DON COMANDA S GROUP STUDY FOR THE GUITAR

Transcription

1 DON COMANDA S GROUP STUDY FOR THE GUITAR (2nd PHASE) (This book completes the course for group guitar.) FOREWORD This book, the second phase of Don Comanda's Group Study for the guitar, completes the course for group guitar as written by Mr. Comanda. It is a direct continuation of group study, 1st phase. Many strums, finger picking techniques, rhythms, and chords are thoroughly explained and applied throughout this 2nd phase. Chord progressions, chord families, bass runs, key signatures, scales, and transposing are also explained and applied. All books in the group study were classroom tested through many hours of teaching in classrooms with students of all age levels. (The various classes included students at adult education centers.) Great care was taken in the preparation of this book. It is certain to serve both teacher and student well and will encourage many students to continue their study of guitar with further private instruction. Here's to the many hours of pleasure the guitar will give you! Copyright 1980, Don Comanda, 1197B Rockland Ave Staten Island, NY International Copyright Secured Made in U.S.A. All Rights Reserved Published by Royal Fireworks Press, PO Box 399, 41 First Avenue, Unionville, NY (845) fax: (845) mail@rfwp.com website: rfwp.com ISBN: Printed and bound in Unionville, New York, on acid-free paper using vegetable-based inks at the Royal Fireworks facility.

2 2 CONTENTS (SONGS LISTING) ALL GOD'S CHILDREN GOT SHOES AMERICA, THE BEAUTIFUL A-ROVING.... BLOW THE MAN DOWN. BUFFALO GALS... CINDY.... CORRINA, CORRINA.. CRAWDAD SONG, THE. DIXIE.... ERIECANAL.... E-RI-E CANAL.... GIVE ME THAT OLD TIME RELIGION. GO TELL IT ON THE MOUNTAIN. HEI':RYMARTIN... HOLD HIM JOE I KNOW WHERE I'M GOING. JOHNHENRY.... JOSHUA FOUGHT T~ BATTLE OF JERICHO LI'L LIZA JANE WNESOME ROAD..... MAN WITHOUT A WOMAN, A MARINE HYMN, THE.. MARYANN.... MEET ME IN ST. LOUIS. MOCKING BIRD.... MY CHRISfMAS PRESENT MY OLD KENTUCKY HOME. MY WILD IRISH ROSE... OH HAPPY DAY ONE OF THE ROVING KIND. ON TOP OF OLD SMOKY.. POLLYWOLLY DOODLE.. POOR WAYFARING STRANGER. ROCK-A MY SOUL SAINT JAMES INFIRMARY... SHE'LL BE COMIN' 'ROUND THE MOUNTAIN SHENANDOAH SHIP THAT NEVER RETURNED, THE. SHORTNIN' BREAD... SIXTEEN TONS..... SWEET ROSIE O'GRADY. TAKE FIVE.... TAVERN IN THE TOWN. THIS OLD MAN.... THIS TRAIN... WABASH CANNON BALL. WAIT TILL THE SUN SHINES, NELLIE WHEN THE SAINTS GO MARCHING IN WHILE STROLLING THROUGH THE PARK WORRIED MAN BLUES.... Accompaniments (words with chords) ,99, Ill Melodies , , , ,

3 3 INDEX TO MATERIAL COVERED BASS, ALTERNATE BASS. BASS NOTE, THE.... BASS RUNS, CHROMA TIC. BASS RUNS, SCALE WISE. BASS RUNS, SCALES & CHROMATIC. BRUSH AND SLAP STRUM CHORD DIAGRAM.... CHORD FAMILIES.... CHORD PROGRESSIONS. CHORDS, GWSSARY OF. CHORDS, I, IV, V7 CHART CHORDS, REVlEW. CUTTIME..... DOTTED NOTES..... DOUBLE PICK AND HAMMER. EIGHTH NOTE TRIPLETS. INTROS.... KEY SIGNATURES. MUFFLED STRUM. NOTENAMES... ONE (1), FOUR (IV), FIVE SEVEN (V7) CHART. PICK AND HAMMER..... PICK AND HAMMER (DOUBLE) PICKING, DOWN r1 AND UP V REPEAT SIGN..... RESTS RESTS & RHYTHM DRILLS. RHYTHM REVIEW... SCALES.. A (F#m). D (Bm). F (Dm). SIXTEENTH NOTES SIXTH STRING SLUR, THE... STAFF, THE... STARTING NOTE STRUMS FROM lst PHASE STRUMS (MORE) SYNCOPATION. TIE, THE... TRANSPOSING. TRANSPOSING CHART. 91 B!J (Gm) 43 E~ (Cm) 42 G (Em) ' , , 38,64, 86, 137,138, C(Am). 21 E (C#m)

4 4 HOW TO HOLD THE GUITAR. The guitar is held in position either on the left or the right leg, whichever IS more adaptable to the student, or how the teacher suggests. The hand which will finger the notes is bent at the wrist to allow for maximum range in fingering. THE PICK (Plectrum) The pick is held with the thumb and index finger. The index finger is bent a little less than half-way and the pick is placed on the side of the finger. Close thumb over the pick to assume position shown at left. "Glide," do not push pick when playing. The pick hand rests lightly on the guitar, so that the hand is supported, but not restrained in any way. (Resting lightly on the tops of your nails, with the wrist bent slightly, will allow maximum freedom when picking.) The movement when picking should come from the wrist. (Try to picture a pendulum on a grandfather clock, swinging back and forth ar,d how it would look if it were ticking while laying on its side.) The movement of your wrist should be the same, only of course not as broad. The pick should fall and rest on the string below the one you play. Do not allow the hand to sweep up and away from the guitar. As you pick from one string to another, allow your hand to move freely toward or away from the strings so that your fingers are not crowded together.

5 FINGERING THE STRINGS 5 The strings are numbered as shown to the right. Numbers of frets, (spaces) are also shown. 1st Fret 2nd Fret 3rd Fret 4th Fret etc. ~1-L...j~--1 l--w~t:t---2 l...wu:lt:t---3 ~~~--4 U::::t::t::t::::r--5 J:::t::t:t::~-- 6 STRINGS ARE NUMBERED:... z 0 Cl) Cl) ~ ~ The thumb is placed in position on the neck of the guitar, under the first fret. C"-\ FINGERS ARE NUMBERED: 3,, ~ ( ( ) 2 1 EACH FINGER HAS ITS OWN FRET IN WHICH TO PLAY The first finger may play any string in the first fret. The second finger may play any string in the second fret. The third finger may play any string in the third fret. The fourth finger may play any string in the fourth fret. FINGER YOUR STRINGS WITH THE BALL, END, OF EACH FINGER.

6 6 THE PARTS OF THE GUITAR HEAD~ ~., MACHINE HEADS (tuning keys) NUT FRETS FINGERBOARO----- (top flat part of neck) ---NECK ITUNINGI ONE METHOD OF TUNING the guitar is ANOTHER METHOD OF TUNING. with a PITCH PIPE, which can be acquired Tune 1st string to a clear medium high pitch, then: through your teacher or at a local music Place your finger in the 5th fret of the second string. Strike the second string, then the first. Both should store. m sound the same. If not, raise or lower the 2nd string 6th 5 th 4 accordingly. th Blow the pitch pipe one note at a THEN: time, un til eac h stnng.. Is th e same lpiace your finger in the 4th fret of the 3rd string. It in sound to the corresponding should sound like the second. (If not, adjust 3rd string.) h. h. I Place your finger in the 5th fret of the 4th string. It Jrd 2nd 1st note on t e p1tc pipe. should sound like the Jrd. (If not, adjust 4th string.) E (highest in pitch) to the lst string 8 (second highest in pitch) to the 2nd string Place your finger in the 5th fret of the 6th string. It I should sound like the 5th. (If not, adjust 6th string.) Continue in the same way- ~ r G to the 3rd string ~ ~ D to the 4th string c~ 1 I A to the 5th string 2 E to the 6th string Frets Place your finger in the 5th fret of the 5th string. It j should sound like the 4th. (If not, adjust 5th string.) ~-+ s~o... ~ (Thickest string lowest '1 I in sound) Strings

7 7 THE G or TREBLE CLEF (G or Treble Clef) THE STAFF THE STAFF IS MADE UP OF FIVE LINES AND FOUR SPACES. 5 LINES 4 SPACES Music for the guitar is written using the G Oef on the staff. This is referred to as the Trcb]c CJef. INOTESI Notes may be made in different ways. Three types of notes arc shown bdow. J.- Stem 0 i/ J/ Stem WHOLE NOTE HALF NOTE QUARTER NOTE Made Open Made Open Made Closed (with a stem) (with a stem) i/

8 8 jlearning NOTES BY LETTER NAMEI Notes have different names. They get their names from the positions in which they are placed in the staff. The notes are placed on the lines of the staff, in the spaces of the staff, and above and below the staff. Notes are named by letters of the alphabet. The musical alphabet is made up of the first seven letters of the alphabet. A B c D E F G!NOTES ON THE LINESI E G B D F lli]very ~ood l!!]oy rnloes [!line The notes on the lines can be memorized by learning the sentence: "Every Good Boy Does Fine." The first letter of each word is the same as the name of the note.!notes IN THE SPACES! F A c E n Notice that the notes in the spaces spell the word I"FACE."I ~ ::} (I u a l1 We cover one note above the staff at this point, "G~" "G" "sits" right on top of the staff. J G D (> 0 t We also cover one note below the staff at this point, "D."

9 IBAR LINESI 9 A Bar Line is the line drawn straight up and down through the staff. / I Bar Line + I ' I The spaces formed in the staff, between the bar lines are called "meastres." These spaces may also be called "bars." BAR LINES jtime SIGNATURE! Songs and exercises are divided into measures (bars). Th'c time signature determines the number of counts for each measure. There is more than one time signature. One time signature covered will be l. The top number of a time signature tells us how many beats (counts) there are to each measure ~ The bottom number of a time signature tells us how much each beat (count) is worth. j time equals 4 heats to each measure ( 4 counts). each heat (count) is worth one auarter.

10 10 THE TIME VALUE OF WHOLE, HALF AND QUARTER NOTES [!]][UJ ITI0li10 0 i J r J i J The Whole Note The Half Note The Quarter Note 0 f I 4 Beats 2 Beats I Beat (4 Counts) (2 Counts) (I Count) I I Whole Note u ( Half Note ~ rj ITJ [l] r Quarter Note J

11 COUNTING TIME 11 Remember: The whole note is made open with no stem. (WHOLE NOTEJ. o The whole note will receive 4 counts I) e e I) The Half Note is made open with a stem. I HALF NOTEJ. j J The half note will receive 2 counts. 'j F j IF r 1r J IF F j The Quarter Note is made closed with a stem.!quarter NOTE I-+- j ~ The quarter note will receive I count. Ct c J r r c c r 1 J c r c r I J r E r I

12 12 THE REPEAT SIGN (DOUBLE BAR LINE (Thick and Thin) WITH TWO DOTS) Repeat everything between the double bar line with the dots to the left and the double bar line with two dots to the right. &i II= I I In cases where the double bar line with the dots to the right does not appear, go back to the very beginning of the song. THE STARTING NOTE: In order for your voice to blend with the chords used for accompaniment, it is necessary to start singing on the proper note. The note or notes which appear at the very beginning of the songs will serve as the Starting Note. Play the note first, before singing; then matching your voice to the starting note, play the chords and sing. D ~,-~# ~~- J±33~33Ietc. 1 t t 2 d f t Startmg Skip s s nng, n re. Note, Skip, NOTES ON THE FIRST, SECOND, THIRD AND FOURTH STRINGS. I FIRST STRING I I SECOND STRING I I THIRD STRING II FOURTH STRING I * J '' 0 () 0 0 E F G B c D G A D E F *0 =open-pick string with no fingers on it.