When the two sounds match, you are in tu ne. Follow the same procedure that you did on the fifth and sixth strings. On the left is a typical seated positioJl, and on the right is the standing position.
Avoid slanting the top of the guitar so that you can see better. Balance your weight evenly from left to right. Sit straight but not rigid. Pianists: Note that the thumb is not number 1. Place the thumb in back of the neck roughly opposite the 2nd finger as shown below.
Avoid gripping the neck like a baseball bat with the palm touching the back of th e neck. These photos show the position for holding a pick and the right hand position in relationship to the strings. Strive for finger efficiency and relaxation in your playing.
The staff has five lines and four spaces between the lines. Where a note is written on the staff determines its pitch highness or lowness. At the beginning of the staff is a clef sign. Guitar music is written in the treble def. The space between two bar lines is called a measure.
To end a piece of music a double bar is placed on the staff. Beats are the steady pulse of music. You respond to the pulse or beat when you tap you r foot. The twO numbers placed next to the clef sign are the time signature. Notes indicate the length number of counts of musical sound. Jl t1.
When you can play them well at a slow speed, gradually increase the tempo speed. When you reach the end oE the first line of music, continue on to the second line without stopping. Grey letters above the staff indicate chords to be played by your teacher.
Measure numbers are given at the beginning of each new line of music:. An 0 under a string indicates that the string should be played "OPEN" not depressed by a finger. Keep a steady beat, and change chord fingerings quickly. If you are ready to learn the full tum to the Chord Chart on page Now combine the chords and the melody. When you feel you know the melodies well enough, strum each chord.
Finally, combine the melody and the chords. Practice the exercise slowly and steadily and gradually increase the tempo as you progress. G7 9 E - ven lit - tie chil dren love Mar - - anne, c 13 by Down the side sea sift - in' sand. Remember to keep YOllf fingers arched over the strings. When you begin after beat one, the notes before the first full measure are called pickup notes.
Count the missing beats out loud before you begin playing. Follow the same procedure that you did on the fifth and sixth strings. On the left is a typical seated positioJl, and on the right is the standing position.
Avoid slanting the top of the guitar so that you can see better. Balance your weight evenly from left to right. Sit straight but not rigid. Pianists: Note that the thumb is not number 1.
Place the thumb in back of the neck roughly op- posite the 2nd finger as shown below. Avoid gripping the neck like a base- ball bat with the palm touching the back of th e neck. These photos show the position for holding a pick and the right hand po- sition in relationship to the strings.
Strive for finger efficiency and relaxa- tion in your playing. The staff has five lines and four spaces between the lines. Where a note is written on the staff determines its pitch highness or lowness. At the begin- ning of the staff is a clef sign. Guitar music is written in the treble def. The space between two bar lines is called a measure.
To end a piece of music a double bar is placed on the staff. Beats are the steady pulse of music. You respond to the pulse or beat when you tap you r foot. The twO numbers placed next to the clef sign are the time signature. Notes indicate the length number of counts of musical sound. When you can play them well at a slow speed, gradually increase the tempo speed. When you reach the end oE the first line of music, continue on to the second line without stopping.
Grey letters above the staff indicate chords to be played by your teacher. Measure numbers are given at the beginning of each new line of music:. After you can p ay em well at a slower tempo, gradually increase the speed. If some of your notes are fuzzy or unclear, move your left hand finger slightly until you get a clear sound.
In the following exercises you will be moving from string to string. As you are playi. Always begin slowly and then grad- ually increase the tempo. Gray chord symbols are used throughout the book to in- dicate that the chords should be played by the instructor. Play it twice through without stopping. Use dS a finger warmup. Practice both parts of the following duet. Ask your instructor or a friend to play the duet with you. If you have a tape recorder, you can record one of the parts and then playa duet with yourself.
When you can play both parts, combine them in the optional solo below. H l OO ; The audio sounds like the record. To begin you will be playing chords on three strings with only one finger depressed. Strike strings 3, 2 and 1 with a downward motion.
All three strings should sound as one, not separately. Keep a steady beat, and change chord fingerings quickly. Now combine the chords and the melody. When you feel you know the melodies well enough, strum each chord. Finally, combine the melody and the chords. Practice the exercise slowly and steadily and gradually increase the tempo as you progress. G7 9 E - ven lit - tie chil dren love Mar - - anne, c 13 Down by the sea side sift - in' sand.
It is based on years of teaching guitar students of all ages, and it also reflects some of the best guitar teaching ideas from around the world. The second edition of this world-famous method by Will Schmid and Greg Koch is preferred by teachers because it makes them more effective while making their job easier. Students enjoy its easy-to-follow format that gives them a solid music education while letting them play songs right away.
Book 1 provides beginning instruction including tuning, 1st position melody playing, C, G, G7, D7, and Em chords, rhythms through eighth notes, solos and ensembles and strumming. The audio offers demos to assist in learning. Book 1 includes tuning; playing position; musical symbols; notes in first position; C, G, G7, D, D7, A7, and Em chords; rhythms through eighth notes; strumming and picking; over 80 great songs, riffs, and examples.
This deluxe beginner edition for Book 1 includes the book, online access to 48 audio tracks and 85 minutes of video lessons, plus an enclosed CD with audio tracks and a DVD with video lessons to go along with every lesson in the book. Bonus also includes a full-color guitar chord poster! The second book in our classic guitar method is now available digitally with audio accompaniment!
Book 2 includes studies and songs in the keys of C, G, D, Em and F, syncopations and dotted rhythms, more advanced strums, the most common 1st position chords, solos and bass runs, and a variety of styles from bluegrass to blues-rock.
Pages are cross-referenced for use with supplementary songbooks. This is the guitar method students and teachers have been waiting for.
The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Jimi Hendrix, and Led Zeppelin will keep them playing and having fun.
Hal Leonard Pop Melody Supplements are the unique books that supplement any guitar method books 1, 2 or 3.
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