Transcript Beginning Guitar - Frank Markovich

Class 13 Guitar I and II
•
•
•
•
•
Dm Chord
Review The F Chord and G7 Chords
Twist and Shout and La Bamba more.
Lots of new songs.
Start of A’Soulin – Lesson in Counterpoint
and advanced fingerpicking
Fall 2005 Guitar 1 Final Exam
Name
1.
Piece Student Picks._____________________
(Can be any song from the book or the handouts)
1.
Difficulty 1 2 3 4 5
2.
Timing
3.
Strum
4.
Correctness
5.
Clarity
6.
Musicianship
7.
Overall
2.
Piece I pick.
3.
Chords
A, Am, A7, Bm, B7, C, D, D7, Dm, E, Em, E7, F, G, G7, Barre F
4.
5.
Blues.
1.
2.
3.
4.
Blues backup – Straight
Blues backup – Shuffle
Blues scale in A
Blues chords in A (Memorized).
Right hand techniques
Sweep
Brush
Scratch
Pluck
¾ fingerpicking
Alt. Fingerpicking
Strum to count 1 2&3&4&
6.
A’ Soulin’ (Only if we get to it).
Comments:
Names of the notes on the open strings.
Below are the names of the notes on the open strings.
These need to be memorized. From the lowest pitch to the highest pitch:
E, A, D, G, B and E. Note that the 6th string is called ‘low E’ and the
1st string is called ‘high E’.
Below is where the open strings are written on the
staff!
E A D G B
E
This week let’s play this! Very slowly.
The F Chord
1
For this chord the index finger will do what is
called a ½ barre. It will play the notes on the
1st and 2nd string. The key to this is to play
in such a way that the 1st finger holds down the
notes on the 1st and 2nd strings. You should play
slightly off of the side of the index finger. Do not
play the 5th or 6th strings.
1
2
3
X X
This chord will take some time to master. Take your time and just work
on it slowly. Don’t worry if at first you don’t get all the notes clear. That
will come with time.
Start by playing the following:
4/4 ||: C |
|F |
: ||
4/4 ||: C | F | C | F : ||
See how the E with 2nd, 3rd and 4th fingers is just moved up 1 fret then barre the 1st fret
and you have a F chord. This is the E form of CAGED.
House of the Rising Sun
Am C D F Am E7 Am E7
Am
C
D F
There is a house in New Orleans,
Am
C E7 E7
They call the Rising Sun
Am
C
D
F
And It's been the ruin of many a poor boy
Am
E
Am C D F Am E7 Am E7
And God, I know, I'm one
Am
C D F etc.
My mother was a tailor
She sewed my new blue jeans
My father was a gambling man
Down in New Orleans
And the only things a gambler needs
Is a suitcase and a trunk
And the only time he's satisfied
Is when he's all a-drunk
G7 Chord
G7
1
2
3
0
0
0
Notice how this is like both the fingering for C and F chords.
The 2nd and 3rd finger keep the same relationships but on different
strings. The index is also on the first fret on all 3 chords but on
different strings.
From Book
•
•
•
•
•
•
•
•
Rockin Robin, page 228
Do You Wanna Dance,
I Wanna Hold Your Hand, page 134
Louie Louie, page 165
Got to get you into my life, page 91
Let the Good Times Roll, page 156
Reelin and Rockin, page 219
Walk on the Wild Side page 308
La Bamba
C FG
Para bailar la Bamba
C
F G
C FG
Para bailar la Bamba se necesita una poca de gracia
C
F G
C FG
una poca de gracia y otra cosita ay arriba y arriba
C
F G
C FG
ay arriba y arriba por ti sere yo no soy marinero
C
F G
C
F G
yo no soy marinero soy capitan soy capitan soy capitan
C F G
Bamba la Bamba
C F G
Bamba la Bamba
C F G
Bamba la Bamba
C F G
Bamba la Bamba
Para subir al cielo
para subir al cielo se necesita una escalera larga
una escalera larga y otra cosita ay arriba y arriba
ay arriba y arriba contigo ire yo no soy marinero
yo no soy marinero soy capitan soy capitan soy capitan
Bamba la Bamba ...
Twist and shout
Play with a C
F
G7
chord progression
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
Well work it on out , you know you look so good
You know you got me goin' now , just like you knew you would
{c:Break
G7
Ahh Ahh
||:
Ahh
C
F | G7
Ahh
:|| x4}
Ahh
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
You know you twist it little girl , you know you twist so fine
Come on and twist a little closer now, and let me know that you're mine
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
You know you twist it little girl , you know you twist so fine
Come on and twist a little closer now, and let me know that you're mine
Well shake it shake it shake it baby now
Well shake it shake it shake it baby now
Well shake it shake it shake it baby now
Beatles do it in D so C = D, F = G and G7 = A7
La Bamba
Using Chords For Riffs
La Bamba
C
F G7
Para bailar la Bamba
C
F
G7
C
F G7
Para bailar la Bamba se necesita una poca de gracia
C
F
G7
C
F G7
una poca de gracia y otra cosita ay arriba y arriba
C
F
G7
C
F G7
ay arriba y arriba por ti sere yo no soy marinero
C
F
G7
C
F
G7
yo no soy marinero soy capitan soy capitan soy capitan
C
F
G7
Bamba la Bamba
C
F
G7
Bamba la Bamba
C
F
G7
Bamba la Bamba
C
F
G7
Bamba la Bamba
Para subir al cielo
para subir al cielo se necesita una escalera larga
una escalera larga y otra cosita ay arriba y arriba
ay arriba y arriba contigo ire yo no soy marinero
yo no soy marinero soy capitan soy capitan soy capitan
Bamba la Bamba ...
Just 3 chords
• The only chords in this are C, F and G7
• The C and F chords should be played as 2
beats each to start and the G7 as 4 beats.
• Once that is mastered the F chord should
be played for 1 ½ beats and the G7 should
come in a ½ beat early as shown below:
4/4 ||:C
F
| G7
: || then 4/4 ||: C
F
G7|
: ||
1 2 3 4 1234
1&2&3 & 4 & 1 2 3 4
This may take some time to master as the G7 is anticipated by ½ beat
This is done often in music.
La Bamba
C
F G7
Para bailar la Bamba
C
F
G7
C
F G7
Para bailar la Bamba se necesita una poca de gracia
C
F
G7
C
F G7
una poca de gracia y otra cosita ay arriba y arriba
C
F
G7
C
F G7
ay arriba y arriba por ti sere yo no soy marinero
C
F
G7
C
F
G7
yo no soy marinero soy capitan soy capitan soy capitan
C
F
G7
Bamba la Bamba
C
F
G7
Bamba la Bamba
C
F
G7
Bamba la Bamba
C
F
G7
Bamba la Bamba
Para subir al cielo
para subir al cielo se necesita una escalera larga
una escalera larga y otra cosita ay arriba y arriba
ay arriba y arriba contigo ire yo no soy marinero
yo no soy marinero soy capitan soy capitan soy capitan
Bamba la Bamba ...
Now apply the anticipation to the song.
The idea is to play this holding the chord down.
Hold a C chord – then hit the 5th string on beat #1.
On beat 2 play the 4th string and on the and after
2 play the 3rd string. This will mean that you are
playing the correct frets.
C M aj o r
1
2
3
Now switch to the F chord. On beat 3 play the 4th string,
on the & after beat 3 play the 3rd string. For this you do not have to
Barre the 1st fret as you will not be hitting it.
So the strategy is to just move the 2nd and 3rd fingers as a group from the 5th and 4th strings
Respectively to the 4th and 3rd strings.
The F Chord
1
2
3
X X
1
On the & after beat 4 of the first measure change to a G7 chord. Start by playing
the 3rd string then play the 6th string on beat 1 of the 2nd measure
to the 5th string on the & to the 4th string open. This whole thing up to this point is
played with just holding the chords down and then picking
out the correct string. For the 3rd beat on is slightly different., play the 4th string
3rd fret on the 3rd beat and then on the & after 3, on beat 4 play the
4th string 2nd fret and end on the 4th string open. Note on the G7 how the 2nd and
3rd finger have the same relationship as on the C and the
F chords. Those fingers stay in that relationship through most of this piece.
G7
1
2
3
0
0
0
Play these notes individually. Start with the 4th string 3rd fret –
2 times then 4th string 2nd fret then 4th string open. Then repeat the whole sequenced
0
2
3
Now put it all together!
Now work on it!
• If two people are playing have the one
person play the guitar part on the previous
slide and the other just play the chords.
• Both need to do the anticipation of the G7
on the last beat of the 1st measure.
• Some players play an F chord on the 2nd
part of the 2nd measure. Make sure
whoever you play with does the same
chord changes that you do!
You and Me
Intro - G // C9 // D4/F# // G/B // Em7 // D4 // C9
Verse 1:
G
C9
What day is it?
D4/F#
G/B
And in what month
Em7
D4
C9
This clock never seemed so alive.
G
C9
I can't keep up
D4/F#
G/B
And I can't back down
Em7
D4
I've been losing
C9
So much time.
Chorus 1:
G
A4/7
Cause' it's you and me,
C9
And all other people
Em7
G
With nothing to do,
Em7
D4
Nothing to lose,
G
A4/7
Cause' it's you and me,
G9
And all other people,
Em7
G
And I don't know why,
Em7
D4
C9
I can't keep my eyes off of you.
Verse 2:
G
C9
What other things
D4/F#
G/B
That I wanna say
Em7
D4
C9
Just aren't coming out right.
G
C9
I'm tripping on words,
D4/F#
G/B
You've got my head spinning
Em7
D4
C9
I don't where to go from here.
Chorus 2:
G
A4/7
Cause' it's you and me,
Twist and Shout
Using Chords For Riffs
This is both the Beatles and the
Isley Brothers.
Twist and shout
Play with a C
F
G7
chord progression
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
Well work it on out , you know you look so good
You know you got me goin' now , just like you knew you would
{c:Break
G7
Ahh Ahh
||:
Ahh
C
F | G7
Ahh
:|| x4}
Ahh
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
You know you twist it little girl , you know you twist so fine
Come on and twist a little closer now, and let me know that you're mine
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
You know you twist it little girl , you know you twist so fine
Come on and twist a little closer now, and let me know that you're mine
Well shake it shake it shake it baby now
Well shake it shake it shake it baby now
Well shake it shake it shake it baby now
Just 3 chords
• The only chords in this are C, F and G7
• The C and F chords should be played as 2
beats each to start and the G7 as 4 beats.
• Once that is mastered the F chord should
be played for 1 ½ beats and the G7 should
come in a ½ beat early as shown below:
4/4 ||:C
F
| G7
: || then 4/4 ||: C
F
G7|
: ||
1 2 3 4 1234
1&2&3 & 4 & 1 2 3 4
This may take some time to master as the G7 is anticipated by ½ beat
This is done often in music.
Twist and shout
Play with a C
F
G7
chord progression
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
Well work it on out , you know you look so good
You know you got me goin' now , just like you knew you would
{c:Break
G7
Ahh Ahh
||:
Ahh
C
F | G7
Ahh
:|| x4}
Ahh
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
You know you twist it little girl , you know you twist so fine
Come on and twist a little closer now, and let me know that you're mine
Well shake it up baby now, twist and shout
Come on come on come on come on baby , now work it on out
You know you twist it little girl , you know you twist so fine
Come on and twist a little closer now, and let me know that you're mine
Well shake it shake it shake it baby now
Well shake it shake it shake it baby now
Well shake it shake it shake it baby now
Start with the pickup (notes before the 1st complete measure. Play the 6th string 3rd fret on the & after beat 3, then on beat
4 play the 5th string open (no fingers), on the & after 4 play the 5th string 2nd fret. This is a run that is done when a G or G7 chord
changes to a C chord.
Beat 1 play the 5th string while holding
The idea is to play this holding the chord down.
down the C chord. Beat 2 play
Hold a C chord – then hit the 5th string on beat #1.
On beat
play the
string and on
the and
after
the
4th 2and
3rd4thstrings
while
holding
the C chord.
rd
2 play the 3 string. This will mean that you are playing the correct frets.
C M aj o r
1
2
3
Now switch to the F chord. On beat 3 play the 4th string, on the & after beat 3 play the 2nd and 3rd strings.
For this you do not have to Barre the 1st fret as you will not be hitting it. So the strategy is to just move
the 2nd and 3rd fingers as a group from the 5th and 4th strings respectively to the 4th and 3rd strings.
The F Chord
1
2
3
X X
1
On the & after beat 4 of the first measure change to a G7 chord. Start by playing the 2nd and 3rd strings (Open), then play the 6th string on
beats 1 through the and after 3of the 2nd measure. Play these as 5 consecutive 1/8th notes. Play them staccato (means detached), by
Rocking the 3rd finger off and on the string immediately after hitting the note. Then again play the 5th string open to the 5th string 2nd fret and
Repeat to the C chord (repeat sign).
Note on the G7 how the 2nd and 3rd finger have the same relationship as on the C and the
F chords. Those fingers stay in that relationship through most of this piece.
G7
1
2
3
0
0
0
Now put it all together. Take it slowly.
Now work on it!
• If two people are playing have the one
person play the guitar part on the previous
slide and the other just play the chords.
• Both need to do the anticipation of the G7
on the last beat of the 1st measure.
• The Beatles did this in the key of D which
is up a whole step or 2 frets. Use a capo
on fret 2 in order to play along with the
Beatles.
6th string root barre chords. The ‘E’
form moveable chord or CAGED.
• This starts by first having the ‘E’ first position
chords down perfectly.
• To change a major ‘E’ chord to a minor ‘Em’
chord lift the 1st finger off of the 3rd string.
• To change a major ‘E’ chord to a dominant 7th
chord lift the 3rd finger off and play the 4th string
open.
• There is theory behind this. A major chord uses
the 1st, 3rd and 5th of a major scale. To make it a
minor chord you lower or flat the 3rd degree. To
make it a 7th chord you add the 7th and flat it.
Example
• C Major scale 1 = C, 2 = D, 3 = E, 4 = F, 5
= G, 6 = A, 7 = B and 8 = C (Same as 1).
• For C Major 1 = C, 3 = E and 5 = G or the
notes C, E and G.
• For C Minor lower or flat the 3rd degree (E)
so it will become Eb.
• For C7 add a flat 7 (7 = B) so it is Bb.
Notes are C, E, G, and Bb.
For Key of E
• E Major scale 1 = E, 2 = F#, 3 = G#, 4 = A, 5 =
B, 6 = C#, 7 = D#.
• For E Major 1 = E, 3 = G# and 5 = B or the notes
E, G# and B.
• For E Minor lower or flat the 3rd degree (G#) so it
will become G. Flatting a sharp cancels the
sharp and the note becomes an natural
• For E7 add a flat 7 (7 = D#) so it is D. Notes are
E, G#, B and D.
The first step is to finger the chords
without using the index finger.
• For the E major chord. The fingering will
be the 2nd finger on the 1st fret of the 3rd
string.
• 3rd finger on the 2nd fret of the 5th string.
• 4th finger on the 2nd fret of the 4th string.
See the next page.
Starting E Major
Chord.
Play it with the fingering below.
To
1
2
0
2
3
3
0
0
0
4
0
0
The other ‘E’ forms work from this. Just remove the 2nd finger for
minor and the 4th finger for the dominant 7th chord.
E major Form 1 fret up becomes
‘F’ major.
1
1
1
1
2
3
4
1
1
When doing a full barre chord
use more of the side of the
index finger. It is more of a
leverage issue than a pressure
issue.
The root to this chord is on the 6th string or the 1st string. The names of
the notes on these strings are the roots of the chord. At the first fret it is
An F, 2nd fret a F# (Gb), 3rd fret is G, 4th fret is G# (Ab), 5th fret is A,
6th fret is Bb (A#), 7th fret is B, 8th fret is C, 9th fret is C# (Db), 10th fret is
D, 11th fret is Eb (D#), 12th fret is E.
The letter name stays the same no matter which form is used.
See how the E with 2nd, 3rd and 4th fingers is just moved up 1 fret then barre the 1st fret
and you have a F chord. This is the E form of CAGED.
Try a simple chord change
• Do two measures of F to 2 measures of G. F is
at the 1st fret and G is at the 3rd fret.
• ||: F | | G | | F | | G | : ||
• Then do the same thing with G to A (A is at the
5th fret.
• ||: G | | A | | G | | A | : ||
• Then A to B (B is at the 7th fret).
• ||: A | | B | | A | | B | : ||
• When the above is mastered try each one of
them with one measure each.
E minor Form 1 fret up becomes
‘F’ minor.
1
1
3
1
1
1
1
4
The root to this chord is on the 6th string or the 1st string. The names of
the notes on these strings are the roots of the chord. At the first fret it is
An Fm, 2nd fret a F#m (Gbm), 3rd fret is Gm, 4th fret is G#m (Abm), 5th fret is Am,
6th fret is Bb (A#m), 7th fret is Bm, 8th fret is Cm, 9th fret is C#m (Dbm), 10th fret is
Dm, 11th fret is Ebm (D#m), 12th fret is Em.
E7 Form 1 fret up becomes
‘F7’.
1
1
1
1
1
1
2
3
The root to this chord is on the 6th string or the 1st string. The names of
the notes on these strings are the roots of the chord. At the first fret it is
An F7, 2nd fret a F#7 (Gb7), 3rd fret is G7, 4th fret is G#7 (Ab7), 5th fret is A7,
6th fret is Bb7 (A#7), 7th fret is B7, 8th fret is C7, 9th fret is C#7 (Db7), 10th fret is
D7, 11th fret is Eb7 (D#7), 12th fret is E7.
The 5 chords (starting with major
chords)
Below are the 5 forms that everything is build off of. You must
know all 5 of these 1st position chords to move on. Make sure
that you have these down so you don’t even think about
them. The rest of what is coming up is derived from these 5
forms! We start with major but dominant and minor are just
modifications (small modifications) to this!
Caged Chords - Shadowed Notes are the Roots
C Form (C Chord)
A Form (A Chord)
G Form (G Chord)
E Form (E Chord)
1
2
3
D Form (D Chord)
1
2
1
3
2
3
2
4
3
1
2
3
Notice how we can barre this and move it up one fret. One word of warning is that
when you do this you won’t always play all of the notes in the chord. Try these below
as a start.
Caged Chords - Shadowed Notes are the Roots
C Form (C Chord)
A Form (A Chord)
G Form (G Chord)
E Form (E Chord)
1
1
2
2
1
3
2
3
1
1
Bb (A Form)
1
1
2
1
1
1
3
1
1
1
3
3
3
1
1
3
4
1
1
1
1
1
1
2
1
1
1
1
1
1
3
3
3
1
1
1
1
F (E Form)
1 1 1 1 1
2
3 4
Eb (D Form)
1
1
2
3
4
1
1
1
1
E (D Form)
F# (E Form)
1
2
3
2
4
A (G Form)
B (A Form)
1
3
2
3
D (C Form)
1
1
3
4
Ab (G Form)
4
1
2
3
C# (C Form)
1
D Form (D Chord)
4
1
1
1
3
4
1
2
1
1
1
2
1
3
4
C Form (C Chord)
A Form (A Chord)
G Form (G Chord)
E Form (E Chord)
1
1
2
2
1
3
2
3
1
1
Bb (A Form)
1
1
2
1
1
1
3
1
1
1
3
3
3
1
1
3
4
1
1
1
1
1
1
2
1
1
1
1
1
1
3
3
3
1
1
1
1
F (E Form)
1 1 1 1 1
2
3 4
Eb (D Form)
1
1
2
3
4
1
1
1
1
E (D Form)
F# (E Form)
1
2
3
2
4
A (G Form)
B (A Form)
1
3
2
3
D (C Form)
1
1
3
4
Ab (G Form)
4
1
2
3
C# (C Form)
1
D Form (D Chord)
4
1
1
1
3
4
1
2
1
1
1
2
1
3
4
For the “C” form only ½ barre it – barre from the 1st to the 3rd string and don’t
play the 6th string. For the G form only play the inside 4 strings – don’t play the
1st or 6th string. For the D form, it is best to move the 1st string pitch down 2
octaves to the 6th string and don’t play the 1st string.
Light My Fire
4/4 ||: Am
|F#m
| Am
|F#m
You know that it would be untrue. You know that I would be a liar.
|Am
|F#m
If I was to say to you
Am
|F#m
|G
A
|D |G
A
|D B7
Girl we couldn’t get much higher. Come on baby light my fire. Come on baby light my fire.
G
F#m
| E7
Try to set the night on fire.
|
:|| Solo is ||: Am Bm :||
Dock Of The Bay
VERSE 1:
G
B
Sittin' in the morning | sun.
C
A
I'll be | sittin' when the evening | comes.
G
B
Watchin' the ships roll | in.
C
A
Then I | watch 'em roll away a- | gain.
G
E
(I'm)Sittin' on the dock of the | bay.
G
E
Watchin' the | tide roll a- | way. |
G
E
Sittin on the dock of the | Bay Wastin’ |
G
E
Time
|
|
VERSE 2:
Sittin’ here restin’ my bones.
But this loneliness won’t leave me alone.
Two thousand miles I roamed
Just to make this dock my home.
I’m just sittin’ on the dock of the bay.
Watchin’ the tode roll away.
Sittin’ on the dock of the bay, wastin’ time.
BRIDGE:
G
D
C
Looks like | nothing gonna change. |
G
D
C
Everything | still remains the same |
G
D
C
I can't do what | ten people tell me to do |
F
D
So I'll guess I'll remain the same ||
Dock Of The Bay
VERSE 1:
G
B
Sittin' in the morning | sun.
C
A
I'll be | sittin' when the evening | comes.
G
B
Watchin' the ships roll | in.
C
A
Then I | watch 'em roll away a- | gain.
G
E
(I'm)Sittin' on the dock of the | bay.
G
E
Watchin' the | tide roll a- | way. |
G
E
Sittin on the dock of the | Bay Wastin’ |
G
E
Time
|
|
VERSE 2:
Sittin’ here restin’ my bones.
But this loneliness won’t leave me alone.
Two thousand miles I roamed
Just to make this dock my home.
I’m just sittin’ on the dock of the bay.
Watchin’ the tode roll away.
Sittin’ on the dock of the bay, wastin’ time.
BRIDGE:
G
D
C
Looks like | nothing gonna change. |
G
D
C
Everything | still remains the same |
G
D
C
I can't do what | ten people tell me to do |
F
D
So I'll guess I'll remain the same ||
Dm Chord
1
2
4
0 0
Must use the 4th finger on the 2nd string!!!
I Heard It Through The Grapevine
Verse 1:
Dm
Bet you're wondering how I knew about your
A7
G
plans to make me blue, with some other
Dm
guy you knew before. Between the two of us
A7
G
guys you know I love you more. It took me by
Bm
G
Dm
G7
surprise I must say, when I found out yesterday:
Chorus:
Dm
I heard it through the grapevine,
G
not much longer would you be mine.
Dm
Ooh I heard it through the grapevine,
G
and I'm just about to lose my mind.
Dm
Honey, honey yeah.
<play main riff twice...>
Verse 2
You know that a man ain't supposed to cry, but these
tears I can't hold inside.
Losin' you would end my life you see, cause you
mean that much to me.
You could have told me yourself that you found someone
Kryptonite – 3 Doors Down
Bm G A (x4)
Bm
G
Well, I took a walk around the world to ease my troubled mind
I left my body lying somewhere in the sands of time
Well, I watched the world float through the dark side of the moon
I feel there's nothing I can't do... yeah
A
I watched the world float through the dark side of the moon
After all I knew it had to be something to do with you
I really don't mind what happens now and then
As long as you'll be my friend at the end
Bm
Bm
Bm
Bm
G
A
If I go crazy then will you still call me Superman?
E
If I'm alive and well, will you be there a holding my hand?
G
A
I'll keep you by my side with my superhuman
E F#
Bm G A (x2)
Might, kryptonite
F#
You call me strong, you call me weak, but still your secrets I will keep
You took for granted all the times I never let you down
You stumbled in and bumped your head, if not for me then you'd be dead
I picked you up and put you back on solid ground
If I go crazy then will you still call me Superman?
If I'm alive and well, will you be there a holding my hand?
I'll keep you by my side with my superhuman
Might, kryptonite
*Solo*
Bm A G (x4)
Bm
G
A
If I go crazy then will you still call me Superman?
If I'm alive and well, will you be there a holding my hand?
I'll keep you by my side with my superhuman
Might, kryptonite
Bm
G
A
If I go crazy then will you still call me Superman?
Bm
E
If I'm alive and well, will you be there a holding my hand?
I'll keep you by my side with my superhuman
Might, kryptonite...
F#
All Along The Watchtower
Bob Dylan
Am
G
F
G
There must be some kind of way out of here
Am
G
F
G
Cried the joker to the thief
Am
G
F
G
There's too much confusion
Am
G
F
G
I can't get no relief
Am
G
F
G
Business men they drink my wine
Am
G
F
G
Plow men dig my earth
Am
G
F
G
None will live along the line
Am
G
F
Know what any of it is worth
No reason to get excited
The thief he kindly spoke
There are many here among us
Who feel that life is but a joke
But you and I we've been through that
And this is not our fate
So let us not talk falsely now
The hour's getting late
All along the watchtower
The Princess kept the view
While all the women came and went
Barefoot servants too
Outside in the cold distance
A wildcat did growl
Two riders were approaching
And the wind began to howl
All along the watchtower
All along the watchtower
All along the watchtower
Best Of My Love
C
Dm
4/4 ||: Everynight I'm | lyin' in bed| holding you close in my
Dm
C
dreams | Thinkin bout all the | things that we said and
Dm
Em
Dm
comin' apart at the | seams | We try to talk it | over but the
Em
F/G
C
words come out to | Rough I | know you were tryin' to |
Dm
C
G7 C
give me the best of your | Love | :|| Oh sweet | darlin
Dm
C
Dm
you get the best of my | Love Oh | sweet | darling| you get the best of my
Fm
C
Love | I'm goin' | back in time and it's a | sweet dream | it was a
Fm
F/G
Quiet night and I would | be alright if I could | go on |sleeping but ||
Beautiful faces and loud empty places, look at the way that we live.
Wastin' our time on cheap talk and wine, left us so litt;e to give,
That same old crowd was like a cold dark cloud that we could never rise
above but here in my heart, I give you the best of my love.
But every mornin' I wake up and worry, what's gonna happen today,
You see it your way and I see it mine, but we both see it slippin' away.
You know we always had each other, baby, I guess that wasn't enough,
Oh but here in my heart I give you the best of my love.
Oh sweet darlin' you get the best of my love. (repeat out).
You Really Got A Hold On Me
Smokey Robinson
INTRO:
| C
| Am
| C
| Am
|
| //// | //// | //// | //// |
VERSE:
C
I don't like you, but I love you
Am
Seems that I'm always thinkin' of you.
C
F
Dm
Tho' oh oh you treat me badly, I love you madly,
G7
C
Am
You really got a hold on me. You really got a hold on me.
C
I don't want you, but I need you.
Am
Don't wanna kiss you, but I need to
C7
F
Dm
Tho' oh oh you do me wrong now, my love is strong now.
G7
C
Am
You really got a hold on me. You really got a hold on me. Baby,
C7
F
I love you and all I want you to do is just
C
G7
Hold me, hold me, hold me, hold me.
|
|
|
|
C
|
//// |
C
//// |
Am
/
Am
/
G
/
G
/
C
|
// (tighter!)|
C
|
// (tighter!)|
C
I wanna leave you, don't wanna stay here
Am
Don't wanna spend another day here
C7
F
Dm
Tho' oh oh I wanna split now, I can't quit now
G7
C
Am
You really got a hold on me. You really got a hold on me. Baby,
C7
F
I love you and all I want you to do is just
C
G7
(Hold me) please, (hold me) squeeze, hold me
Rhiannon
Fleetwood Mac
Am
Rhiannon rings like a bell through the night,
F
and wouldn't you love to love her?
Am
Takes to the sky like a bird in flight
F
and who will be her lover?
C
F
All your life you've never seen a woman taken by the wind.
C
Would you stay if she promised you heaven?
F
Will you ever win?
Am
She is like a cat in the dark,
F
and then she is the darkness.
Am
She rules the life like a fine sky lark
F
and when the sky is starless.
C
F
All your life you've never seen a woman taken by the wind.
C
Would you stay if she promised you heaven?
F
Am
Will you ever win? Will you ever win?
Am F Am
F F
Am F
Am F
Rhiannon! Rhiannon! Rhiannon! Rhiannon!
A Soulin’
Lesson in Counterpoint
Counterpoint
• The basic concept of counterpoint is that when
two lines are played together, when one line
ascends (goes up), the other line goes down,
and visa-versa.
• Now it doesn’t happen in every instance but in
most.
• Look at this song closely and notice that most of
the time when the melody goes up that the bass
part goes down. When the melody goes down
the bass part goes up.
Take it slowly one measure at a
time.
• No need to be in a hurry. Take it slowly.
• Memorize each measure before going on
to the next measure.
• Learn the whole top part and then the
whole bottom part before putting the two
parts together.
Count 1 2
3
4
1
2
3
4
Use the following fingering:
Picking hand use the index for the 2nd string, and middle finger for the
1st string.
Left hand use your middle finger for all the notes.
Notice that next 3 measures are the same as first 3 in song.
On the picking hand use only your thumb. No exceptions.
For your fretting hand use the middle finger.
Putting the two parts together
• At this point you will need to work on
putting the melody and the bass note
together. This will take some time to get
down.
• Again take it very slowly!!
• Do not rush!!
• Use the correct fingers!!
Now start putting the two parts together very slowly, one measure
At a time! Take this slowly and memorize each measure as you go.
Follow the fingering for playing each part separately.
This will take you ½ way through the song.
The next part is exactly the same but for the last measure.
The next page has the whole thing.
Use index and
Ring on picking
Hand for these
2 notes and the
High B (7th
Fret 1st string)
'Soalin'
Hey, ho, nobody home,
meat, nor drink, nor money have I none
can't you, we be merry,
hey ho, nobody home.
Chorus: A soulin, a soulin, a
Please, good missus, a soulin
An apple, a pear, a plum or a
Any good thing to make us all
One for Peter, two for Paul
Three for Him who made us all
soulin cake
cake
cherry
merry
God Bless the master of this house, the mistress also
And all the little children who around your table grow
the cattle in your stable, the dog at your front door.
And all that dwells within your gates
we wish you ten times more
chorus:
Go down into your cellor,
and see what you can find,
if the barrels are all empty
we hope you will be kind.
with the apple in your sill, and the pumpkin in your chair
We won't come no more till this time next year
we wish you ten times more
chorus:
Go down into your cellor,
and see what you can find,
if the barrels are all empty
we hope you will be kind.
with the apple in your sill, and the pumpkin in your chair
We won't come no more till this time next year
chorus:
The streets are very dirty and my shoes are very thin
I've got a little pocket I can put a penny in
If you haven't got a penny, a ha' penny will do
If you haven't got a ha' penny, then God bless you.
chorus:
To the lord and praises,
to all the angels and saints,
and to loving brotherhood,
each other now embrace,
if only be kind and pray for us.
time has come, enjoy.
How to approach this
• Learn each part separately before putting
the two parts together.
• Memorize one measure at a time. Add in
a new measure and memorize it.
• There are really only 5 different measures
in the entire piece. Notice the similarities
of each of the even numbered measures.
• Have fun with it – take it slowly though.
Get a good smooth sound from the piece.