Contents bout the uthor Introduction Chapter One: ock Chords 6 he First Wave of ock Chords 6 he econd Wave of ock Chords Power Chords Barre Chords Chapter wo: Getting Bluesy he -Bar Blues ockin Up the Blues Varying the huffle6 huffle Blues Cool Chords & the Blues Cool Chord Blues Blues in E with Mixed echniques9 urn Me round9 Late-Night Wanderer Playing the Blues in ny Key Chapter Five: he First Wave of ock cales he Major cale Five Major cale Forms une in G Major he Minor Pentatonic cale Five Minor Pentatonic cale Forms Beneath My Digital Extremity Power Pentatonic Chapter ix: he econd Wave of ock cales 6 he Blues cale6 Five Blues cale Forms6 Improvisation Concepts & trategies lues Groove9 he Major Pentatonic cale Five Major Pentatonic cale Forms Melinda Chapter hree: Fun with Chord Progressions Common Progressions ransposing Chapter Four: pice Up the trumming 6 Musical trumming6 trumming Patterns Play hat Funky Music Other echniques9 Chapter even: he Modes of the Major cale Where Modes Come From eolian Mode (Natural Minor) Five eolian Mode (Natural Minor) Forms eolian Metal Dorian Mode6 Five Dorian Mode Forms6 Mixolydian Mode Five Mixolydian Mode Forms Chapter Eight: Harmonic Minor cale Five Harmonic Minor cale Forms Gypsy ock9 ock Guitar for dults
Chapter Nine: Using the cales oloing on the Blues Matching cales to Chords Understanding Diatonic Chord Progressions ecognizing Modal Progressions Using the Harmonic Minor cale Chapter en: Lead Guitar echniques Bending liding Hammer-Ons and Pull-Offs Finger apping9 Eddie s une6 Harmonics6 Harmonics Etude6 Chapter hirteen: he World s Greatest ock n oll Band 6 Honky-onk Groove Chapter Fourteen: lowhand Melodic Embellishment Melodic Lead tyle of Eric Clapton Eric s Blues Chapter Fifteen: New ock Experience Chord Embellishment Licks Chapter Eleven: Jamming 6 Leading6 Following6 Common Musical Forms6 Jamming Exercises6 ry his with Your Band6 Going Out 6 ong for Jamming69 Jam une69 Chapter welve: Pickin and Grinnin rpeggios For Kathy Chapter ixteen: nother Page of ock History 6 Pentatonic Madness: Box Licks 6 ppendix : he Basics eading Music cale Diagrams9 eading ablature9 pecial Notation9 ppendix B: n Introduction to Music heory 9 he Major cale and Key9 Key9 Minor Key9 Key ignatures9 How Chords re Derived from the Major cale 9 Diatonic riads96 Diatonic th Chords96 rack compact disc is available for this book his disc can make learning with the book easier and more enjoyable he symbol shown to the left will appear next to every example on the CD Use the CD to help ensure you are capturing the feel of the examples and interpreting the rhythms correctly he track numbers below the symbols correspond directly to the example(s) you want to hear rack will help you tune your guitar to this CD Have fun! Contents
Power Chords he power chord, or chord, is an easy and popular chord form It consists of the root and th of the major scale (see page 9) he root or th may be doubled or tripled, but there is never a rd his simple formula has several advantages For one, it can be substituted for virtually any rock chord You can bang away at power chords forever without having to know anything about major, minor or th chords (this is not recommended) lso, chords sound great with distortion, while other chords may sound muddled or out of tune ince power chords omit the rd, they always sound stable Many beginners rely on power chords exclusively Use them with extreme caution hey can be habit forming hese power chords contain open strings so they can only be played in the positions shown: G x D x x 6 9 E E C x x When a chord does not include any open strings, it can be moved anywhere on the guitar hese are called moveable chords If you know where the root note is, you need only move the chord to the desired note he root is the note that gives the chord its namethe C note is the root of a C chord Notice that some chords have their roots on the 6th string, some on the th, etc x x x x x x x x x x x x x x x x x x x x x x x x o use moveable chords effectively, you need to know the names of the notes on the fingerboard his diagram will help E * # B b B C C # D b D D # E b E F F # G b G G # b F F # G b G G # b # B b B C C # D b D D # E b E Frets: 6 9 * ny sharp note can be given a flat name, as well When two notes have the same sound but different names, they are enharmonic tones ock Guitar for dults
his outhern rock song is derived from the Major Pentatonic scale and is in the style of the classic tune Melissa by he llman Brothers Band rack Melinda & # # # J Bmin/ & # # # 6 _` ( ) 9 ( ) ~ Dsus/ _`` ( ) ( ) ( ) C # `` min/ 6 ( ) 6 6 6 6 ( 6) 6 6 6 6 6 6 6 6 6 ( 6) 6 6 ( 6) 6 6 ( ) J apple & # # # w ( ) ( ) ( ) Chapter ix: he econd Wave of ock cales
Licks Lesson 96 rack 6 One of Jimi s most incredible abilities was to make his guitar talk ry this talking guitar lick in D Minor with lots of wah-wah Dmin & b Œ Œ Japple Japple Japple Japple = Quintuplet Five notes per beat J Use this lick over a rockin Minor groove 9 rack 6 & J min J ( ) j j ( ) Ó 9 rack 6 his lick is in the style of the solo in Purple Haze, which was played in the E Dorian mode with heavy distortion and a subtle, high octave effect & # # H P P H P P H P P H P J Japple ( ) Chapter Fifteen: New ock Experience