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GUITAR ACADEMY _________________________________________________________________ Part I Expanding the Fundamentals 2017 Edition Stephen and Joellen Miller __________________________________________________________________ Copyright 1997 by Stephen Miller MGA Publications Copying any or all of this material without permission is forbidden by law __________________________________________________________________ For practice downloads go to www MillerGuitarAcademy com downloads a holistic program ear training reading 2012 technique solo and ensemble playing MGA Publications 821 W Jefferson Blvd Mishawaka IN 46545 Ph 574 255 9343 www GuitarInteract com

GUITAR ACADEMY _________________________________________________________________ Part I Expanding the Fundamentals Fundamentals 2017 Edition Stephen and Joellen Joellen Miller __________________________________________________________________ Copyright 1997 by Stephen Miller MGA Publications Copyright 1997 by Stephen Miller MGA Publ ications Copying any or all of th Copying any or all of thiis material without permission is s material without permission is forbidden by law forbidden by law __________________________________________________________________ For practice practice downloads downloads go to to www MillerGu www Mil lerGuitar itarAcade Academy co my com downl m downloads oads a holistic program ear training reading technique technique solo and ensemble playing MGA Publications 821 W Jefferson Blvd Mishawaka IN 46545 Ph 574 255 9343 www GuitarInteract com

The Visual Concepts Remember the names for the fingers of each hand. Left Hand 1-2-3-4 Right Hand p-i-m-a A.The chart below is the kind usually used for learning chords, but we will use it now to learn some basic finger placements with some note patterns.Facing the guitar with the neck pointing up, you see the guitar has two main lines of placement for the fingers. The strings are the vertical lines and the frets are the horizontal. Left hand fingers are placed on any of the six strings at any of the fret spaces.There are four fret spaces indicated on the left of the chart for our purposes.The black dot with the number one indicates the first finger of left hand is placed on the third string at the first fret space. Strings and Frets)6 5 4 3 2 11234•1234pimaFret BoardString NumbersFret Numbers1

& wGPluck the "G" (third string-open) with the "i" index finger.iw w w&wBmPluck the "B" (second string-open) with the "m" middle finger.w w w&wDPluck the "D" (fourth string-open) with the "p" thumb.pw w wBeginning TechniqueWe start by having a basic pattern for our fingers to begin to create a framework to work in. Think of these patterns as a vessel in which we will fill with music. The better the vessel, the better the playing.The note "G" is the third string-open. Open means we are not placing any left hand fingers on the frets. We will use the index finger of the right hand to pluck the "G". 1. First rest the thumb of the right hand on the fourth string and leave it there.2. Now place the tip of the index finger against and into the "G" (third string) and pull the finger toward the palm of the right hand.3. Let the index finger roll over the string until the string releases making a tone.4. Let the "G" ring until it fades away. 5. Continue to pluck the third string "G" as loudly as possible each time listening for a strong and long lasting tone.This note "B" is the second string-open. Keeping the thumb resting on the fourth string, nowpluck the "B" with the "middle finger" of the right hand with the same goal of creating a strong, long lasting tone.This note "D" is the fourth string-open.Now place the index and middle fingers on the strings they just played and leave them there.1. Place your right hand thumb pad against and into the string and press on it toward the floor.2. Let the thumb roll over the string until the string releases making a tone. The Right HandB.The X's on the fret chart indicate the strings you don't play at this time. The "O" is the opennote that you do play.

& œ# œ œ œG#1œ œ œ œA2œ# œ œ œA#3œ œ œ œB4&œ# œ œ œA#3œ œ œ œA2œ# œ œ œG#1The Chromatic ScaleThe Chromatic scale is very useful for preparing the left hand for good placement on the strings and frets.In the exercise below each note has a chart of the fret board to show the left hand fingering.The first note "G sharp" in measure 1 shows a black dot at the first fret position. Measures are deliniated by the vertical "bar lines". The number "1" below the G sharp indicates we are using the first finger. As you go on each new note goes up a fret using a different finger for each fret, one finger per fret.This exercise lays out the basic pattern for the left hand in what is called the first position, the first fourfrets of the guitar.Note: Once a sharp is added to a note in a measure, that note remains a sharp for the rest of the measure. If the note comes back in new measures it goes back to its original "natural" state.Now that we have learned the chromatic scale pattern on the third string, we can practice it on the second string and then the fourth string. Note:The term "chromatic" means a scale that uses all the notes including raised or lowered notes that fall between the notes of "diatonic" scales such as "major or minor" scales. In the exercise above sharps are used to raise the notes. C.

œœœœVReading MusicThe Page EnvironmentThe StaffThe five lined staff is the area in which various pitches are arranged to create musical ideas.Notes representing pitches can be placed on lines or spaces. ClefsBecause the staff by itself cannot accommodate the wide variety of ranges of all instruments, we use different clefs to adjust the range for a particular instrument or voice.Because of the range of notes that can be played on the guitar we use the treble clef; which is alsocalled the"G" clef because the scroll of the clef circles the G line of the staff.Staves may be grouped together into systems to accommodate more than one instrument. A system mayaccommodate any number of instruments up to the size of an orchestra.D.

E. STUDENT ORIENTATION Pulse, Rhythm and Meter Virtually all music is based in time by three basic elements: pulse, rhythm and meter. Pulse can also be referred to as the beat. Most music is based on groups of beats usually two or three or variations of two or three. Rhythm is the variety of durations that play off of a beat pattern that creates musical interest. Meter defines the number of beats in a group: two, three, four, etc. To start with the music we will be playing music that has a two beat pattern. 1 2 1 2 1 2 There will be notes that fall between the beats and they will be counted as &’s 1 + 2 + 1 + 2 + 1 + 2 + To create the rhythm we will use two kinds of notes, quarter notes and eighth notes. Quarter note q Eighth note e Two eighth notes are equal to one quarter note ee = q The eighth is half the value of the quarter. When two eighth notes appear together they are usually beamed together: q q Meter is the means by which we organize note values into a beat pattern. The meter we will be using is two-four. This is called a time signature. The top number tells how many beats in the pattern. The bottom number indicates the note value assigned to the beat. Two beats to a measure; the quarter note defines the beat Three beats to a measure; the quarter note defines the beat Four beats to a measure; the quarter note defines the beat 2 4 3 4 4 4

STUDENT ORIENTATION F. Each song, piece or exercise in this book should be approached and learned by using a three-step process. 1. Determine the rhythm. 2. Sing the notes using solfege syllables. 3. Visualize the movement of the notes. Determine the fingering (left and right hand), the fret and the string. In your mind visualize playing through the song without actually playing it. You may also sing the letter name of each note as you touch the note on the guitar. Always make sure you understand the music in this way first to eliminate any barriers to learning and playing the music. Although this takes time at first, in the long run it saves the time and frustration it takes to correct errors made by haphazardly jumping into a piece of music without first understanding it in this way. Once you have successfully played a piece, you may want to reinforce your understanding by going through the 3-step process a few times. Most likely you will be able to play the piece when you practice without the 3 steps. The process is primarily for the initial learning of the piece. Make sure you play the exercises before each section. Use the three-step process until you can easily play each exercise and sing the solfege at the same time. Practice small sections. Instead of practicing a piece over and over, take out the most difficult measures and repeat them slowly several times until you can easily play them. Then play the whole song slowly to work in the difficult sections at an easy speed. Play along with the practice tracks to check your progress in speed and accuracy. How often to practice each week. Practice on a regular and consistent basis will give you the most benefit and enjoyment. As a beginning student, you need not put hours of practice in each day. However, you will need to have a consistent routine each week if you want to play with confidence and truly enjoy your lessons and your playing. For good results you will need to practice at least three times a week, and for best results, five days. How long each day. The most important guideline to follow is not so much the length of time that you spend practicing, but the quality of your practice. Using the material in this book will focus your attention on accomplishing goals rather than filling time. Begin each practice session with the purpose of accomplishing the goal of mastering each exercise and piece. Set aside about a half-hour at first. If you don’t have a half-hour in the course of a day, at least sit down for 15 or 20 minutes, then try to get in more the following day. Be flexible, but consistent.

& wwG DDo So0 0ip& œ œ œ œiDoœ œ œ œpSoœ œœ œi pEx. 2œœœœi p& 42......œ œ1 2Ex. 1œ œ1 2œ œ œ œ1 + 2 +œ œ œ œ1 + 2 +First Notes1.G, third string open (0)Use index finger (i) of right handD, fourth string open (0)Use thumb (p) of right hand1. Play the following exercises repeating each one until smooth. 2. Go back and sing the solfege for each exercise without playing.Ex. 1Ex. 2 Ex. 3 Ex. 4Quarter notes in time24qPlay each exercise counting the beats out loud as you play.Eighth notes in time24 eFirst Rhythms

& 42˙!!!!!1!!!23.p˙!!!!!!1!!!2˙!!!!!!!1!!!!2˙!!!!!!1!!!!2œ œ1 2iœ œ1 2œ œ1 2œ œ1 2&˙!!!!!!!!1!!!!!!!!!24.œ œ1 2˙ œ œ˙ œ œ˙ ˙&œ œ1 25.œ œ œ œ1 + 2 +œ œœ œ œ œœ œœ œ œ œœ œ˙& œ œ œ1 + 26.œ œ œ1 + 2œ œ œ œ œ œœ œ œ œ œ œœ œ œ˙& œ œ œ1 2 +7.œ œ œ1 2 +œ œ œ œ œ œœ œ œ œ œ œœ œ œ˙& œ œ œ1 2 +8.œ œ1 2œ œ œ œ œœ œ œ œ œœ œ œ˙& œ œ œ1 + 29.œ œ1 2œ œ œ œ œœ œ œ œ œœ œ œ˙Half Notes in 2/4 time equal two beats or one full measure.h2.

&&4242Gtr. 1Gtr. 2œ œ œœ œ œSystem 1œ œœ œœ œ œ œœœœœœ œœ œ&&....Gtr. 1Gtr. 2œ œ œœ œ œSystem 1System 2œ œ œœ œœ œ œœœœœœœ œœ œ&&4242Gtr. 1Gtr. 2œ œ œœœœœ œ œœœœœ œ œœœœœœœœœœ œ&&....Gtr. 1Gtr. 2œ œ œ œœœœœSystem 2œ œ œ œœœœœ œ œœœœœ˙˙No.1No.23.First SongsGtr. 1 - Student PartGtr. 2 - Teacher Part

&wMi0B& 42œœœœm iœ œ œ œpœ œ œ œœ œ œ œiœ œœ œœ œœ œœœœœœœœœ& 42œœœ œGAUDIO TRACK 1, 2, 3œœ œœœ œœ œ& œœœ œq »ª™œœœœœ œœ œ&œœœœœœœœœœœ œ&..œœœ œœœœœœœ˙New Note BSolo No. 14.B, second string-openUse middle finger (m) of right hand.Ex. 1Ex. 2Ex. 3Play each exercise below four times. Sing the solfege with ex. 3. (mi-do-so-do)Right Hand Pattern OneWith the exercises above we have established a regular pattern for the right hand with each finger on it's own string, p on the 4th, i on the 3rd and m on the 2nd. A new pattern will be added later.

&w2ReA& œœEx. 1i2œœEx. 22i mœœœEx. 3œœœEx. 4œœœœEx. 5&&4242œ œ œœ œ œAUDIO TRACK 4, 5, 6q»ª™œ œ œœ œ œ2œœœœœœœœ2&&œ œ œ œœ œ œœ œ œœ œ œœœœœ˙œœœœ&&œ œ œœ œœœ œ œœ œœœœœœœœœœœœ&&....œ œ œœ œ œœœœ œœœœ œ œ˙˙New Note A5.March MarchSing the solfege of each exercise then play each exercise four times. (do-re-mi-so)A, Third string, Second fretuse second finger (2) of left handuse index finger (i) of right handTeacher PartStudent Part

&&4242œœœœœœœœq»§ºTeacher PartEx. 3œœœœœœœœœœœœEx. 3 & 4˙œœœœ&&5œœœœœœœœœœœœœœExerciseœœœœœ œ˙œœœœ&&9œœœœœ œEx. 2œœœœœœœœœœœ œEx. 1˙œœœœ&&........13œœœœœœœœœœœœœœœœœœœœœœ˙œœœ6.April MarchLearn four measures at a time using the three step-process. Practice measures 7 & 8 repeatedly as an exercise before playing entire piece.AUDIO TRACK 7, 8, 9 Note: The exercise numbers above some measures refer to those on page 5.

& 42œœœœ1 2q»¶™AUDIO TRACK 10, 11, 12œœœœ1 2œœœœ1 2œœ œ œ1&œœœœ1 2œœœœ1 2œœœœ1 2œœœ1 2&œœœœ1 2œœ œ œ1œœœœ1 2œœ œ œ1&..œœœœ1 2œœœœ1 2œœœœ1 2œœœ1 2&w3D&œ œœ œ3œ œœ œ32& œœœœ32œœœœ2New Note D7.SoSecond string, third fret, third fingerEx. 1Ex. 2Ex. 3 Ex. 4Solo No. 2The melody of Solo No. 2 is in the 1st and 2nd beats of most measures. Practice these notes firstand leave out the thumb note D. When played together the thumb acts as a second part.

&&&424242Gtr. 1Gtr. 2Gtr. 3œ œœ œœ œœ œœ œœ œ3AUDIO TRACK 13œ œœœ œœœ œ œœ œœ œœ œœ œœ œœ œ2œ œœœ œ œœ œ œœ œœ œœ œœ œœ œœ œ3&&&6œ œœ6œ œœ6œ œœœ œœ œœ œœ œœ œ œ œFineœœœFineœ œ œFineœ œœœ œœ œ1 + 2 +!!(Half Note Rest)(Half Note Rest)œ œœ1 + 2!!&&&11!11œ œœ œ1 + 2 +11!2!œ œœ1 + 2!œ œœ œ1 + 2 +!!2œ œœ1 + 2!!!!œ œœ œ1 + 2 +2D.C. al Fine!D.C. al Fine!D.C. al Fineœœœ1 + 2First TrioThis piece may be played as a trio (three players) or a duo (two players). There may also be more than one person on a part. D.C. al Fine is a repeat indication. D.C. stands for "Da Capo" or go back to the beginning. "al Fine" means play to Fine, or "the end", which is indicated at measure 8.Some measures contain a half note rest, which means that there are two beats of silence in that part.8.Note: From this point on, the student(s) can play any part(s) of each piece in Guitar Academy.

&w1FaC&œ œœ œEx. 10 1œœœœ œ œœ œEx. 213œœœœœ œœ œEx. 3œ œœ œ˙& œ œœ œEx. 4œ œœ œ˙ œ œœ œEx. 5œ œœ œ˙& œ œœ œDo ReEx. 6 G Major Scaleœ œœ œMi Faœ œœ œSo Faœ œœ œMi Re˙Do&&œ œœœœœq»ª™œ œœœœœœ œœœœœ˙œœ œ œ&&......œ œœœœœœ œœœœœœœœœœœ˙œœœ9.Second string, first fret, first fingerNew Note CDuo in G Major Divide the class in half, each on a part then switch parts on the repeat.

&&4242œ œœ œœœAUDIO TRACK 14, 15, 16q»§§œœœœ œœ œœ œœœœœœœ œ&&5œ œœ œ5œœœœœœœœœœœ œ œ œ˙œœœ&&9œ œ œœ9œœœœœœ œœ œ œœœœœœœœ œ&&....13œœœœ13œœœExerciseœœœœœ œ œœ œœœœ œœœ˙œœœ10.Note: In the first part measures 13 & 14 are the most challenging. Play these measures repeatedly until smooth.Divide the class in half, each on a part then switch parts on the repeat. Scale Song

& 421œœœœAUDIO TRACK 17, 18, 19q»§ªœœœœœœœœœœœœ& 425œœœœœœœœœœœœœœœ&....9œœœœœœ œ œœœœœœœ œ œ& 42....13œœœœœœœœœœœœœœœ&cœ œ œ œ1 2 3 4˙ ˙!!!!!!!!!!!!!!!1!!!!!!!!!2!!!!!!!!!!!!!3!!!!!!!!!!4œ œ ˙!1 !!2 !!!!!!!!!3!!!!!!!!4w!!!!!!!!!!!!!!!!!!!!!!!!!!!!1!!!!!!!!!2!!!!!!!!3!!!!!!!!4& ˙ œ œ œ œ œ œ ˙ œ œ wSolo No. 3 11.New Meter44TimeThe whole note is worth four beats.˙ means four beats to a measure-the quarter note gets the beat.Note: Four-four time is so common that it is usually called common time, therefore the letter is used as the time signature. Play the following exercise while counting out loud.c44

&c œ œœœGœœœœD7œ œœœG.œjœ ˙D7&œ œœœGœœœœD7œ œœœG.œjœ ˙D7 G&œ œœœD7 GœœœœœD7 GœœœœœD7 Gœœ˙G D7&œ œœœGœœœœD7œ œœœG.œjœ ˙D7 G12.Ode To Joy1 2 + 3 4Ludwig van Beethoven's "Ode to Joy"On the following page a very popular tune is presented as a sixteen bar melody. Although Beethoven did not write for the guitar, this melody is an enjoyable introduction to classical music. Also at this point in Part I it is very playable.Although we hear this melody in many forms including movies and church music it was written by Beethoven as a setting for a poem by Friedrich Schiller. Both the music and words appear in glorious full choir form in the final movement of Beethoven's Ninth Symphony, which he composed after becoming deaf.A quartet version of Ode to Joy may be found on page 32. The third part may be played as a solo.Note: The dotted quarter note in measure 4 is worth a quarter note plus an eighth note or one and a half beats in four-four time.Students may also add chords using a half note pattern strum according to the chord symbols provided. G and D7 can be found in the chord supplement in the back of the book.

&w&Œ ‰&..œ œ œ ˙&cœ œ œ œ12 3 4Œœ œ œrest 2 3 4œ œ œ œŒœ œ œ&..˙ œ œŒœ œ œ œ œ œ œ w&c..œ œ œ œ œ œ œ œ œ ˙&c..œ œ‰jœ œ œ‰jœ œ œ‰jœ œ œNew Note ARestsTies13.Fifth string, openuse thumb (p) of right handquarter note resteighth note restCount and sound out ryhthm several times then play repeatedly. Ex.1Ex. 4 Ex. 2 Ex. 3 1 2 + 3 4Ties are a way to create new note durations between two notes. In the following exercise an eighth note is tied to a half note. The eighth note is plucked and the note allowed to sustain through the half note.

&&&&44444444................Gtr. 1Gtr. 2Gtr. 3Gtr. 4œ œœœœ œœœDminœ œ œ œœ œ œ œ œ œ œ œ1˙˙˙˙˙˙©»¡º•ModeratoAUDIO TRACK 20Fineœ œœœ ˙Amin Dminœ œ œ œœ œ œœ œ œœœœœœœœœœ˙˙˙&&&&................œœœœAminœ œ‰jœ œ œ‰jœœ œœ œœ œœ œ3˙˙˙˙˙˙D.C. al Fineœ œœœ œŒEmin Aminœ œ‰jœ œ œœ œœœ œŒœœœœœœœœœ˙˙˙14.Blues No. ISee page 34 for the "swing" version of Blues No. 1Blues No. I offers an opportunity to sharpen rhythmic skills and interact in a uniquely American style. This arrangement can be played as a duet between guitar 1 and 2, or as a trio or quartet. It first should be learned playing the eighth note rhythms evenly in a regular fashion. Later a "swing feel" can be applied to the rhythm, a style that is introduced in the chord supplement (pg.6). The audio track is also in the "swing" style so that the student(s) can play along.This arrangement can be repeated as many times as you want and improvisation may be added.

&www013E F GMi Fa So&œ œœ œœœœœ01Ex. 1œ œœ œœœœœ13Ex. 2œ œœ œœ œœ œEx. 3w&œ œœ œœ œœ œimEx. 4do re mi fawsoœ œœ œœ œœ œmiEx. 5w œœœœœœœœEx. 6 The C Major Scaleœœœœœœœœw&&4242œ œœœœœq»ª™i pœ œœœœœœ œœœœœmp˙œœ œ œ&&....œ œœœœœœ œœœœœœœœœœœ˙œœœ15.E, first string, open F, first string, first fret G, first string, third fretuse middle finger, right handRight Hand Pattern TwoNew Notes E, F and GDuo in C Major Now that we are adding notes on the first stringour right hand fingers will move over to the 1st,2nd and 3rd strings. Middle on 1st, index on 2ndand thumb on 3rdWe will also be moving our solfege to the key of"C Major" so that "C" is now "do".Divide the class in half, each on a part then switch parts on the repeat.

&C˙ ˙CŒœŒœppih»•ºAUDIO TRACK 21, 22, 23˙ ˙G7ŒœŒœ˙ ˙CŒœŒœmwG7Œœ œ œ&˙ ˙CŒœŒœ˙ ˙G7ŒœŒœ˙ ˙CŒœŒœwG7Œœ œ œi&˙ ˙CŒœŒœ˙ ˙G7ŒœŒœ˙ ˙CŒœŒœ˙ ˙G7ŒœŒœ&..˙˙G G7ŒœŒœ˙˙C G7ŒœŒœ˙˙C GŒœŒœ˙ ˙CŒœÓ16.Study in C MajorNote: Study in C Major is in 4/4 cut time, which means the half note is the beat.

&cœ œ œ œlaiEx. 1Pat. oneœ œ œ œtiœ œ œ œdoiPat. twoœ œ œ œreœ œ œ œmiœ œ œ œfa&œ œ œ œsoœ œ œ œfaœ œ œ œmiœ œ œ œreœ œ œ œdoœ œ œ œtimPat. onewla&œ œœ œEx. 2Pat. oneœ œœ œiPat. twoœ œœ œœ œœ œ&œ œœ œœ œœ œmPat. oneœ œœ œw&˙˙Ex. 3˙˙i˙˙˙˙˙˙˙˙mwPattern One and Two for the Right HandMaking the TransitionThe A minor ScaleAs we learn the A minor scale, we will also work with moving the right hand fingers from pattern one into pattern two. This is important for developing right hand movement across the strings with the index and middle fingers.The A minor scale is related to the C Major scale so it is called the "relative minor" of C Major. This means that it shares the same notes, but begins on the note "A". The note "C" remains "do" and "A" and "B" become "la" and "ti". 17.

&c...˙ œ1 2 3 4Ex. 1.˙ œ1 2 3 4&c...˙ œEx. 2˙ ˙.˙ œ ˙ ˙&œœœœœœœœœ œœ œEx. 1iPattern Oneœœœœœœœœœ œœ œwœœœœœœœœœ œœ œEx. 2iPattern twoœœœœœœœœœ œœ œw18.The dotted half noteh.The dotted half note is the equivalent of three quarter notes, since dotting any note adds half of it's own value to itself.h = q qh. = q q qPlay the following exercises while counting out the rhythm.The un-dotted half note is worth two quarter notes.New RhythmsPreparation Studies

&cwAminŒœ œ œq»¡¢¢ Pattern one throughoutiAUDIO TRACK 24, 25, 26˙˙Amin EminŒœŒœwAminŒœ œ œ˙˙Amin EminŒœŒœ&5.˙œAminŒœ œŒ˙˙Amin GŒœŒœwAminŒœ œ œwAminŒœ ˙&9.˙œAminŒœ œŒ˙˙Amin EminŒœŒœ.˙œAminŒœ œŒ˙˙Amin EminŒœŒœ&..13.˙œAminŒœ œŒ˙˙Amin GŒœŒœwAminŒœ œ œ∑w19. This etude can be played as a duet with A Minor Etude II Learn the melody first, then add the thumb notes.A minor Etude INote: The audio tracks present "A minor Etude I" and at the repeat "A minor Etude II" is added. Practice Etude I with each track both times so that you can get accustom to hearing the second etude playing with the first.

&cwAminŒœ œ œq»¡¢¢Pattern two throughoutiAUDIO TRACK 24, 25, 26˙˙Amin EminŒœŒœwAminŒœ œ œ˙˙Amin EminŒœŒœ&5.˙œAminŒœ œŒ˙˙Amin GŒœŒœwAminŒœ œ œwAminŒœ ˙&9.˙œAminŒœ œŒ˙˙Amin EminŒœŒœ.˙œAminŒœ œŒ˙˙Amin EminŒœŒœ&..13.˙œAminŒœ œŒ˙˙Amin GŒœŒœwAminŒœ œ œ∑w20.A minor Etude II In measures 9-12 hold down the "D" on the second string.Like "A minor Etude I" learn the melody first then add the thumb notes.Note: The audio tracks present "A minor Etude I" and at the repeat "A minor Etude II" is added. Practice Etude II with each track both times so that you can get accustom to hearing the first etude playing with the second.

&cœœœœœœœœœœœœq»ª™Pattern one throughoutiAUDIO TRACK 27, 28, 29œœ˙œœœœ‰Jœ œ œœ œœ œœœœœœœœœ˙ ˙‰Jœ œ œ‰Jœ œ œ&5œœœœœœœœœœœœœœ˙œœœœ‰Jœ œ œœ œœ œœœœœœœœœ˙ ˙‰Jœ œ œ‰Jœ œ œ&9œœœœœœœœœœœœ˙˙‰œ œ œ‰œ œ œœœœœœœœœœœœœ˙˙‰œ œ œ‰œ œ œ&..13œœœœœœœœœœœœ˙˙‰œ œ œ‰œ œ œœœœœœœœœœœœœ˙Ó‰œ œ œ ˙A minor Duo(first part)21.The first part of A minor Duo is in pattern one with the thumb on the fifth string playing the note "A".Learn the melody first (stems up notes) then add the thumb notes.Note: The audio tracks for "A minor Duo" presents the first part and adds the second part at the repeat. Practice the first part both times with each track so that you can get accustom to hearing the second part playing with the first. After the student(s) learns both parts well, have each player or one half of the class take one part, then switch parts at the repeat with the other player(s).

&cœœœœœœœœœœœœiq»ª™ Pattern oneAUDIO TRACK 27, 28, 29œœ˙œœœœ‰Jœ œ œœœœœœœœœœœœœ˙ ˙‰Jœ œ œ‰Jœ œ œ&5œœœœœœœœœœœœiPattern twoœœ˙œœœœ‰Jœ œ œœœœœœœœœœœœœPattern onei˙ ˙‰Jœ œ œ‰Jœ œ œ&9œœœœœœœœœœœœiPat. onePat. twoi˙˙‰œ œ œ‰œ œ œœœœœœœœœœœœœiPat. onePat. twoi˙˙‰œ œ œ‰œ œ œ&..13œœœœœœœœœœœœmPat. two˙˙‰œ œ œ‰œ œ œœœœœœœœœœœœœPat. onem˙ ˙‰œ œ œÓA minor Duo(second part)22.The second part to A minor Duo uses both pattern one and pattern two. Pattern indications are given above the staff, but also the right hand indication "i" and "m".Learn the melody first (stems up notes) then add the thumb notes.Note: The audio tracks for A minor Duo presents the first part and adds the second part at the repeat. Practice the second part both times with each track so that you can get accustom to hearing the second part playing with the first.After the student(s) learn both parts well, have each player or one half of the class take one part, then switch parts at the repeat with the other player(s).(This 2nd part uses the same tracks as the 1st.)

&cGtr. 1œ œœœœœœiAUDIO TRACK 30, 31, 32q»••mœ œœœœœœœœœi p i pœœœœœ œ&5œ œœœœœœœ œœœœœœ œœ œœœ œ ˙&&9œ œœœœœœœœœœœœœœimm i m i m iœ œœœœœœœœœœœœœmiœœœœœœœœœœœœi p i pœœœœœ œœœœœœœœœ&&13œ œœœœœœœœœœœœœœœ œœœœœœœœœœœœœœ œœ œœœœœœœœœœœ œ ˙œœœœ˙chords begin&&17œ œœœœœœœœœœœœœœCimœ œœœœœœœœœœœœœmiœœœœœœœœœœœœG7i p i pœœœœœ œœœœœœœœœSimple GiftsA third part may be added to Simple Gifts by strumming the chords in a half note rhythm where indicated.23.Joseph BrackettSimple Gifts like "Ode to Joy" is a very popular melody in that it can be heard in many forms and manyplaces. The melody written by Joseph Bracket a member of an early American religious group "The Shakers"is often heard as a hymn tune as well as a chamber orchestra work by American composer Aaron Copland called "Appalachian Spring".

&&21œ œœœœœœœœœœœœœœCœ œœœœœœœœœœœœœœ œœ œœœœœœœœœœG7œ œ ˙œœœœ˙C&&25˙œ œœ˙˙˙˙Cmimiœœœœœ œœ˙˙˙˙œ œœœœœ˙˙˙˙œœœœœœ˙˙˙˙&&29˙ œ œœœœœœœœœœCœœœœœœœœœœœœœœœœ œœ œœœœœœœœœœG7œ œ ˙œœœœ˙C Chords end&&33˙ œ œœœœœœœœœœœœœœœœœœœœœœœœœœ œœ œœœœœœœœœœœ œ ˙œœœœ˙&37˙ œ œœALL PLAYœœœœœœœœ œœ œœœ œ ˙24.

&www0D2E3F&cœ œœ œœœœœ0Ex. 12œ œœ œœœœœ2Ex. 23œ œœ œœ œœ œEx. 3w&www0A2B3C&cœ œœ œœœœœ0Ex. 12œ œœ œœœœœEx. 223œ œœ œœ œœ œEx. 3w&wwwE0F1G3&cœ œœ œœœœœ01Ex. 1œ œœ œœœœœ13Ex. 2œ œœ œœ œœ œEx. 3wE, sixth string, open F, sixth string, first fret G, sixth string, third fretuse thumb (p) of right handNotes on the Bass StringsThe Sixth StringNew Notes E, F and GA, fifth string, open B, fifth string, second fret C, fifth string, third fretuse thumb (p) of right handThe Fourth StringNew notes E & FD, fourth string, open E, fourth string, second fret F, fourth string, third fretuse thumb (p) of right handThe Fifth StringNew notes B & C25.

& 42œ œ œ œSixth String0Ex. 1œ œ œ œ1œ œ œ œ3&œ œ œ œFifth String0œ œ œ œ2œ œ œ œ3&œ œ œ œFourth String0œ œ œ œ2˙3&œ œ œ œ3Fourth String (decending)œ œ œ œ2œ œ œ œ0&œ œ œ œFifth String3œ œ œ œ2œ œ œ œ0&œ œ œ œSixth String3œ œ œ œ1˙0&œ œœ œEx. 201œ œœ œ30œ œœ œ23œ œœ œ02œ œœ œ3œ œœ œœ œœ œœ œœ œ˙&cœœœœEx. 3œœœœœœœœœœœœwThe Bass Note Scale26.

& 43œ œœEmin˙œEmin˙ œDmin.˙Emin&5œ œœAmin˙œAmin˙ œEmin.˙Amin&9œ œœDmin˙œDmin˙œDmin.˙Dmin&..13˙œAmin˙ œAmin˙œEmin.˙EminThe Bass Note Song To add a second guitar part strum the chords on the symbols where they occur. Have half of the class play the melody, the other half the chords, and then have them switch roles at the repeat. Students shoulduse the audio tracks to practice both aspects.New Meter34Time27.AUDIO TRACK 33Three-four time means 3 beats to a measure - the quarter note gets the beat.

Blank&page&to&avoid&page&turn&on&next&piece.&

&#44œœœœLower Octaveœœœœ(#)œœœœHigher Octaveœœ˙(#)&#œœœœ(#)œœœœœœœœ(#)œœ˙&#œ œœ œEx. 1œ œ˙œ œœ œEx. 2œ œ˙Key SignaturesKey signatures are a way to show sharps (or flats) that are consistent to a particular scale or key. After learning the full G Major scale on the previous page we learned that the note F# is necessary to make the scale sound complete. Since the F# is common to that scale we can use what's called a "key signature" at the beginning of a song or piece to show it is in the key of "G Major". This means that:1. The most important note is "G".2. "F" has to be raised to "F#" to make it complete.The following two-octave scale is in the key of G Major as indicated by the "F#" at the beginning of each line.A sharp sign is placed in parentheses above the notes that are sharped as a reminder. Also notice the fingerings.Octaves are the eight notes from G to G. Low G to middle G and middle G to high G. See the brackets below.The following piece on the next page is based on the two octave G Major Scale. The most technicallychallenging note is the F# on the fourth string and the sixth string. Practice these two exercises before working on "The Surprise Symphony".28.The Surprise - Prep

&#44œ œœ œpœ œ˙œœœœ˙˙Gß&#˙.œ.ŒœœœœŒœœŒFranz Joseph HaydnFranz Joseph Haydn was a trailblazer of the "Classical Era" creating the standard forthe symphony and the string quartet. Known for his humor and playfulness Haydn's "Surprise Symphony" best displays this quality with abrupt increases in loudness (Ex.2)and adding rests when the listener expects to hear notes, called interruption (Ex.4).The SurpriseThough not a direct arrangement of the Surprise Symphony, the following trio on the next page takes Haydn's playful melody and adds some unexpected twists. To create the element of surprise this arrangement uses wide swings in dynamics (Ex.1&2).DynamicsDynamics are a way of adding loudness and softness in a piece. Pianissimo or Piano isconsidered a quiet dynamic. The letter "P" is used to express Piano. "f" Fortissimo or Forteis considered a loud dynamic. Sforzando is a very sudden and loud forte and is labeled sfz.The Surprise uses both the piano dynamic and the sforzando. StaccatoStaccato's are a type of articulation. In other words a different way to express a note. A staccato means to shorten the sound of a note without changing the rhythm. Staccatos are produced by either muting the note with a right hand finger or letting off quickly with a left hand finger, if it is a fretted note.Piano - very softsforzando - very loud and abruptEx. 1Ex. 2Ex. 3Ex. 4Stuccatointerruption29.

&#44œ œœ œm i m ipœ œ˙m i mœ œœ œm i m iœ œ˙m i m&#5œ œœ œœ œ˙œœœœm i m i˙˙m p&#9œ œœ œp p p pœ œ˙œ œœ œœ œ˙&#13œ œœ œœ œ˙œœœœ˙˙Gß&&&###17œ œœ œ17œœœœœœœœ17œ œœ œGpppœ œ˙œœœœœœœœœ œ˙œ œœ œœœœœœœœœœ œœ œD 7œ œ˙œœœœœœœœœ œ˙&&&###21œ œœ œ21œœœœœœœœ21œ œœ œGœ œ˙œœœœœœœœœ œ˙œœœœœœœœœœœœœœœœD 7˙˙œœœœ˙˙˙GGßßßThe SurpriseFranz Joseph Haydn30.AUDIO TRACK 34

&&&###25œ œœ œ25œ œœ œ25œœœœœœœœGpppœ œ˙œ œ˙œœœœœœœœœ œœ œœ œœ œœœœœœœœœD 7œ œ˙œ œ˙œœœœœœœœ&&&###29œ œœ œ29œ œœ œ29œœœœœœœœGœ œ˙œ œ˙œœœœœœœœœœœœœœœœœœœœœœœœD 7˙.œ.Œ˙.œ.Œœœœœœ.Œ&&&###33œœœœœœœœ33œ œœ œ33œ œœ œGœœœœœœœœœ œ˙œ œ˙œœœœœœœœœ œœ œœ œœ œD 7œœœœœœœœœ œ˙œ œ˙&&&###37œœœœœœœœ37œ œœ œ37œ œœ œGœœœœœœœœœ œ˙œ œ˙œœœœœœœœœœœœœœœœD 7ŒœœŒŒœœŒŒœœŒGßßßßßßThe Surprise 31.

&w#&&&&####1œ œœœG1˙ ˙1œ œœœœœœœœœœœ1˙ ˙AUDIO TRACK 35, 36, 37q»¡™º3œœœœD7˙˙œœœœœœœœœœœœ˙ ˙2œ œœœG˙ ˙œ œœœœœœœœœœœ˙ ˙3.œjœ ˙G D7.œjœ ˙œœœ ˙œœ œ ˙œœ ˙&&&&####5œ œœœG5˙ ˙5œ œœœœœœœœœœœ5˙ ˙œœœœD7˙˙œœœœœœœœœœœœ˙ ˙œ œœœG˙ ˙œ œœœœœœœœœœœ˙ ˙.œjœ ˙D7 G.œjœ˙œœœ ˙œœ œ ˙œ œ˙32.BeethovenOde To JoyNew note F#- 6th string, 2nd fretas indicated in the key signature.Note: The third part may also be played as a solo piece.

&&&&####9œ œœœD7 G9œ œ˙9œ œœœœœœœœœœœ9˙˙A-fifth string, open23œœœœœD7 Gœ œ˙œœœœœœœ œœœœœ˙˙œœœœœD7 Gœ œœ œœœœœœœœ œœœœœ˙˙œœ˙G D7œ œ ˙œœ˙œœœœœœ œ œœ œ˙&&&&####..........13œ œœœG13˙ ˙13œ œœœœœœœœœœœ13˙ ˙œœœœD7˙˙œœœœœœœœœœœœ˙ ˙œ œœœG˙ ˙œ œœœœœœœœœœœ˙ ˙.œjœ ˙D7 G.œjœ˙œœœ ˙œœ œ ˙œ œ˙33.

A. The following note chart can be helpful throughout Part One and particularly as a visual map for the chord supplement. Use it as needed. Note Chart in First Position 1st String 2nd String 3rd String 4th String 5th String 6th String G#C#D#G#A#D#G#FEAGBEDA#BCC#

&˙pima12340a& 42..˙aEx. 1˙a˙a˙a&..œ œa aEx. 2œ œm mœ œi iœ œm m˙a&..œ œi iEx. 3œ œm mœ œa aœ œm m˙i&....˙˙˙iEx. 4extend index finger out across strings˙˙˙i˙˙˙i˙˙˙i˙˙˙iEx. 5lightly pull finger back across strings˙˙˙i˙˙˙i˙˙˙iChord PreparationNew Note Efirst string - openright hand finger "a" (ring finger) Remember the names for the fingers of each hand. Left Hand 1-2-3-4 Right Hand p-i-m-a Right Hand ExercisesRest your right hand thumb on the D string throughout to keep the hand steady.B.

&42œœœ1 + 2i m aC E~G~++6 5 4 3 2 1+_Primerstring numbersX - strings not playedfret board`11right hand fingers i-m-a˙˙˙!!!!!!!!!!!!!1!!!!!!!!!!!!2iC MajorO - open strings playedfretted note played (with finger number)chord namenote nameschord strum arrowindicates directionof finger (i)& 42œœœœ1i+m2a+mCEx. 1œœœœ1 + 2 +œœœœœœœœ& 42œœœœœœ1ii2imEx. 2œœœœœœ1ia2im& 42œœœœœœiiEx. 3œœœœœœmiœœœœœœaiœœœœœœmiC.The aim of the chord supplement is to provide a simple framework for learning chord technique.Each page has: 1. a chord chart as a visual of the guitar fretboard (see below). 2. a primer that gives the picking and strumming patterns to play each exercise. 3. a series of exercises based on the primer.Picking patterns using all fingers:i = indexm = middlea = ring fingerStrumming patterns using index Strumming patterns using i-m-a-mArrows indicate direction of strumStrumming out and backThe Chord SupplementChord Chart

&42œœœ1 + 2i m aBE~G~++6 5 4 3 2 1+_~E minorPrimer˙˙˙!!!!!!!!!!!!!1!!!!!!!!!!!!2i& 42œœœœ1i+m2a+mEminEx. 1œœœœ1 + 2 +œœœœœœœœœœœœœœœœœœœœœœœœ˙& 42œœœœœœii1 2imEx. 2œœœœœœ1ia2imœœœœœœ1etc.etc.2œœœœœœ1 2œœœœœœ1 2œœœœœœ1 2œœœœœœ1 2œœœœœœ1 2˙˙˙!!!!!1!!!!!!2& 42œœœœœœiiEx. 3œœœœœœmiœœœœœœaiœœœœœœmiœœœœœœœœœœœœœœœœœœœœœœœœ˙˙˙& 42..œœœœœœœœœœœœ1ii+ 2im+Ex. 4œœœœœœœœœœœœ1ia+ 2im+œœœœœœœœœœœœ1 + 2 +œœœœœœœœœœœœ1 + 2 +˙˙˙!!!!!!!!!1!!!!!!!!21.

&42œœœ1 +!!!!!2!!!!!!!ima1C MajorE~C`G~++6 5 4 3 2 1_+Primer01˙˙˙!!!!!!!!!!1!!!!!!!!!!!2i& 42œœœœ1i+m2a+mCEx. 1œœœœ1 + 2 +œœœœœœœœœœœœœœœœœœœœœœœœ˙& 42œœœœœœiimiEx. 2œœœœœœaimiœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ˙˙˙& 42..œœœœœœœœœœœœiii imiEx. 3œœœœœœœœœœœœa mœœœœœœœœœœœœi mœœœœœœœœœœœœa m˙˙˙& 42..œœœœœœœœœii i iEx. 4œœœœœœœœœmi i iœœœœœœœœœaœœœœœœœœœm˙˙˙i2.

&42œœœ1 + !!!!2!!!!!i m a21E~C1`A2`++6 5 4 3 2 1+_A minor0˙˙˙!!!!!!!!!!1!!!!!!!!!!!2i& 42œœœœAminEx. 1i m a mœœœœœœœœEmin/GœœœœœœœœAminœœœœœœœœEmin/Gœœœœ˙˙˙Amin& 42œœœœœœiimiAminEx. 2œœœœœœaimiœœœœœœEmin/GœœœœœœœœœœœœAminœœœœœœœœœœœœEmin/Gœœœœœœ˙˙˙Amin&cœœœœœœœœœœœœœœœœœœœœœiii i i i i iAminœœœœœœœœœœœœœœœœœœœœœmi&..œœœœœœœœœœœœœœœœœœœœœaiEminEx. 3œœœœœœœœœœœœœœœœœœœœœmiwwwAmin3.Pieces you can play chords with at this level: A minor Etude I pg. 19 A minor Etude II pg. 20Primer

&cœœ˙ima12 34G 7F`B~G~++6 5 4 3 2 1+_Primer11wwwi1 234&c..œœœœœœœœœœœœ1i2m3a4mCEx. 1œœœœœœœœœœœœ1 2 3 4œœœœœœœœœœœœG7œœœœœœœœœœœœwwwC&c..œœœœœœœœ1 + 2 + 3 + 4 +CiEx. 2ma m i m a mœœœœœœœœœœœœœœœœG7œœœœœœœœwwwC&cœœœœœœœœœœœœœœœœœœœœœiCEx. 3œœœœœœœœœœœœœœœœœœœœœm&..œœœœœœœœœœœœœœœœœœœœœaG7œœœœœœœœœœœœœœœœœœœœœmwwwC4.4/4 or Common TimeFour-Four time is so common in music that it is referred to as "common time". Therefore the time signature for 4/4 time is a C or short for "common".Pieces you can play chords with at this level: Study in C Major pg. 16 Simple Gifts pg. 23

&cœœ˙1 !!!!!2!!!! !!!!!!!!3!!!!!!!!4i ma23(4)(4)1`D minor3`2`1++6 5 4 3 2 1_+www!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1!!!!!!!2!!!!!!!!!3!!!!!!!4i&..œœœœœœœœD m inEx. 1i m a mœœœœœœœœœœœœœœœœAminœœœœœœœœwwwD m in&..œœœœœœœœœœœœD m inEx. 2œœœœœœœœœœœœœœœœœœœœœœœœAminœœœœœœœœœœœœwwwD min&œœœœœœœœœœœœœœœœœœœœœD minEx. 3œœœœœœœœœœœœœœœœœœœœœ&..œœœœœœœœœœœœœœœœœœœœœAminœœœœœœœœœœœœœœœœœœœœœwwwD min5.Pieces you can play chords with at this level. Blues No. 1 pg. 14

&43œœœ1 !!!!!2!!!!! 33 (4)G MajorB G`~G~++6 5 4 3 2 1+_...˙˙˙!!!!!!!!!!!!!!!!!!!!!!!!1!!!!!!!!2!!!!!!!!!3!!!!!i& 83..œœœœœœœœœ1 2 3GEx. 1œœœœœœœœœ1 2 3œœœœœœœœœ1 2 3G7œœœœœœœœœ1 2 3...œœœ!!!!!!!!!!!!!!1!!!!!!!2!!!!!!!3G& 83..œœœJœœœ!!!!!!!!1!!!!!!!!2 3GEx. 2œœœJœœœ!!!!!!!!1!!!!!!!!2 3œœœJœœœG7œœœJœœœ...œœœG&c..c3œœœœœœœœœ3œœœœœœœœœ3œœœœœœœœœ3œœœœœœœœœ1 + a 2 + a 3 + a 4 + aGEx. 33œœœœœœœœœ3œœœœœœœœœ3œœœœœœœœœ3œœœœœœœœœG7wwwG&c..3œœœJœœœ3œœœJœœœ3œœœJœœœ3œœœJœœœ!!!!1!!!!+ a !!!!2!!!!+ a !!!!!3!!!+ a !!!!4!!!+ aGEx. 43œœœJœœœ3œœœJœœœ3œœœJœœœ3œœœJœœœG7wwwG6.Triple Time and Triplets3/4 Time means-three beats to a measure/quarter notes get the beat.3/8 Time means-three beats to a measure/eighth notes get the beat.Triplets borrow groups of three but place them on one quarter note beat.

&cœœ˙#213D7F#3`C1`A2`+6 5 4 3 2 1_+pim~Dwww#i&#..œœœœœœœœœœœœD7Ex. 1œœœœœœœœœœœœG4œœœœœœœœœœœœD7œœœœœœ˙˙˙G4&#..‰œœœ‰œœœ1 + 2 + 3 + 4 +˙ ˙D7i m iEx. 2p‰œœœ‰œœœ1 + 2 + 3 + 4 +˙ ˙‰œœœ‰œœœ˙ ˙G4‰œœœ˙˙˙˙4&#..‰œœœ‰œœœ˙˙D7i m i i m iEx. 3pp‰œœœ‰œœœ˙˙‰œœœ‰œœœ˙˙G4‰œœœ˙˙˙˙4&#..œœœœœœœœ1 2 3 4D7pEx. 4i p iœœœœœœœœpipiœœœœœœœœG4œœ˙˙˙p p7.Pieces you can play chords with at this level: March March pg. 5 Solo No. 2 pg. 7 Ode to Joy pg. 32Right hand "Pattern Two"Plucked notes on this page use right hand pattern two from the method section, page 17.Primer

&cœœ˙#213D MajorF#3`D1`A2`+6 5 4 3 2 1_+pim~Dwwww#i&#..œœœœœœœœœœœœDEx. 1œœœœœœœœœœœœG4œœœœœœœœœœœœDœœœœœœ˙˙˙G4&#..‰œœœ‰œœœ1 + 2 + 3 + 4 +˙ ˙Di m iEx. 2p‰œœœ‰œœœ1 + 2 + 3 + 4 +˙ ˙‰œœœ‰œœœ˙ ˙G4‰œœœ˙˙˙˙4&#..‰œœœ‰œœœ˙˙Di m i i m iEx. 3pp‰œœœ‰œœœ˙˙‰œœœ‰œœœ˙˙G4‰œœœ˙˙˙˙4&#..œœœœœœœœ1 2 3 4DpEx. 4i p iœœœœœœœœpipiœœœœœœœœG4œœ˙˙˙p p8.Right hand "Pattern Two"Plucked notes on this page use right hand pattern two from the method section, page 17.Note: The "D" on the fourth string is also used on Ex.3&4.Primer

&42œ#œœ1 + 2i mB E~G++6 5 4 3 2 1+_~E MajorPrimer`p˙˙˙!!!!!!!!!!!!!1!!!!!!!!!!!!2i& 42œœœœ1 + 2 +AminEx. 1œœœœ1 + 2 +œ#œœœE/G#œ#œœœœœœœAminœœœœœ#œœœE/G#œ#œœœ˙˙˙Amin& 42œœœœœœ1 2AminEx. 2œœœœœœ1 2œœœ#œœœ1 2E/G#œœœ#œœœ1 2œœœœœœ1 2Aminœœœœœœ1 2œœœ#œœœ1 2E/G#œœœ#œœœ1 2˙˙˙!!!!!1!!!!!!2Amin& 42œœœœœœAminEx. 3œœœœœœœœœ#œœœE/G#œœœ#œœœœœœœœœAminœœœœœœœœœ#œœœE/G#œœœ#œœœ˙˙˙Amin& 42..œœœœœœœœœœœœ1 + 2 +AminEx. 4œœœ#œœœœœœœœœ1 + 2 +E/G#œœœœœœœœœœœœ1 + 2 +Aminœœœ#œœœœœœœœœ1 + 2 +E/G#˙˙˙!!!!!!!!!1!!!!!!!!2Amin9.Right hand "Pattern Two"Plucked notes on this page use right hand pattern two from the method section, page 17.

&42œœœi m a21FC1`A2`++6 5 4 3 2 1+_F Major1`1C˙˙˙iC& 42œœœœAminEx. 1i m a mœœœœœœœœF/ACœœœœœœœœAminœœœœœœœœF/ACœœœœ˙˙˙Amin& 42œœœœœœAminEx. 2œœœœœœœœœœœœF/AœœœœœœœœœœœœAminœœœœœœœœœœœœF/Aœœœœœœ˙˙˙Amin&cœœœœœœœœœœœœœœœAminEx. 3œœœœœœœœœœœœœœœF/A&..œœœ#œœœœœœœœœœœœE/G#œœœœœœœœœœœœœœœAminwww10.Bar ChordsBar chords require using one finger to press down two or more notes.In the F Major chord the first finger presses down both "C" and "F".The symbol indicates that a half bar is needed (2 to 4 strings held).

&wwwwwAmin2 3 1231wwwwwwEm2 31fr.23wwwwwC3 2 132wwwwwwG73 2 1321&wwwwDmin2 3 1213wwww#D72 1 3213wwwwwwG2 1 3324(2)(1)(3)wwww#D3 21213&wwwwww#E2 3 102310wwwwF1 13 23211wwwwwwF(full)11 1 13 4 2112413Full Chords11.