contents ABOUT THE AUTHOR...4 INTRODUCTION...5

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Lionel Williams
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1 contents ABOUT THE AUTHO... INTODUTION...5 hapter : Getting Started Open Position hords 6, Barre hords 7, eading Music 8, Blues Progressions and Strumming 9, Pentatonic Scale Fingerings 0 hapter The A Lessons hords and Harmony Lesson A: Basic Theory... The hromatic Scale, The Major Scale, Key Signatures, Intervals 5, The ycle of ths (or 5ths) 6, eading oman Numerals 6 The B Lessons Improvisation Lesson B: Major Scale Fingerings...7 Lesson A: Triad Theory oot Position Fingerings...8 Major Triad Theory 8, Major Triad Inversions 8, Minor, Diminished, and Augmented Triads and Their Inversions 9, The Four Basic String Sets 0, oot Position Triad Fingerings 0, Etude No. : oot Position Triads, Lesson B: Two More Major Scale Fingerings... Lesson A: First-Inversion Triads on Four String Sets... Etude No. : First-Inversion Triads 5, Lesson B: Two More Major Scale Fingerings...6 Lesson A: Second-Inversion Triads on the Four String Sets...7 Etude No. : Second-Inversion Triads 8 Lesson B: Major Scale Etude...9 Etude No. : The Major Scale 9 hapter Lesson A: onstructing Larger hords...0 How Larger hord Formulas Work 0, Extensions 0, Inverting Larger hords, Voicings Lesson A: 6th hords... Major 6th hords, Minor 6th hords, Etude No. 6: 6th hords Lesson B: Major Scale Etude... Etude No. 5: The Major Scale Lesson B: onnecting Major Scales...5 Lesson A: 7th hords...7 Major 7th hords 7, Minor 7th hords 7, Dominant 7th hords 8, Etude No. 7: 7th hords 9 Lesson A: 9th hords... Extensions hord Families, Major 9th hords, Minor 9th hords, Dominant 9th hords, Etude No. 8: 9th hords, Etude No. 9: More 9th hords Lesson 5A: Other hords You Need to Know...6 Minor th hords 6, Dominant th hords 7 Major th hords 7, Minor th hords 7 Dominant th hords 8, Major Add9 hords 8 Minor Add9 hords 8, Min7 5 (Half-Diminished) hords 9 Lesson B: Three-Octave Scales...0 Lesson B: More Three-Octave Scales...5 ontents

2 The A Lessons hords and Harmony hapter, continued Diminished 7th hords 9, Dominant 7th Suspended hords 9, Minor/Ma7 hords 50, Dominant 7th Augmented hords 50, Etude No. 0: More hords 5 hapter Lesson A: The Harmonized Major Scale...5 Lesson A: Major hord Scales...58 Lesson A: More Major hord Scales...6 Lesson A: More Major hord Scales...6 The B Lessons Improvisation Lesson 5B: Two Tunes Using the Major Scale...5 Noah s Groove 5, Blues for Maggie 5 Lesson B: Improvising with the Major Scale...55 What It s All About 55, Diatonic Thinking 56 Lesson B: Two Tunes Based on the Major Scale...59 uby, My Deerfly 59, Fly Like a Beagle 60 Lesson B: Two More Tunes Based on the Major Scale...6 Noisy Nights 6, The reature 6 Lesson B: Two More Tunes Based on the Major Scale...65 ulie in Wonderland 65, Samba de Shauna 66 hapter 5 Lesson A: oman Numerals and Transposition...67 Lesson A: More About oman Numerals and Transposition...7 Lesson A: Vertical hord Scales...76 Lesson A: More Vertical hord Scales...79 Lesson 5A: More Vertical hord Scales...8 Lesson B: Modes of the Major Scale The Basics...69 Lesson B: Modes of the Major Scale Parallel- Approach Fingerings...7 D Dorian 7, E Phrygian 7, F Lydian 7 G Mixolydian 7, A Aeolian 7, B Locrian 7, Practice Progressions 7 Lesson B: Modes of the Major Scale Derivative Approach...77 Lesson B: Two Modal Tunes...80 Nosh osh 80, hocolate Tuna Enchiladas 8 Lesson 5B: Two Modal/Diatonic Tunes...8 Modelicious 8, Blue Tofu 8 ODA A Medley of Suggestions and Musical oncepts How azz Works...85 Technique...85 Basic Left- and ight-hand Technique 85, Posture 86, Basic Strumming Technique 87, Fingerstyle hords 87, Pick and Fingers Technique 88 Practice...89 The Value of Practicing Slowly 89, Learning Difficult hords and hanging hords 89, Learning Scales Two Strings at a Time 90, The Value of Locked Positions 90, Practicing the Major Scales 9, Limiting hythmic Options 9, Using Melodic Patterns 9 Soloing...9 Form: Using an Opening, Body, and onclusion 9, Form Based on Motif and Variation 95 The Use of epetition in Your Solos 95 Tag Ending (Afterword)...96 ontents

3 A The Four Basic String Sets It s time to place all of these triads on the fingerboard. What we are going to do first is divide the guitar into four string sets. For instance, considered together, the sixth, fifth, and fourth strings are a string set. III V X XII XV String Set # 6 5 String Set # 5 String Set # String Set # The mission is this: over the next three lessons, build major, minor, diminished, and augmented triads in all keys, all inversions, on all string sets, and become familiar with their shapes on the fingerboard. oot Position Triad Fingerings Let s start in the key of. On the first string set we ll find a root position major triad here: x x x Now, turn this major triad into a minor triad: mi x x x Lower the rd 5 5 The diminished triad looks like this: Here is the augmented triad shape: Lower the 5th µ x x x + x x x Lower the rd aise the 5th Beginning azz Guitar

4 A Now let s try putting some of these triads to work in a more musical setting. Learn and practice the following etude (study) until all the moves are second nature. Use the fi ngerings shown on page. Try to memorize the sounds of all four types of triads as you enjoy playing this. Experiment with different feels (rhythms) and tempos (speeds). Track AÊ First String Set ETUDE NO. : OOT POSITION TIADS DÊ G G+ # Second String Set AÊ DÊ G G+ # AÊ DÊ G G+ # # µ # DÊ G b b b G b Third String Set Fourth String Set F DÊ GÊ b B b GÊ b Ê F F+ b # Fourth String Set Third String Set Fourth String Set Third String Set Third String Set Second String Set Third String Set Second String Set b b E b Ê nb FÊ B b b b b b A b A b Ê b E b b b b. Œ First String Set Second String Set First String Set Second String Set Second String Set First String Set Beginning azz Guitar

5 B lesson B: Three-Octave Scales The six major scale fingerings you have learned span two octaves. They are useful for playing in one position at a time. In the next two lessons, you will be shown four three-octave major scale fingerings. These will eventually help you play horizontally, (on the fingerboard, that is not while laying down), which is a very natural approach for all stringed instruments. When you start improvising with the major scale (in just a few lessons) you will find that your ideas are very different when you approach the scales in this manner. You may find, depending on the length of your fingerboard, that your instrument will not accommodate a three-octave scale in some keys. Simply practice these fingerings only in keys in where the full three octaves can be played. # III V X XII XV X XX 5 III V X XII XV X XX 0 Beginning azz Guitar

A ETUDE NO. 8: 9TH HODS Track 9 x ( III 9 G Œ 9 G 9 Œ ( G9 Œ 9 Œ D 9 Œ 9 D 9 Œ x III x x D9 ( x x III 9 9 9 9 9 x x V x x V 9 ( III Œ Œ Œ Œ G 9 Œ G 9( G9 xx x III E9 D9 E 9 D9 ( E 9( x x V D9.

6 A ETUDE NO. 8: 9TH HODS Track 9 x ( III 9 G Œ 9 G 9 Œ ( G9 Œ 9 Œ D 9 Œ 9 D 9 Œ x III x x D9 ( x x III x x V x x V 9 ( III Œ Œ Œ Œ G 9 Œ G 9( G9 xx x III E9 D9 E 9 D9 ( E 9( x x V D PHOTO SAAMA MINOLI Œ xx ohn McLaughlin (b. 9), also known as Mahavishnu ohn McLaughlin, is an influential English jazz fusion guitarist and composer. Best known for his 970s electric band,the Mahavishnu Orchestra, his guitar playing features a range of styles and genres, including jazz, Indian classical music, fusion, and Western lassical music hapter Lesson A: 9th hords 06 Beginning azz Guitar - Std.indd /9/ :5 PM

7 lesson 5B: two Modal/Diatonic tunes The tunes in this lesson contain situations where both diatonic thinking and modal thinking are necessary. When you have a tune that consists mainly of diatonic chords, use the major scale of the I chord. Then, when you get to a chord that is not natural to the key, switch to the modal approach. MODELIIOUS Track 7 ÿ AÈ. (Diatonic) Major Scale DÈ ÿ B. #.... AÈ ı. DÈ # DÈ ÿ.. ((Diatonic) Major Scale) F b FÈ b b b b n ÿ b n w w (Modal) F Dorian (Diatonic) Major Scale # D7 # ı (Modal) D Mixolydian DÈ DÈ (Diatonic) Major Scale. ÿ. (Diatonic) Major Scale D.. al oda hapter 5 Lesson 5B: Two Modal/Diatonic Tunes 8

Mozart, Beethoven, and Brahms were all renowned for their improvisational abilities

Mozart, Beethoven, and Brahms were all renowned for their improvisational abilities ØJazz Ukulele What is Jazz? (From Ask Jeeves) - a genre of popular music that originated in New Orleans around 1900 and developed through increasingly complex styles. A type of music of black American