GUITAR COURSEWARE BASIC

Name : Regn Dt : / / 20 Regn.No : AC20 - - ID No. : AC GUITAR COURSEWARE BASIC (Beginner Level - 3 Months) SAVE PAPER THE MUSIC NEVER DIES Mobile: +91-9711387943 Office: 0124-3220857 **Ownership, Publication & Exclusive Distributorship By: Acoustica Gurgaon (A Venture of MEWO) customer-service@acoustica.co.in mw365-acw@yahoo.com mewo.official@yahoo.com Copyright 2011-15 by Acoustica Gurgaon Basics 8 th Edition, Revised Dec. 2011. NCR/ New Delhi India NOT FOR SALE Service Tax Code (Regn. No) CXMPS6745MSD001 FOR USE BY STUDENTS OF Acoustica ONLY DISTRIBUTION TO 3 rd PARTIES IS STRICTLY RESTRICTED www.acoustica.co.in Acoustica 2011-15 The Guitar School 1

Preface & Acknowledgements This Guitar Learning courseware has been specially designed while keeping in mind all the different individuals who are enthusiastic in music and are aspiring to learn the guitar. This book consists of years and hours of expertise and in Guitar playing and in teaching the same. Without study material even learning the guitar may not be very fruitful. We aim to teach our valued students each and every aspect of learning and playing the Guitar, also at the same time the essence of being self sufficient. Since no two people can learn at the same pace, we have structured this book in a way to fit anyone s and everyone s intellectual and physical capacity. Be it music or learning to play the guitar, it is not always that you need talent do achieve these thing. All you need is a willing heart, a patient mind and a keen listening ear. With these ingredients anyone can follow their passion in music. We thank everyone involved in the making of this courseware, and we also thank all our students and patrons who have supported us over time just by being a part of Acoustica and our Music community. We continually strive to bring to you the best quality of learning with minimum input but maximizing output. We sincerely hope you enjoy your time at Acoustica and fulfill your thirst for music. Best of luck for your training & musical journey. Warm Regards, The Acoustica Team HEAD TRAINER Acoustica & ASR-MEWO Any possible form of infringement, Distribution, Selling or Copy of the Design of the book & Layout, Logo(s), Intellectual content, [excluding Tunes, Music Theory, Chord-Charts, which is a recognized universal standard] is an offence against the Trademark & Copyright terms of Acoustica - School of Rock n Roll, & is liable to face legal action. Acoustica 2011-15 The Guitar School 2

ACOUSTIC GUITAR DIAGRAM 1. Headstock 2. Nut 3. Machine Heads (or peg-heads, tuning keys, tuning machines, tuners) 4. Frets 5. Truss rod 6. Inlays 7. Neck 8. Heel (Acoustic or Spanish) Neck Joint (electric) 9. Body 10. Pickups 11. Electronics 12. Bridge 13. Pickguard 14. Back 15. Soundboard (top) 16. Body Sides (ribs) 17. Sound hole, with Rosette inlay 18. Strings 19. Saddle 20. Fretboard (or fingerboard) Acoustica 2011-15 The Guitar School 3

ELECTRIC GUITAR DIAGRAM 1. Headstock 2. Nut 3. Machine Heads 4. Frets 5. Truss rod 6. Inlays 7. Neck and Fretboard 8. Neck Joint 9. Body 10. Pickups 11. Electronics 12. Bridge & Stop Tailpiece 13. Pickguard Acoustica 2011-15 The Guitar School 4

KNOW YOUR FRET BOARD Fig 1: Fret Board showing only Natural Notes on the Fret Board (1 st to 12 th Fret) Fig 2: Fret board showing all notes on the Fret Board (1 st to 12 th Fret) Acoustica 2011-15 The Guitar School 5 COMPILED AND DESIGNED BY VARUN MELROY

GUITAR MAINTAINENCE 1. Clean your guitar after every use to avoid dust on the guitar which tends to scratch the body and the polished finish of the guitar. 2. Do not keep your guitar in a hot environment or in the Sun. 3. If you do not own a guitar stand then to avoid high action of the guitar neck (i.e. bending of the neck), rest the guitar on the wall, while the strings face towards the wall. 4. If you are not going to be using your guitar for days, weeks or months, then make sure you have loosened your guitar string before placing it in its cover, this to avoid bending of the neck. 5. If you play your guitar regularly then you might have to change the strings on the guitar once in every 3 to 4 weeks. Not playing your guitar for a long period of time may also cause rusting of the strings and also causes high action of the neck. 6. In case the action of the neck does become high it can be serviced/repaired by rotating the truss rod which is located inside the guitars neck using a special key. This can be done at any of the leading instrument outlets who also sell guitars. 7. Always use good quality string for your guitar, cheap guitar strings tend to be poor in quality and are more probable to break due to tension. 8. If the tuning keys/knobs tend to become tight or in other words they become hard to wind, a couple of drops of oil should do the trick to get the knobs/keys to function smoothly. Any possible form of infringement, Distribution, Selling or Copy of the Design of the book & Layout, Logo(s), Intellectual content, [excluding Tunes, Music Theory, Chord-Charts, which is a recognized universal standard] is an offence against the Trademark & Copyright terms of Acoustica - School of Rock n Roll, & is liable to face legal action. Acoustica 2011-15 The Guitar School 6

DAILY PRACTICE ROUTINE Practice makes a guitarist perfect and precisely what you need to do. The more you practice, the better you develop control and stability in picking and further it builds strength to the ligament of the fingers, which helps in playing all sorts of songs, tunes etc. The first thing to remember before beginning your guitar practice is the correct sitting posture and the grip of the pick (or plectrum). Exercise 1: Right hand warm up. Practice alternate picking on all 6 strings starting from the 1 st string to the 6 th (upward) and again from the 6 th to the 1 st string (downward). Play this exercise upwards and downwards in the combination of 8, 4, 3, and 2 times on each string for 5 rounds. Exercise 2: Left Hand Exercise Chromatic Play the chromatic exercise on the first four frets on the 1 st string using alternate picking only. The numbers 1 to 4 denotes your 1 st finger, Middle finger, Ring finger and Little finger respectively. e.g. E String -1-1-1-1- -2-2-2-2- -3-3-3-3- -4-4-4-4- (Forward ) E String -4-4-4-4- -3-3-3-3- -2-2-2-2- -1-1-1-1- (Backward ) Exercise 3: Chromatic from 1 st to 12 th fret. Play the same exercise as above but only this time moving from your 1 st fret to the 12 th fret and backwards too. Use 4,3,2,1 strokes for 5 rounds each. Exercise 4: Chromatic scale starting from the 3 rd string Play Exercise 2 on the 3 rd, 2 nd, and 1 st string (Forward) and then on the 1 st, 2 nd, and 3 rd string (backward). Do this at least for 10 minutes. Exercise 5: Play Exercise 3 on the 3 rd, 2 nd and 1 st string forward and backward. Do this for at least 10 rounds. Revise all the theory which comprises of the Names of the 6 strings, all the notes used in music etc. Exercise 6: Play Exercise 2 on all 6 strings forwards from 6 th to 1 st string and then backwards from the 1 st to 6 th string. Practice it for 15 to 20 minutes. Exercise 7: Step by step Chromatic Exercise on the 6 strings. Forward Backward E -1-2-3-4- ------------ ------------ ------------ ------------- ------------------------ ------------ -1-2-3-4- B ------------ -1-2-3-4- ------------ ------------ ------------- ------------------------ -1-2-3-4- ------------ G ------------ ------------ -1-2-3-4- ------------ ------------- ------------------------ ------------ ------------ D ------------ ------------ ------------ ----------- ------------- ----------- -1-2-3-4- ------------ ------------ A ------------ ------------ ------------ ------------ ------------ -1-2-3-4- ----------- ------------ ------------ E ------------ ------------ ------------ -1-2-3-4- -1-2-3-4- ------------ ----------- ------------ ------------ 1st 2 nd 3 rd. 6 th 7 th 8 th 9 th. 11 th 12 th Notice the previous figure, play your chromatic scale exercise on each string starting from the 1 st string and move ahead by jumping on the alternate string above it string at a time and start coming down after reaching the 7 th fret and the exercise will end on the 12 th fret while playing in the forward direction. Acoustica 2011-15 The Guitar School 7

Exercise 8: Identify the notes on the C Major Scale and Play the Scale from the C note on the G string. (Refer to Fret board Diagram) Play the following exercise pattern in C Major Scale CC, DD, EE, FF, GG, AA, BB, CC, Triple, double and single strokes also. Exercise 9: Play the C scale finger pattern from the 1 st fret till the 12 th, forward and backward. Do this exercise for at least 15 minutes. Exercise 10: Revise all theory up to the Major Scale formula. Practice exercise 5 and 6. Then play the following scale forwards and backwards: CD x4, DE x4, EF x4, FG x4, GA x4, AB x4, BC x4. Do this exercise for at least 10 minutes. Exercise 11: Another exercise based on the C Scale is: CDE x4, EFG x4, FGA x4, GAB x4, and ABC x4. Keep your firs finger fixed on the fret board at all times while doing this exercise. Practice for at least 10 minutes. Exercise 12: After completing all tunes based on the C Major Scale, Revise them again thoroughly. Practice Exercise 6 again. Exercise 13: Practice the following exercise: CDE, DEF, EFG, FGA, ABC, for at least 15 rounds. After completion of the D Major Scale do the same pattern as above on the D Scale. Exercise 14: Complete and revise the G major and F Major Scales and practice all the exercise patterns of the C and D Major Scales for F and G Major. Exercise 15: After completion of all tunes, revise them thoroughly. Practice Exercise 6 and 7 for at least 20 minutes. Exercise 16: For Chord Practice, First, hold the chord down and check if all the necessary notes and strings played are clear and audible. 1. Practice only down strokes 4 times, i.e. 4/4 Time Signature, for 16 rounds. 2. Practice alternate (Down and Up) strokes in the 4/4 time signature, for 16 rounds. 3. Practice 2 down strokes and 2 upstrokes for 16 rounds. 4. Practice chord shifting using alternate strumming 4 times on each count, i.e. 4/4 time signature applies again. Acoustica 2011-15 The Guitar School 8

BASIC THEORY NOTE A note is a name given to a sound of any particular frequency. In Music there are 7 basic notes also known as Natural notes, they are: A B C D E F G The remaining notes are denoted by Sharp (#) or Flat (b) symbols. Only B and E have nosharps but all the above 7 notes have their respective flats. Hence the 12 notes in Music are: A A#(Bb) B(Cb) C C#(Db) D D#(Eb) E(Fb) F F#(Gb) G G#(Ab) SHARP (#) A note that is a halftone/semitone/half step higher in frequency than its corresponding natural note is called a sharp. B and E Do Not have sharps. All the sharps notes are as follows: A# C# D# F# G# FLAT (b) A note that is a halftone/semitone/half step lower in frequency than its corresponding natural note is called a Flat. All the Flat notes are as follows: Ab Bb Cb Db Eb Fb Gb CHORD 3 or more notes that are played or sung together is called a chord. In other words chords are the part of music that is played in the background, i.e. over the melody line as the background music. In guitar we strum the chords to play various different rhythm patterns. Chords can be classified into two main categories: 1. Major Chords (Primary). 2. Minor Chords (Secondary). SCALE A Scale is nothing but a series of 7 or 8 notes(tones) taken from the 12 notes of music that are played in a sequence in ascending or descending order. MAJOR SCALE FORMULA The Major scale formula is derived from the C Major Scale which is also called the Natural scale because it contains all natural notes. The Major Scale Formula is W-W-H-W-W-W-H and is derived from the notes of the natural scale which are C D E F G A B C. W Denotes a Tone or a Whole Step. H Denotes a Semitone or a Half Step. OCTAVE Octave is the distance between two notes with the same name, or in other words, two pitches with the frequency ratio of 1:2 with the same note name. An octave is equal to 12 semitones or 6 whole tones. Acoustica 2011-15 The Guitar School 9 COMPILED AND DESIGNED BY VARUN MELROY

CHORD CHART Acoustica 2011-15 The Guitar School 10

THE AIRTEL THEME By A.R. Rehman Tempo=120 THE INDIAN NATIONAL ANTHEM By Rabindranath Tagore Tempo=100 Acoustica 2011-15 The Guitar School 11

BA BA BLACK SHEEP Ba Ba Black Sheep is an English nursery rhyme sung to a variant of the 1761 French melody Ah! vous dirai-je, Maman. The original form of the tune is also used in forming the famous Twinkle-Twinkle Little Star and The Alphabet Song. SILENT NIGHT "Silent Night" is a popular Christmas carol. The original lyrics of the song Stille Nacht were written in German by theaustrian priest Father Joseph Mohr and the melody was composed by the Austrian headmaster Franz Xaver Gruber. In 1819, John Freeman Young published the English translation that is most frequently sung today. The version of the melody that is generally sung today differs slightly (particularly in the final strain) from Gruber's original, which was a sprightly, dance-like tune in 6/8, as opposed to the slow, meditative lullaby version generally sung today. Acoustica 2011-15 The Guitar School 12

JINGLE BELLS "Jingle Bells" is one of the best known and commonly sung winter songs in the world. It was written by James Lord Pierpont (1822 1893) and copyrighted under the title "One Horse Open Sleigh" on September 16, 1857. Despite being inextricably connected to Christmas, it is not specifically a Christmas song. Acoustica 2011-15 The Guitar School 13

DOE A DEER Doe A Deer is an old nursery rhyme which is the property of National Institutes of Health, Department of Health & Human Services (California, USA). Acoustica 2011-15 The Guitar School 14

ETUDE-1 Etude-1 is a classical piece based on the D Minor Chord and is played in the D Minor Arpeggio Scale. Acoustica 2011-15 The Guitar School 15

ETUDE 2 Etude-2 is a classical piece on the F Major Chord and Scale. Any possible form of infringement, Distribution, Selling or Copy of the Design of the book & Layout, Logo(s), Intellectual content, [excluding Tunes, Music Theory, Chord-Charts, which is a recognized universal standard] is an offence against the Trademark & Copyright terms of Acoustica - School of Rock n Roll, & is liable to face legal action. Acoustica 2011-15 The Guitar School 16

SUMMER OF 69 Summer of '69 is a song written by Bryan Adams and Jim Vallance, originally for Adams' fourth studio album Reckless (1984). It is one of Adams' most recognizable and popular songs. This is a simplified version of the song with chords only. Acoustica 2011-15 The Guitar School 17

PAPA KEHTE HAIN Papa Kehte Hain is a famous old Hindi song of the Bollywood movie Qayamat se Qayamat Tak. This is a Simplified Chord version of the song. Acoustica 2011-15 The Guitar School 18 COMPILED AND DESIGNED BY VARUN MELROY

STAFF MUSIC NOTATION In standard Western musical notation, the staff or stave is a set of five horizontal lines and four spaces, each of which represents a different musical pitch, or, in the case of a percussion staff, different percussion instruments. Appropriate music symbols, depending upon the intended effect, are placed on the staff according to their corresponding pitch or function. Musical notes are placed by pitch, percussion notes are placed by instrument, and rests and other symbols are placed by convention. The absolute pitch of each line for a nonpercussive stave is determined by the placement of an appropriate clef symbol at the appropriate vertical position on the left-hand side of the staff. For example, the treble clef, also known as the G clef, is placed upon the second line (counting upwards), fixing that line as the pitch first G above 'middle C'. The lines and spaces are numbered from bottom to top; the bottom line is the first line and the top line is the fifth line. A time signature to the right of the clef indicates the relationship between timing counts and note symbols, while bar lines group notes on the staff into measures. LINES Ledger lines, Leger lines Used to extend the staff to pitches that fall above or below it. Such ledger lines are placed behind the note heads, and extend a small distance to each side. Bar line, Bar line Used to separate measures (see time signatures below for an explanation of measures). Bar lines are extended to connect the upper and lower staffs of a grand staff. Double bar line, Double bar line Used to separate two sections or phrases of music. Also used at changes in key signature or major changes in style or tempo. A bold double bar line indicates the conclusion of a movement or an entire composition. Dotted bar line, Dotted bar line Subdivides long measures into shorter segments for ease of reading, usually according to natural rhythmic subdivisions CLEF A clef (French: clef means "key") is a musical symbol used to indicate the pitch of written notes. Placed on one of the lines at the beginning of the staff, it indicates the name and pitch of the notes on that line. This line serves as a reference point by which the names of the notes on any other line or space of the staff may be determined. There are three types of clef used in modern music notation: F, C, and G. Each type of clef assigns a different reference note to the line on which it is placed. Acoustica 2011-15 The Guitar School 19

TREBLE CLEF When the G-clef is placed on the second line of the staff, it is called the treble clef. This is the most common clef used today, and the only G-clef still in use. For this reason, the terms G-clef and treble clef are often seen as synonymous. It was formerly also known as the violin clef. The treble clef was historically used to mark a treble, or pre-pubescent, voice part. This clef is used for the violin, flutes, oboe, English horn, all clarinets, all saxophones, horn, trumpet, cornet, euphonium and baritone (occasionally), vibraphone, xylophone, guitar and banjo. It is the upper staff of the grand staff used for harp and keyboard instruments. It is also sometimes used for the highest notes played by the cello (the old convention was to write an octave higher, unless preceded by a tenor clef), double bass, bassoon, trombone (which otherwise use the bass and tenor clefs), and viola (which uses the alto clef); and for the soprano, mezzo-soprano, alto, contralto and tenor voices. The tenor voice is often written using an octave clef (see below) or double-treble clef. GRAND STAFF When music on two staves is joined by a brace or is intended to be played at once by a single performer (usually a keyboard instrument or the harp), a great stave or grand staff is created. Typically, the upper staff uses a treble clef and the lower staff has a bass clef. In this instance, middle C is centered between the two staves, and it can be written on the first ledger line below the upper staff or the first ledger line above the lower staff. When playing the piano or harp, the upper staff is normally played with the right hand and the lower staff with the left hand. In music intended for the organ, a grand staff comprises three staves, one for each hand on the manuals and one for the feet on the pedal board. BEATS PER MINUTE Beats per minute (BPM) is a unit typically used as a measure of tempo in music. The BPM tempo of a piece of music is conventionally shown in its score as a metronome mark, as illustrated to the right. This indicates that there should be 120 crotchet beats (quarter notes) per minute. In simple time signatures it is conventional to show the tempo in terms of the note duration on the bottom. So a 4/4 would show a crotchet (or quarter note), as above, while a 2/2 would show a minim (or half note). BAR IN STAFF MUSIC In musical notation, a bar (or measure) is a segment of time defined as a given number of beats of a given duration. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by a time signature (such as 3/4). The word bar is British English, while the word measure is American English, although musicians generally understand both usages. Acoustica 2011-15 The Guitar School 20

BAR LINE Originally, the word bar derives from the vertical lines drawn through the staff to mark off metrical units and not the bar-like (i.e., rectangular) dimensions of a typical measure of music. In British English, these vertical lines are called bar, too, but often the term bar-line is used in order to make the distinction clear. In American English, the word bar stands for the lines and nothing else. TIME SIGNATURES The time signature (also known as meter signature) is a notational convention used in Western musical notation to specify how many beats are in each measure and which note value constitutes one beat. In a musical score, the time signature appears at the beginning of the piece, as a time symbol or stacked numerals immediately following the key signature (or immediately following the clef if the piece is in C major, A minor, or a modal subset). A mid-score time signature, usually immediately following a bar line, indicates a change of meter. There are various types of time signatures, depending on whether the music follows simple rhythms or involves unusual shifting tempos, including: simple (such as 3/4 or 4/4), compound (e.g., 9/8 or 12/8), complex (e.g., 5/4 or 7/8), mixed (e.g., 5/8, 3/8 or 6/8, 3/4), additive (e.g., (3+2+3)/8), fractional (e.g., 2½/4), irrational meters (e.g., 3/10 or 5/24), or other meters. Simple time signatures consist of two numerals, one stacked above the other: The lower numeral indicates the note value which represents one beat (the "beat unit"); The upper numeral indicates how many such beats there are in a bar. For instance, 2/4 means two quarter-note (crotchet) beats; 3/8 means three eighth-note (quaver) beats. The most common simple time signatures are 2/4, 3/4, and 4/4. Time signatures define the meter of the music. Music is "marked off" in uniform sections called bars or measures, and time signatures establish the number of beats in each. This is not necessarily intended to indicate which beats are emphasized, however. A time signature that conveys information about the way the piece actually sounds is thus chosen. Time signatures tend to suggest, but only suggest, prevailing groupings of beats or pulses. Specific time The bottom number represents the note value of the basic pulse of the music (in this case the 4 represents the crotchet or quarter-note). The top number indicates how many of these note values appear in each measure. This example announces that each measure is the equivalent length of three crotchets (quarter-notes). You would pronounce this as "Three Four Time", and was referred to as a "perfect" time. Common time This symbol is a throwback to sixteenth century rhythmic notation, when it represented 2/4, or "imperfect time". Today it represents 4/4. Metronome mark Written at the start of a score, and at any significant change of tempo, this symbol precisely defines the tempo of the music by assigning absolute durations to all note values within the score. In this particular example, the performer is told that 120 crotchets, or quarter notes, fit into one minute of time. Many publishers precede the marking with letters "M.M.", referring to Maelzel's Metronome. REPEAT SIGN Enclose a passage that is to be played more than once. If there is no left repeat sign, the right repeat sign sends the performer back to the start of the piece or the nearest double bar. Acoustica 2011-15 The Guitar School 21

ORNAMENTS Ornaments modify the pitch pattern of individual notes. Mordent Rapidly play the principal note, the next higher note (according to key signature) then return to the principal note for the remaining duration. In much music, the mordent begins on the auxiliary note, and the alternation between the two notes may be extended. Mordent (inverted) Rapidly play the principal note, the semitone below it, and then return to the principal note for the remaining duration. In much music, the mordent begins on the auxiliary note, and the alternation between the two notes may be extended. NOTE RELATIONSHIPS Tie Indicates that the two (or more) notes joined together are to be played as one note with the time values added together. To be a tie, the notes must be identical; that is, they must be on the same line or the same space; otherwise, it is a slur (see below). Slur Indicates that two or more notes are to be played in one physical stroke, one uninterrupted breath, or (on instruments with neither breath nor bow) connected into a phrase as if played in a single breath. In certain contexts, a slur may only indicate that the notes are to be played legato; in this case, rearticulation is permitted. Slurs and ties are similar in appearance. A tie is distinguishable because it always joins exactly two immediate adjacent notes of the same pitch, whereas a slur may join any number of notes of varying pitches. A phrase mark (or more uncommonly, ligature) is a mark that is visually identical to a slur, but connects a passage of music over several measures. A phrase mark indicates a musical phrase and may not necessarily require that the music be slurred. Glissando or Portamento A continuous, unbroken glide from one note to the next that includes the pitches between. Some instruments, such as the trombone, timpani, non-fretted string instruments, electronic instruments, and the human voice can make this glide continuously (portamento), while other instruments such as the piano or mallet instruments will blur the discrete pitches between the start and end notes to mimic a continuous slide (glissando). Tuplet A number of notes of irregular duration are performed within the duration of a given number of notes of regular time value; e.g., five notes played in the normal duration of four notes; seven notes played in the normal duration of two; three notes played in the normal duration of four. Tuplets are named according to the number of irregular notes; e.g., duplets, triplets, quadruplets, etc. Acoustica 2011-15 The Guitar School 22

Chord Several notes sounded simultaneously ("solid" or "block"), or in succession ("broken"). Two-note chords are called dyad; three-note chords are called triads. A chord may contain any number of notes. Arpeggiated chord A chord with notes played in rapid succession, usually ascending, each note being sustained as the others are played. NOTES AND RESTS Note and rest values are not absolutely defined, but are proportional in duration to all other note and rest values. The whole note is the reference value, and the other notes are named (in American) in comparison; i.e. a quarter note is a quarter the length of a whole note. Note British name / American name Rest Breve / Double whole note Semibreve / Whole note Minim / Half note Crotchet / Quarter note Quaver / Eighth note For notes of this length and shorter, the note has the same number of flags (or hooks) as the rest has branches. Acoustica 2011-15 The Guitar School 23

Semiquaver / Sixteenth note Demisemiquaver / Thirty-second note Hemidemisemiquaver / Sixtyfourth note Beamed notes Beams connect eighth notes (quavers) and notes of shorter value, and are equivalent in value to flags. In metered music, beams reflect the rhythmic grouping of notes. They may also be used to group short phrases of notes of the same value, regardless of the meter; this is more common in ametrical passages. In older printings of vocal music, beams are often only used when several notes are to be sung to one beat; modern notation encourages the use of beaming in a consistent manner with instrumental engraving, and the presence of beams or flags no longer informs the singer. Today, due to the body of music in which traditional metric states are not always assumed, beaming is at the discretion of the composer or arranger and irregular beams are often used to place emphasis on a particular rhythmic pattern. Dotted note Placing dots to the right of the corresponding notehead lengthens the note's duration. n dots lengthen the note by its value, e.g. one dot by one-half, two dots by three-quarters, three dots by seven-eighths, and so on. Rests can be dotted in the same manner as notes. For example, if a quarter note had one dot alongside itself, it would get one and a half beats. Durations shorter than the 64th are rare but not unknown. 128th notes are used by Mozart and Beethoven; 256th notes occur in works of Vivaldi and even Beethoven. An extreme case is the Toccata Grande Cromatica by early-19th-century American composer Anthony Phillip Heinrich, which uses note values as short as 2,048ths; however, the context shows clearly that these notes have Acoustica 2011-15 The Guitar School 24

one beam more than intended, so they should really be 1,024th notes. The name of very short notes can be found with this formula: Name = 2 (number of flags on note + 2) th note. ACCIDENTALS AND KEY SIGNATURES Common accidentals Accidentals modify the pitch of the notes that follow them on the same staff position within a measure, unless cancelled by an additional accidental. Flat Lowers the pitch of a note by one semitone. Sharp Raises the pitch of a note by one semitone. Natural Cancels a previous accidental, or modifies the pitch of a sharp or flat as defined by the prevailing key signature (such as F-sharp in the key of G major, for example). Double flat Lowers the pitch of a note by two chromatic semitones. Usually used when the note to be modified is already flatted by the key signature. Double sharp Raises the pitch of a note by two chromatic semitones. Usually used when the note to be modified is already sharped by the key signature. INDENTIFYING NOTES ON THE STAFF 1. Notes in the Gaps (Spaces between the Staves) - FACE 2. Notes on the Staves (Lines) EGBDF Every Good Boy Deserves Fun Acoustica 2011-15 The Guitar School 25

STAFF WORKSHEET Acoustica 2011-15 The Guitar School 26

NOTES Acoustica 2011-15 The Guitar School 27

NOTES Acoustica 2011-15 The Guitar School 28

NOTES Acoustica 2011-15 The Guitar School 29

NOTES Any possible form of infringement, Distribution, Selling or Copy of the Design of the book & Layout, Logo(s), Intellectual content, [excluding Tunes, Music Theory, Chord-Charts, which is a recognized universal standard] is an offence against the Trademark & Copyright terms of Acoustica - School of Rock n Roll, & is liable to face legal action. Acoustica 2011-15 The Guitar School 30 COMPILED AND DESIGNED BY VARUN MELROY

COURSE COMPLETION CERTIFICATE (Internal) This is to Certify that, has completed the Beginners Level Guitar Course BASIC at Acoustica School Of Rock n Roll. Start Date, Completion Date, & the grade awarded for BASIC -. Syllabus/Courseware for BASIC covered the following topics/methods: a) The 7 basics Notes in Music, & knowing your instrument(guitar), b) Sharp & Flat notes, including the total 12 notes in Music. c) All Basic Open Chords (Major & Minor) and Shifting/Strumming/Rhythm patterns. d) Major Scale Formula, Derivation and application for all the 12 Major Scales. e) Staff Notations (Music Reading) Basics, Notes on off beats, f) 10 Tunes/Melodies/Songs from the Courseware book based on all theory. g) Monthly Assessment, Theory & Practical. h) A few extra Songs apart from the Courseware. Some taught for playing experience and some taught to the students at their request, of their choice. There is no fixed limit to the number of extras learnt. Extra tunes/songs covered: i) Final Examination after completion of Course, for eligibility to Grade 1. PERFORMANCE OF BASIC GRADE EXAMINATION Theory : /40 Practical : /40 Internal : /20 (Based on Class Performance and Assessments) Total : /100 EXTENTION OF COURSE (Yes/No):- Duration of Extension :- Reason/Remarks/Comments :- Students Signature Trainers Signature Authorization Seal/Stamp Dated: / / Acoustica 2011-15 The Guitar School 31