use a pick.

*

*

*

&

&

#

#

..

..

..

..

..

..

..

..

..

..

..

11 œ œ œ œ œ œ

10 10 10 10 12 7

œ œ œ œ œ œ5 5 5 5 8 5

Am

24 1

4

2

1

2

B

‰ Jœ œ œ.œ œ œ

10 10 10 12 10 8

‰ Jœ œ œ.œ œ œ

5 5 5 8 7 5

4 224

4 3 1

œ œ œ œ œ œ

7 7 7 7 8 7

œ œ œ œ œ œ

8 8 8 8 5 8

Em

1 2

4 1

2

‰ Jœ œ œ œ œ

8 8 8 10 8

‰ Jœ œ œ œ œ5 5 5 7 5

2 4

31 1

2

2 2

&

&

#

#

..

..

..

..

..

..

..

..

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15 œ œ œ œ ˙

7 7 7 7 7

œ# œ œ œ ˙

4 4 4 4 7

B7

11

14

2

‰ Jœ œ œ œ œ7 10 8 7

‰ Jœ œ œ œ œ#7 7 5 4

21

2 1

4

1.

2 w

8

w5

Em

2

w

w

w

9

w5

Em

3

3

2.

2

w

w

19

& # # 44 ..œ! œ"2 œ! œ! œ! œ" œ!

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1 4 2 1 œ! œ! œ! œ! œ"D

21

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4 2 11 .!̇ œ! œ"D

2 2

& # # ..œ! œ! œ! œ" œ!

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4 2 11 œ! œ! œ! œ! œ"D

22

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12

1.

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.!̇ œ! œ"G

3

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2

3

& # # ..œ! œ! œ! œ!D G

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3

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& 44 ..œ! œ"2 œ! œ! œ" œ! œ! œ"G

21 œ! œ" œ! œ" œ! œ! œ"

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3

1.

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3

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1 3 3 1 œ! œ" œ! œ! œ! œ"C

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2

& ..jœ! œ" jœ" œ! œ" œ! œ"G

œ! œ" œ! œ" œ! œ! œ"G C

œ! œ! œ! œ" œ! œ"G 1.

œ! œ! œ! œ! œ"D G 2.

œ! œ! !̇D G

20

Traditional English/AmericanOver the Waterfall

Red-Haired BoyTraditional Irish

& # # 43 ..œ! œ"A

1 2.œ! Jœ" œ

! œ"D

2 11

!̇ œ! œ"D/F#

1 33 .œ! jœ" œ! œ

"G

3 1 œ!

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1

& # #5 œ!

œ! œ!

D D/C#

3œ! œ! œ!Bm

1 21 .œ! Jœ" œ!

G

2 !̇ œ! œ"A7

12

& # #9 .œ! Jœ" œ! œ"

D

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!̇ œ! œ"D7

31 3

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3 1 œ!

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1

& # #13 œ!

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1 21 œ! œ! œ!

A7

12

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32

& # #17 !̇ œ! œ"

D

B

1 3

!̇ œ!D7

21

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21 .˙

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& # #25 œ! œ! œ

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31

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4

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G

1 233

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13

& # # ..29 œ!

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1 23 .œ! jœ

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A7

1 3 ˙! œ! œ"D

12

21

Ashokan FarewellJay Ungar

&

&

c

c

Guitar 1

Guitar 2

œ œ œœ U̇

∑

GVery Free

34

2

∑

œ œ œ œU

œ œ œœ U̇

∑

G

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œ œ œ œU

G

&

&

5 Û≥ Û≥ |u≥ ‰U Û Û

Œ ‰U Û≥ Û≤ Û≥ Û≥ Ûu≥

G C G G

G C G

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C G

G C G

1

&

&

7 œ œ œ œ œ œ œU

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3

2

1

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1

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3

2

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2

&

&

11 œ œ œ œ œ œ œU

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3

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3

21 3

&

&

15


Ó Œ ‰U œ œ2 3


3

21

3


Ó Œ ‰U œ œ2 3

1


3

31 3

22Dueling Banjos

Arthur "Guitar Boogie" Smith

&

&

19


Ó Œ ‰U œ œ2 3

Ó Œ ‰U œ œœ œ œ œ œ œ œU2 1 3

œ œ œ# œ œ œ œU

Ó Œ ‰U œ œ1

3 13

2

Ó Œ ‰U Û Ûœ œ œ# œ œ œ œU

G

1 2 4 2 1

&

&

23 Û Û |u‰U Û Û

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C G G

G C G

Û Û |u‰ œ œ

Œ ‰U Û Û Û Û Û

C G

G C G

&

&

25 œ œ œ œ œ œ œ

œ œ œ œ œ œ

In time3

12

1

œ œ œ œ œ œ

œ œ œ œ œ œ œ3 1 2

1 œ œ œ œ œ œ œ

œ œ œ œ œ œ

31 2

&

&

28 œ œ œ ‰ jœœ œ œ œ œ œ œ œ3 1 2

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

2

2

accel.

accel.

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

2 2

22

& ..31 œ Û œ Û œ Û œ ÛC

All Downstrums

33

Fast {q = c 140}

4

Gtr. 1& 2

œ Û œ Û œ Û œ ÛG

œ Û œ Û œ Û œ ÛD

œ Û œ Û œ œ œ œ

G

&35 œ Û œ Û œ Û œ ÛC

33

4 œ Û œ Û œ Û œ ÛG

œ Û œ Û œ Û œ ÛD

œ Û œ Û œ Û> Û>U

G

23

& c ....œ≥ œ≤ œ≥ œ≤ œ

≥ œ≤ œ≥ œ≤3 2(palm mute)

Gtr. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ1 œ œ œ œ œ≥ œ≤ œ≥ œ

≤3

&& ..

..

..

5

œ≥ œ≤ œ≥ œ≥ œ

≤ œ≥

œ≥ œ≤ œ≥ œ≤ œ œ œ œ2 1 3

31

2

œ≥ œ≤ œ≥ œ≤ œ≥ œ≥ œ≤

œ œ œ œ œ œ œ œ

2 10 œ≥ œ≤ œ≥ .œ jœ≤

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3

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3

&&

9

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≤ œ≥ œ≤ œ≥ œ≥ œ≤


2 10œ≥ œ≤ œ≥ .œ Jœ

≤

œ œ œ œ œ≥ œ≤ œ≥ œ

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œ œ œ œ œ œ œ œ2

3

&&

13

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≥ œ≤ œ≥

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31

5 1

3

5

1 21 3

340

0œ≥ œ≤ .˙≥

œ œ œ œ œ œ œ œ41 3 1

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œ œ œ œ œ œ œ œ3 15 1 35

2 13

4 3

0 210 1 3

3 œ œ .˙œ œ .˙

œ œ œ œ œ œ œ œ41 3 1

103

2

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17


≥ œ≤ œ≥

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340

0œ≥ œ≤ .˙≥

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11 0

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23 20 2

&& ..

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20 œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ≥ œ≤ œ≥


≥ œ≤ œ≥41

3

3 1 100 2 1301 ww≤

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3

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œ≥ œ# ≤ œ≥ œ≤ œ.

≥ œ.≤2

1

Saria's Song (Lost Woods)from Zelda - Ocarina of Time

arr. L.Warde

(Optional: Guitar 3 plays smaller notes.)

24

for 2 (optional 3) Guitars

&TAB

44 œ œ œ

57 5

q q q e3=1 3

21 œ œ Ó

75

3 1

Am7

œ œ œ œ œ œ œ œ œ œ œ œ œ

5 75

75 7 5 7

5 85

85

1 3 143 1 1

œ .œ œ œ ˙

8 78 5

4fr.

4 34 1

&TAB

4 œ œ œ œ œ œ œ œ

68

57

75

58

1/2 V

142 3

31

14

(optional)

œ œ œ œ ˙

6 57 5 7

Dm72

1 3 1 3œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ5

8 6 5 8 6 57

6 57 5

57 5 4

1 4 14

31 31 3122 2

1 1 1

&TAB

7 œ œ ˙

75

8

14

Am7


5 8 75

87 5 8

33

1 41 4

41 œ œ ˙

75

7

Em7

3 14

&TAB

..

..

10 .œ œ œ œ œ

6 5 6 55

2

Dm7

1 1 œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3

75 6 8

5 75 6 8

5 7 8

3 1 24 1 3

1 2 4 13 4

Am7 w

5

1

Natural Minor Solo25

Notice how this solo fits right under Pattern 1 of the A natural minor scale.

&TAB

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Henry Manciniarr. L.Warde

Pink Panther

*Optional percussive palm mute on beats 2 & 4

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28Gerudo Valley's Theme

from Zelda - Ocarina of Timearr. L.Wardefor Guitar Trio

3rd time: fine

3rd time: Gtr. 3 strum on beat 1 only to m. 11.

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31

&TAB

c Ó Œ œ œ œ4 2 0

3 1 0˙ œ œ œ œ œ œ œ œ5 5 8 5 7 5 7 7 5

11 4

1 31 3

3 œ œ œ œ ‰jœ Jœ œ œ

7 5 8

8 10 8 8

23

1

&4jœ œ œ œ jœ œ .œ œ

8 10 8 10 8 10 8 10

23

3 13 1 3 œ œ œ œ œ .œ ‰ Jœ œ œ œ œ

8 10 8 10 8 10 55 8 5 7

1 3 1 31

3

&6 œ œ œ œ œ œ œ œ œ œ œ œ œ

5 7 7 5 7 5 7 5 75 7 5 5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ0

5 8 5 7 5 7 7 5 7 5 7 5 8

0

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12 10 12 10 12 10 12 1412 12 14 13

5

13 3 1

2

1 32

jœ œ œ œ œ .œ œ œ œ œ œ œ œ1012 10 13 10 13 5 8 6 5 7 5 7

2 1 3 1

1 4 1 4

3

3 w

Stairway to Heaven 32

Most of the Stairway to Heaven solo was created out of pattern 1 of the minor pentatonic scale. The bends in the original solo were replaced with slides, since the strings on an acoustic guitar (especially those on a classical guitar) are much less pliable than those on an electric. The last part of this solo excerpt is written an octave below the original, making it more practical to play on the classical guitar.

Excerpt of Guitar Solo Adapted for Acoustic Guitar

&TAB

c Ó Œ œ œ œ4 7 5

˙ ˙ œ œ œ œ œ œ œ œ7

5 8 5 7 5 7 7 5

œ œ œ œ ‰ Jœjœ œ œ

7 5 8

8 8 8

2 œ œ œ œ jœ œ .œ œ

8 8 58 10 8 10

1 2full

fullfull

fullfull full

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5 8 5 7

œ œ œ œ œ œ œ œ œ œ œ œ œ5 7 7 5 7 5 7 5 7

5 7 5 5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ0

5 8 5 7 5 7 7 5 7 5 7 5 8

0full

full

&8 œ. œ œ œ œ œ œ œ œ œ œœ

12 10 12 10 12 10 12 1412 12 14 13

5

13 3

12 œ jœ œ œ œ .œ œ jœ œ œ œ rœ œ œ œ2

15 15 13 15 13 15 15 13 15 15 13 14

33

full fullfull

full full full

&10œ œ rœ œ œ œ œ œ rœ œ œ œ œ œ rœ œ œ œ œ œ rœ œ œ œ

3 3 3 3

13 15 15 13 14 13 15 15 13 14 13 15 15 13 14 13 15 15 13 14

œ œ rœ œ œ œ œ œ rœ œ œ œ œ œ rœ œ œ œ œ œ rœ œ œ œ3 3 3 3

13 15 15 13 14 13 15 15 13 14 13 15 15 13 14 13 15 15 13 14

full full full full

full full full full

full full full full

full full full full

&12œ œ rœ œ œ œ œ œ rœ œ œ œ œ .œ

rœ

3 3

13 15 15 13 14 13 15 15 13 14 1315

œ œ œ œ œ œ œ œ œ œ œ œ œ rœ œ

12 15 12 15 13 14 13 15 13 14 13 1515

full fullfull

full fullfull

full

full

&14œ œ œ .˙

15 13 14

‰ Jœjœ œ œ œ œ œ œ œ œ œ œ œ

15 15 17 15 15 (13) 14 15 13 14 13

w œ

15

‰ .œ œ œjœ œ œ œ œ

14 14 14 12 14 12

fullfull

full full

1 1/2 1 1/2

1 1/2 1 1/2

&18 w

14

‰ .œ œ ‰ œ œ œ œ œ œ10 6 5 7 5 7 5

œ œ œ œ .˙7 5 7 5 7

≈œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ jœ

3 3 3 3 3 3

17 20 17 17 20 17 17 20 17 17 20 17 17 20 17 17 20 17 17 20

Bar 17

2

2

full

full

Stairway to Heaven Full Solo for Electric Guitar

33

&TAB

47 œ# œ#1 œ43

9 2 5

2 (All on the 2nd string)T

7X

T 7X

P H

P H

œ œ# œ3

10 2 5

7X

7X

T P H

HPT

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10 4 7

simile

simile

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12 5 9

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13 5 8

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15 7 10

œ œ# œ3

17 9 12

& 44 ....

..

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œ œ œ œ œ œ œ œb œb œ œ œ3 3 3 3

8

17 12 15 17 12 15 17 11 14 17 11 14

œ œ œ œ œ œ œ œ# œ œ œ œ3 3 3 3

17 10 13 17 10 13 17 9 12 17 9 12

&œ œ œ œ œ œ œ œ# œ œ œ œ

3 3 3 3

10

15 10 13 15 10 13 15 9 12 15 9 12

œ œn œb œ œ œ œ œ# œ œ œ œ3 3 3 3

15 8 11 15 8 11 15 7 10 15 7 10

&œ œ œb œ œ œ œ œ# œ œ œ œ

3 3 3 3

12

13 8 11 13 8 11 13 7 10 13 7 10

œ œn œb œ œn œ œ œ œn œ œ œn3 3 3 3

13 6 9 13 6 9 13 5 10 13 5 10

& 47 44œ œ# œ#3

14

12 4 7

7X

7X

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12 5 8

7X

7X

œ œ# œ#3

12 4 7

7X

7X

œ œ œ œ œ# œ# œ œ œ œ œ œ3 3 3 3

12 5 8 12 4 7 12 5 8 12 4 7

& œ œ œ œ œ# œ# œ œ œ œ œ œ3 3 3 3

18

12 5 8 12 4 7 12 5 8 12 4 7

œ œ œ œ œ# œ# œ œ œ œ œ œ3 3 3 3

12 5 8 12 4 7 12 5 8 12 4 7

jœ wj12 8

ERUPTIONVAN HALEN

*1. Tap the first note with the index finger. 2. With the index finger still down on the string, (and the index finger of the left hand down on the second note), Pluck the string. 3. Finally, with the 3rd (ring) or 4th finger (pinkie) of the left hand, Hammer-on to the third note.

*

34

35

SONGS

& # # # 44 ..A

VERSEE Bm

‘ 4X

& # # # .. ..Bm PRE –

CHORUS

‘D

‘A

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‘

& # # # .. ..Bm

CHORUS

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& # # #Bm

‘ ‘ ‘ D.C.

& # # #A

TAG

‘Bm

‘ ‘ ‘

& # # #A E Bm

‘A E Bm

ColdplayGreen Eyes

36

& # 86 ..G C (add9)

VERSED/F# G/B Em7 D sus4 C (add9) C (add9)

& # .. ..G A 7sus4

CHORUS

C (add9) Em7 G Em7 D sus4 C (add9)‘

& # ..G C (add9)

VERSED/F# G/B Em7 D sus4 C (add9) C (add9)

& # .. ..G A 7sus4

CHORUS

C (add9) Em7 G Em7 D sus4 G

& #BmBRIDGE

C G D Em

& #Am D Bm Cm

3fr.

‘

& # .. ..G A 7sus4

CHORUS

C (add9) Em7 G Em7 D sus4

& # .. ..G C (add9)

VERSED/F# G/B Em7 D sus4 C (add9)

Light HouseYou and Me

37

3X

4X

(2X)

& # 44Am D9/F#

INTROEm G Am F Em G

& #Am D G D/F# C/E Em7/D Am Bm D

& # ..Am D9/F#

VERSE% Em G Am F Em G

& # ..Am D G C Em7/B Am Bm D

(repeat 1st time only)

& #C D/A

CHORUSG F# C D/A G F#

& #C D/A G Bm/F# C Bm D

D.S.

& # .. ..Bm D

TAGG D G D E

7X

& #Bm

‘ Û Û Û Û

RadioheadKarma Police

38

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-Fs -Fs

& b 44 Û Û Û Û Û Û Û ÛF

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& b ..3 œ œ œ .˙Yes-Sud-

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F Em A7 Dm C Bb C

& b ..7 œ œ œ .œ jœhereo -

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stay,me,

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Bb/F F C/E

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Dm7 G7

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Bb F

& b ..10 ˙ ˙Why she

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Dm C Bb Dm7/A.œ Jœ œ œ œ

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Gm3fr.

C7

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& b14 ˙ ˙I said

G/A A7

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& b18 œ œ œ .˙Yes-ter-day...

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Dm7 G7

œ œ œ ˙yes - ter - day.

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F/C G/B

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YesterdayWords and Music by JOHN LENNON

and PAUL McCARTNEY

Moderately, with expression

39

& # # 43 ...Û JÛ Û ÛB m7

5fr.

q q q e3=Relaxed SwingINTRO (Keep 4th finger

down until Bridge)‘E m7

5fr.

‘A9sus

5fr.

‘D (add9)

4fr.

‘

& # # .. ..B m7

5fr.VERSE

‘E m7

5fr.

‘A9sus

5fr.

‘D (add9)

4fr.

‘

& # # .. ..B m7

5fr.CHORUSE7

5fr.A9sus

5fr.D (add9)

4fr.

& # # .. ..Û. Û. Û.B m7

5fr.SOLOVERSE

+

‘E m7

5fr.

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5fr.

‘D (add9)

4fr.

‘

& # # .. ..B m7

5fr.CHORUSE7

5fr.A9sus

5fr.D (add9)

4fr.

& # #Am/D

9fr.BRIDGEGm

7fr.D

7fr.

‘A 13

5fr.A 7

5fr.

& # #B m11

5fr.

‘E m7

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‘

& # #G m9

3fr.

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3fr.A 7

5fr.A 13

7fr.

& # # .. ..B m7

5fr.CHORUSSOLO + E7

5fr.E m7/A

5fr.D (add9)

4fr.

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4X

4X

3X

4X

10X

40

& # 44 .. ..Û≥ Û≥ Û≥>

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(mute)

q q q e3=INTRO

Û Û Û> Û Û> ≈ ¿ ¿ Û>C Maj7

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4fr.

4X

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7fr.E m9

5fr.

(mute)VERSE

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A m94fr.

4X

& # .. ..Û≥ Û≥ Û≥>

Û≥ Û≤>

‰ JÛ≥>

¿ Û≥>

C Maj73fr.

A 7 PRE –CHORUS Û Û Û Ûad lib Û Û Û> Û Û> ‰ JÛ

> ¿ Û>C Maj7

3fr.A 7

Û Û Û Û(Let ring on repeat)(2X)

& # .. ..Û Û Û> Û Û> ≈ ¿ ¿ Û>Em

7fr.E m9

5fr.

(mute)

CHORUS

Û Û Û> Û Û> ≈ ¿ ¿ Û>C Maj7

3fr.A m9

4fr.

4X

D.S.

& # .. ..Û Û Û> Û Û> ≈ ¿ ¿ Û>Em

7fr.E m9

5fr.

(mute)

GTR.SOLO

Û Û Û> Û Û> ≈ ¿ ¿ Û>C Maj7

3fr.A m9

4fr.

4X

& # Û Û Û> Û Û> ‰ JÛ> ¿ Û>

C Maj73fr.

A 7 PRE –CHORUS Û Û Û Ûad lib Û Û Û> Û Û> ‰ JÛ

> ¿ Û>C Maj7

3fr.A 7

Û

& # .. ..¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Û Û Û> Û Û> ≈ ¿ ¿ Û>Em

7fr.E m9

5fr.

(mute)

CHORUSTAG+ Û Û Û> Û Û> ≈ ¿ ¿ Û>

C Maj73fr.

A m94fr.

8X

& # Û Û Û> Û Û> ‰ JÛ> ¿ Û>

C Maj73fr.

A 7

ÛU

DriveIncubus

41

& 44 ‰ . RÛ .Û ÛA D

INTRO

| ‰ . RÛ .Û ÛA D

| ‰ . RÛ .Û ÛG A

Û Û Û Û Û Û Û ÛG A

Û Û Û Û Û Û Û ÛG D

Û Û Û Û Û Û Û ÛA D G A

simile

G A G D

..D A D

CHORUSG A G A G D

A D G A G A G Bm

..Û Û Û ÛBmVERSE

Û Û Û Û ÛE sus4 E

Û Û Û Û Û Û Û Û Û Û Û ÛG Bm6/A

3fr.A

simile

Bm6/A3fr.

A75fr.A7

Û Û Û Û Û Û Û Û Û Û Û ÛF#mBRIDGE Bm

simile

F#m Bm F#m

.. ..G C G A Bm6/A

3fr.A7

5fr.D (add9)

7fr.

3X

42

Give a Little BitSupertramp

& .. Û Û Û Û Û Û Û ÛD A D

CHORUSG A

simile

G A G D

A D G A G A G Bm

Û Û Û ÛBmVERSE

Û Û Û Û ÛE sus4 E

Û Û Û Û Û Û Û Û Û Û Û ÛG C G

simile

.. ..A Bm6/A

3fr.A7

5fr.D (add9)

7fr.

3X

.. ..Û≥ ¿ Û≥ Û≤ Û≥ ¿ Û≥ Û≤D G/D

7fr.A/D

5fr.

BRIDGE

Û≥ ≈ ≈ Û≤ ≈ Û≤ Û≥ |≥G/D

3fr.D

’ ’ ’ ’C (add9)

’ ’ ’ ’G/D D

4X

.. ..’ ’ ’ ’C (add9)

’ ’ ’ ’G/D D

42 44’ ’ ’ ’C (add9)

’ ’ ’ ’Em7

’ ’ ’ ’C (add9) Em7

’ ’A7

44 Û ¿ Û Û Û ¿ Û ÛD G/D

7fr.A/D

5fr.

Û ≈ ≈ Û ≈ Û Û |G/D

3fr.D

|D

14fr.

43

&TAB

# 43 44 43œœ œœœ œ

œœ œ0

3

0 1

00 3

20

gliss.3

m

p

i

p

m i

2

4

p

m i

1

œœ œ œ œ œ œ œœ œ œ œ œ œ12

100 12

10

12 0 12

100 12

10

12 0

0

2

5

m

p

im

p

mi

p

mi

m

p

mi4

1 5 0 5 50 0

& # 43 ....

443 œœ œœœ œ

œœ œ0

3

0 1

00 3

20

3

%2 gliss.

1 4

%%A œœ œ œ œ œ œ œœ œ œ œ œ œ12

100 12

10

12 0 12

100 12

10

12 0

4

1

5

œœ œœœ# œ

œœ œœœ# œ

5

30

3

40 7

50

5

60

1

m i m i

0 0

42 1

2

(4th finger stays on 2nd string to m. 9)

1

4

2

12

& # 42 446 œœ œ œ œ œ œ œœb œ œ œ œ œ8

70 8

7

8 0 8

60 8

6

8 0

4

1p p

m i m m i

2

œœn œœœ# œ

7

50

3

40

1

4

2

1 œœn œ œ œ œ œ œœb œ œ œ œ œ5

30 5

3

5 0 4

30 4

3

4 0

1

44

& # 429 œœ œ œ œ œ œ œœ# œ œ œ œ œ3

20 3

2

3 0 2

00 2

0

2 0

1

4 2 œœn œ œ œ œ œ10 0

10

1 0

1

03

œœ œ œ œ œ œ0

3

0 0

3

0 0

4th time to Coda fi

& # ....

12 œœ œ œœ œ0

30 3

20

1.

0

3

4

1

œœ# œ œ œ œ œ2

00 2

0

2 0

2 œœn œ œ œ œ œ10 0

10

1 0

1 œœ œ œ œ œ œ0

3

0 0

3

0 0

3

44

John Lennon & Paul McCartneyarr. L.Warde

Blackbird

& # 44162 & 3

œœn œ œœ œ œœn œ œœ œ10

80 8

70 6

50 5

30

5

11 1 1

4 4 4 4

m i m i

p p

B

1

œœb œ œ œ œ œœœ œ œ œ œ œ

3

10 3

1

3 0 5

30 5

3

5 0

4 4

1

& # 4218 œœn œ œœ œ œœn œ œœ œ0

3

0 1

00 3

20 12

100 12

4 4 4 4

1 1 1 1 1

œœb œ œ œ œ œ œœ# œ œ œ œ œ

10

12 0 12

100 12

10

12 0 0

3

0

24

0

œœn œ œ œ œ œ1

00 3

20

(1st time) D.S.1

0

& # 43 44 .. .... ..

4321 œœ œœœ œ

œœ œ12

100 12

10

12 0 12

100 12

gliss.3

m

p

i

p

m i

2

4

p

m i

1

œœ œ œ œ œ œ œœ œ œ œ œ œ

10

12 0 5

30

3

40 7

50

0

2

5

m

p

im

p

mi

p

mi

m

p

mi4

1 5 0 5 50 0

ad lib and rit.

gliss.

& # 43 4223 œœ œœœ œ

œœ œ5

60 8

70 8

7

8 0

3

m

p

i

p

m i

2

4

p

m i

1 œœ œ œœ œ œœ# œ8

60 8

6

8 0 7

50

3

4

1

0 œœn œ œ œ œ œ3

40 5

30 5

1

0

D.S.S.

& # ....

..

..

26 œœ œ œœ œ

3

5 0 4

30 4

0

3

4

1

CODAfi œœ# œ œ œ œ œ

3

4 0 3

20 3

2 œœn œ œ œ œ œ

2

3 0 2

00 2

1 œœ œ œ œ œ œ

0

2 0 10 01

3

2nd time: rit. œœœ‚‚ ··

00

3

1212

XII

Harm.

45

(Test:1st time, go to m.11, then to CODA)

& 44 œ œ œœ

œ œ œ œAm

P i m a simile

1

Aad lib

œ œ œœ

œ œ œœ

Am7(sus4)/G Am7/G

3

4 1

œ# œ œœ

œ œ œœ

D/F# D7/F#

3

2

4

œn œ œœ

œ œ œ#œ

F E

& ..5 œ œ œœ

œ œ œœ

Am7 Am

4

œ œ œœ

œ œ œœ

Am7/G Am7/G

3

4

œ# œ œœ

œ œ œœ

D/F# D7/F#

3

2œn œ œ

œœ œ œ#

œF E

1st time: 3X2nd time: 2X

&9 œ œ3 œ2œ4

œ œ œœ

F sus 6 F

B

œ œ3 œ#1 œ4

œ œ œœ

E7 E

œ œ œœ

œ œ œœ

F sus 6 F

œ œ œ#œ

œ œ œœ

E7 E

&13 œ œ œœ

œ œ œœ

Am

A

œ œ œœ

œ œ œœ

Am7/G Am7/G

3

4

2 œ# œœ œ œ œ œ

œD/F# D7/F#

34

œn œ œœ

œ œ œ#œ

F E

& .. ..17 Û≥ Û≥ Û≤ Û≥ Û≥ ‰ JÛ≥ ‰ JÛ

≥Am Em/A

8fr.

Dm (add9)/A6fr.

C

JÛ jœ œ œ œ œ œ œ

Dm (add9)/A6fr.

4X

D.C.palm mute

P

& .. ..19 œ œ œœ

œ œœ œ

Am (add9) Am77fr.

1

34

32

1

3 23 2

D

slide 1st & 3rd fingers up

i m a

4 keep 3rd finger down throughout

œ œœ œ

œ œœ œ

Dmsus46fr.

Dm6fr.

23

4

23

4

12

23

4X

& .. ..21 Û Û Û Û Û. Û.Am

E

Û Û Û Û Û. Û.C/G

Û Û Û Û Û. Û.D7/F#

Û Û Û Û Û ÛF E

4X

&25 Û Û Û Û Û. Û.F

Û Û Û Û Û. Û.E

Û Û Û Û Û. Û.F

Û Û Û Û Û. Û.E

46 Babe, I'm Gonna Leave YouLed Zeppelin

(Test: 2X)

(Test: No D.C.)

& .. ..29 Û Û Û Û Û ‰ JÛ ‰ JÛAm Em

8fr.

Dm (add9)6fr.C

Û Û Û Û Û Û Û ÛDm (add9)

6fr.

4X

& .. ..31 œ œ œœ

œ œ œ œAm(sus4) Am

1

A

œ œ œœ

œ œ œœ

Am7/G Am7/G

3

4 1


œD/F# D7/F#

34

œn œ œœ

œ œ œ#œ

F E

6X

& .. ..35 Û Û Û Û Û. Û.Am

E




(2X)

fi

& .. ..39 œ œ œœ


1

A

œ œ œœ

œ œ œœ

Am7/G Am7/G

3

4 1


œD/F# D7/F#

34

œn œ œœ

œ œ œ#œ

F E

4X

& .. ..43 Û Û Û Û Û. Û.Am

E




(2X)

& .. ..47 œ œ œœ


1

A

œ œ œœ

œ œ œœ

Am7/G Am7/G

3

4 1


œD/F# D7/F#

34

œn œ œœ

œ œ œ#œ

F E

5X

& .. ..51 Û Û Û Û Û. Û.Am

E




4X

&55 |UF

F

fi|UE

|UF

|UE

rit. œœ# œ œœ œœnb œ œ

œA/C#

7fr.

A o7fr.

3

2

1

4

2

3 4im m

aVII

1

&60 œœ œ œœ œœb œ œ

œBm7

7fr.

BbMa j75fr.

1

1

4

3

2

11

V

4 1 œ œ œ œ œ œ œœ

Am (add9)5fr.

31

43

0P i m a

accel.P i m a

œ œ œ œ œ œ œœ

œ œ œ œ˙̇̇̇˙

gggggggg

Am5fr.

rit. wwwww

47

(Test: 2X)

(Test: to )

& # 44 ..3œ œ œ œ œ œ .Û Û Û Û Û3œ œ œ œ œ

G

3œ œ œ œ œ Û Û .Û3œ œ œ œ œ

D

& #3 œ .Û Û Û Û Û 3œ œ œ œ œG

3œ œ œ œ œ Û≥ ≈ RÛ

≤œ œ œ œ œ œ

D

œ .Û Û Û Û Û3œ œ œ œ œ

G

& #6 3œ œ œ œ œ Û Û .Û3œ œ œ œ œ

D1

œ Û≥ Û œ Û

≥ ÛC (add9) G/B

.jœb RÛ≤ Û≥ Û≥ Û Û≤ Û≤ .Û≥ Û≤ .Û≥ Û≤

Bb6

& # ..9 Û≥ Û Û≥ Û≤ Û≥ Û≥ Û Û≤ Û≤ 3œ œ œ œ œ

C3fr.

slide

2

œ .Û Û> Û Û> Û> ≈ œ œ œ

C (add9) G

& #11 œ œ œ .Û Û> Û Û> Û> ≈ œ œ œ

D G

œ œ œ .Û Û> Û Û> Û> ≈ œ œ œ

D G

œ œ œ .Û Û> Û .Û>3œ œ œ œ œ

D

& #14 œ .Û Û Û Û Û 3œ œ œ œ œG

VERSE3œ œ œ œ œ Û Û .Û

3œ œ œ œ œ

D

œ .Û Û Û Û Û 3œ œ œ œ œG

& #17 3œ œ œ œ œ Û Û .Û3œ œ œ œ œ

D

œ .Û Û Û Û Û 3œ œ œ œ œG

3œ œ œ œ œ Û Û .Û3œ œ œ œ œ

D

& #20 œ .Û Û> Û Û> Û> ≈ œ œ œ

C (add9) Gœ œ œ .Û Û> Û Û> Û> ≈ œ œ œ

D G

œ œ œ .Û Û> Û Û> Û> ≈ œ œ œ

D G

48

Over the Hills and Far AwayLed Zeppelin

& #23 œ œ œ Û ≈ Û> Û> Û Û ÛD A

9fr.%

Û Û ≈ Û> Û> Û Û ÛG

7fr.A

9fr.

Û Û ≈ Û> Û> Û Û ÛG

7fr.A

9fr.

& #26 Û Û ≈ Û> Û> Û Û ÛG

7fr.A

9fr.

Û Û Û> .Û> Û> .Û>G

7fr.G D D A

+ Drums

& # ..28 Û Û ≈ Û Û Û Û ÛG A

VERSE

Û Û Û .Û Û .ÛG G D D A

& #30 Û Û ≈ Û Û Û Û ÛG A

Û Û ≈ Û> Û> Û Û ÛG A

9fr.A

3rd time: to Bridge

& #32 Û Û .Û ≈ Û Û Û Û ÛG

7fr.A

9fr.

Û Û .Û ≈ Û Û Û Û ÛG

7fr.A

9fr.

& # ..34 Û Û .Û ≈ Û Û Û Û ÛG

7fr.A

9fr.

Û Û Û .Û Û .ÛG

7fr.G D D A

3X

& # .. .. .. .. 4336 .Û Û Û .Û Û ÛG D

Bridge

Û Û ‰ JÛ |D A E

3X

Solo

’ ’ ’ ’F#m

11X ’ ’ ’F#m

& # 4240 œ#1 œ œ œ# 4 œ œ2 œ œ# 1 œ# 3 œ œ œ#2 œ œ0 œ œ# 3 œ#3 œ œ œ#

1 œ œ4 œ œ#12

(16th fr.)

(11th fr.)œ#3

Œ D.S.(18th fr.)

49

3rd time:

&

TAB

# # 44œ0

œ3 œ0 œ œœ œ œ

œ œ œ œœ œœ œ œ œ œ œ œ œ

0

30

3

0

30

0

30

3

0

30

00

00

00

00

q = c 76INTRO

‘

‘

‘

‘

≈ œ1 œ1 œ œ2 œ œ œ œ3 œ œ1 œ œ œ œ œœ œ œ œ œ œ œ œ

77

78

77

79

77

79

77

7

00

00

00

00

VII

32

& # # ..

..

5 œ4 œ0 œ œ1 œ œ œ3 œ4 œ0 œ3 œ0 œ œ œœ2 œ3 œ œ œ œ œ œ

50

5

40

55

05

00

55 5 5

55

5

5fr. 5fr.

%4

4

VERSE

1

p p

m i m i

p p

m i m i œ4 œ œ3 œ1 œ œ œ œ4 œ0 œ3 œ0 œ œ œœ œ œ œ œ œ œ œ

50

5

40

55

05

00

55

55

55

55

5

& # # ..

..

7 œ0 œ4 œ œ1 œ œ œ œœ œ œ œ

œ œœ œ œ œ œ œ œ œ0

30

23

00

30

3

0

30

00

00

00

00

œœœ14 gg œ3 œœ œ œ œ

œ œ œ œ œ0 œœ œ œ œ œ œ œ œ577

gggg 70

57

0

57

0

0

00

00

00

00

5fr.

3X

2nd time: to fi

& # # ..

..

..

..

9 œœœnn 14gg œ3 œ œ œ œ œ œ1 œ3 œœ4 œ0 œ œ œœ œ œ œ œ œ œ œ

355

gggg 5 0 3 5 02

20

2 02

0

0

00

00

20

20

3fr.

œ œ2 œ0 œœ

œ3 œ œ œœ œœ œ œ œ œ œ œ œ

2 0

0

30

3

0

30

00

00

00

00

ad lib.

50

Going To CaliforniaLed Zeppelin1st and 6th String = D

& # #11œ

œ œ œ œœ œ œ


0

30

3

0

30

0

30

3

0

30

00

00

00

00

D.S.

& # # ..

..

12 œ3 œn1 œœ œ œ œ

œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ

76

0

76

0

76

0

76

00

00

00

00

0

6fr.

BRIDGEfi m i m‘

‘

& # # ..

..

14 œ1 œ2 œ3 œ0 œ œ1 œ3 œ2 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

22

20 2

22

22

20 2

22

02

02

02

02

5fr.

m i a m i

‘

‘

& # #16œ

œ œ œ œœ œ œ


0

30

3

0

30

0

30

3

0

30

00

00

00

00

œœ œ œ œ

œ œ œœ œ œ œ

œ œœ œ œ œ œ œ œ œ

0

30

3

0

30

0

30

3

0

30

00

00

00

00

D.S.

51

2nd time: Repeat this measure until fade-out.

&TAB

# 44 œœœœ œ2 p œi

œp

œm œi œa œ

mi

œœ3000

02

02

00

00

02

Em(Capo 7th Fret)

œ#1 p œ3i œm œ2

p

œ4 a œm

˙a1

20

2

20

1

B 7

& #3 œN œ1i œ3 m œi œa œm œ œ

i œmœ œ

i œm

02

3 30

30

23

02

0

Dsus2

œ#3 œi

œ1p

œi œm œ

i ˙a

40

20

00

0

A 9/C#

& #5 œN3 œ2 p œi

œp

œ1 m œi œa œ

pœp

œ œi

32

02

10

0

30 2

0

C

œœa œm œ }i œ

a œm œi œ1 œm

œi

œ2 œi œm

0

30

03

00

2

00

3

00

G

*

& # ....

7

œœa œ

m

œi œm œ} œ

p

œa œm œi œœm œ

i

0

01

01

02

01

0

0

10

A m7

*Notes in parenthesis are optional

‰2

œ#1 p œ3i

œp

œm œi ˙4 aw1

21

02

2

2

B 7

52

Hotel CaliforniaEagles

&TAB

# 44 ‚‚‚‚gggg Œ . Jœ

12

121212

7

XIIFreely, let float

3

3

Harm.

œ œ œ œ œ U̇

57 58 7

5

4 321 1

H P

‚‚‚‚gggg Œ . Jœ

12

121212

7

XII3

3

Harm.

œ œ œ œ œ œ œ œ œ œ œ57 5

8 745 7

45 7

4

1

1 32

1

3 4

1

HP

HH

wU

3

& #5 ‚‚‚‚gggg Œ . Jœ

12

121212

7

XII3

3

Harm.

œ œ œ œ œ œ œU ‰ jœJœ

57 58 7

57

2

0

41 3 1 32

In time, faster

2m

H P

œ œ 3œ œ œ œ œ œ œ œ˙ ˙3 2 3 2

30

3 1 0

3

i

3

i

3

m i m3

4 1

m

H PP

œ œ œ œ œ œ œœ œ œ œ3 0 1

20

0 2

2 03 2

2

4

m m

3

m i

1

m

2

P

& #9‚‚ ‚‚ ‚‚ œœ

1212 7

71212

77

XIIVII XII VII

Harm.

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RoundaboutYes

53

(Intro and Ending)

&

&&&&&&&&&&&&

Open

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

11th

12th

œ6

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Guitar FretboardString

Fret

54

A A7 Amaj7 A (add9) Asus4Am Am7

B7B Bm

C

Bmaj7

2fr.

C7

Bm7

2fr.

Cmaj7

B (add9)2fr.

C (add9)

Bsus4

2fr.

D D7

Cm

3fr.

Dmaj7 D (add9) Dsus4

Cm7

3fr.

Dm Dm7

C sus4

E E7 Emaj7 E (add9) Esus4Em Em7

F F7 Fmaj7 F(add9)

G G7

Fm

Gmaj7 G(add9) Gsus4

Fm7

Gm

Fsus4

F F7 Fm Bb

Gm7

3fr.

Bb7 Bbm

Chords

Bar ChordsE Formation (Root on 6th string) A Formation (Root on 5th string)

55

· 2021. 2. 4. · 2 contents...

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