ACOUSTIC GUITAR PLAYING 101...Welcome to Acoustic Guitar Playing 101. You’ve taken the first step in learning a skill that will provide a lifetime of enjoyment. Here's what I can

ACOUSTIC GUITAR PLAYING 101

CHEST OF DRAWERS OF CONTENTS Welcome and Ground Rules Lesson 1: Prepare Yourself Lesson 2: Prepare Your Instrument Guitars, Cadillacs, Hillbilly Music, Picks, Strings, Tuners, Capos, & Humidifiers

Lesson 3: Know Thy Guitar Parts of and Types of Guitars, All About Strings and How to Change Them

Lesson 4: Standard Tuning Cletus and Big Ed

Lesson 5: Doe, A Deer, A Female Deer The Scale, Notes on the Fretboard, Tuning without a Tuner

Lesson 6: The First Five Chords A Major (A), E Major (E), A Minor (Am), E Minor (Em), D Major (D)

Lesson 7: The Biggies C Major (C) and G Major (G)

Lesson 8: The 7ths D7, A7, E7, G7, C7, CMaj7 -- Variations on a Theme

Lesson 9: Lick My Love Pump Dm, Am7, Bm, Fm, F#m, Gm, G#m -- Just a Few Minor Chords

Lesson 10: The Add Chords and Bass Additions Gadd, CaddG, CaddD, DaddA, D/A, D4, C/G, D/F# -- Twinkle, Thump

Lesson 11: The "Killers" F Major (F), B Seventh (B7), B Major (B), B Flat (Bb) -- Ouch, Ouch

Lesson 12: Alternate Chords and Chords Galore Lesson 13: Internet Resources Diagrams and Photos

Good morning class . . . good morning class . . . class! . . . SHUT UUUUUP!! Thank you. https://www.youtube.com/watch?v=aDaCNA3pink

Welcome to Acoustic Guitar Playing 101. You’ve taken the first step in learning a skill that will provide a lifetime of enjoyment. Here's what I can teach you (or at least familiarize you with): - The parts of the acoustic guitar and the purpose of each one. - How to properly maintain your guitar. - How to select and install the proper strings. - The notes of the fingerboard (also known as fretboard). - Roughly 20 to 25 of the most common chords, enough to play just about any song. - On-line resources where songs can be found and how to manipulate those songs into songs you can play and sing. - A few shortcuts and tricks I’ve learned over the past 45 years. Here's what I cannot teach you: - How to read sheet music or the science of music theory. This is about learning to play basic chords so you can sing along and have fun with a guitar. I don't care about the circle of fifths or why a minor 7th is a minor 7th. - The desire to learn or willingness to practice, both crucial to success. - How to play barre chords which is beyond the scope of this introductory tutorial. - How to fingerpick like Chet Atkins. You should learn the chords first; fingerstyle can be learned afterwards. - How to sing. Everyone can sing. It's just like talking, except longer and louder, and you move your voice up and down. (Elf, 2003)

https://www.youtube.com/watch?v=aDaCNA3pink

https://www.youtube.com/watch?v=aDaCNA3pink

So let’s start with a few ground rules. Rule 1: You have to practice. Learning to play guitar is a skill and every new skill requires patience, reasonable expectations, and lots of practice. This is the single most important thing you can do to ensure success. Rule 2: Don't get discouraged. And don't measure yourself by the ability of others -- comparison is the thief of joy. You cannot expect to play well overnight, or in a few weeks, or even in a few months. But your skill (speed, dexterity, accuracy) will improve the more you practice and the more you play. And you’ll continue to improve for the rest of your life if you keep with it. Rule 3: You can't change rule 1 and don't forget rule 2. Ground Rule Double. Awards two bases from the time of pitch to all base runners, including the batter, as a result of the ball leaving play after being hit fairly.

So let's get started. (CDOC)

LESSON 1: PREPARE YOURSELF First of all, your fingertips will never be the same. Cut and keep the nails of your non-dominant hand (the one you'll be forming chords with, usually the left hand for right-handed people) as short as you can possibly stand it. You can leave your other hand anyway you want. Same with your toes. Here is a photo of my fingers.

Wow, they're really ugly, eh? See how short the nails are? Yowzer, that ring finger is a much shorter than necessary, and you certainly don't want to risk an ingrown nail - I mean, unless you're into that kind of thing - but the idea here is you don’t want your fingernails to touch the fingerboard while playing a chord. If they do you’ll get sloppy chord results and get discouraged. We don’t want that. We want learning to play to be as easy as possible. And use an emery board to keep the edges smooth. The thumb is a non-player as far as nails go. I lost my thumb in a chain saw accident. Just kidding, my thumb is still there, just not in this photo. A thumb is helpful in forming pressure on the back of the neck. And for hitchhiking. But I don't recommend hitchhiking in this day and age, unless you want to wind up in a swamp in New Jersey. Secondly, prepare for some sore fingertips. They will toughen up as a matter of course but will be sore for a while. When your fingertips start hurting that’s a sign to stop and give them a rest. You don’t want to practice if your fingertips hurt. If you do your form will be sloppy and so will your chords. And always wash your hands before playing (your strings will last longer) and put lotion on your fingertips afterwards until they toughen up and form calluses.

Third, do finger stretching exercises daily. You want to build (and/or maintain) strength and flexibility. No rocket science, just use your right fist to gently stretch the fingers of your left. A racquetball also works well and has the added benefit of being squeezable to build hand strength. Finally, you'll want to do some sort of aerobic endurance training like running up and down stairs or some light distance running. No wait a minute, that's totally unnecessary. (CDOC)

LESSON 2: PREPARE YOUR INSTRUMENT I want to prepare you for the most pleasant, pain-free (literally) learning experience. Therefore you want your guitar to be as easy to play as it can be. So I highly recommend having your guitar “set-up.” This is not absolutely necessary but I think is well worthwhile. Trying to play a difficult instrument is a major reason beginners quit after just a few sessions, or don't stick with it long term. Who wants to do something that's suppose to be enjoyable but is really just a chore? Not me, not you. A set-up involves going over the entire guitar and making adjustments (to the saddle and possibly the truss rod, if present) to ensure you have the optimum “action” for your guitar. "Action” refers to how high the strings reside above the frets. You want the action to be as low as possible without being so low that the strings contact the frets when plucked or strummed. That is called “fret buzz” and is really annoying. If the action is too high it will be harder to push the strings down to form the chords properly. An abnormally high set-up can also be quite painful to the fingers and physically uncomfortable to play. That creates frustration and we don’t want that. During a set-up the neck is also checked for any bowing and proper intonation (tone up and down the fretboard) and adjusted if needed. The strings are also replaced with a fresh set. A guitar set-up costs about $50-$60, including new strings, and you may have to leave your guitar overnight. Even if you suspect your guitar is currently set up properly (it isn’t) having a professional set-up removes any doubt and starts you out on the right foot. And your right foot will thank you. So will your left hand, and your ears. Your kneecaps, not so much. It’s not uncommon for guitars “right out of the box” to need a set-up. And after you do have a set-up chances are good you won’t need another one for a long time. Most places that sell instruments have a technician that can do a proper set-up. If you can find a luthier (someone who actually builds and repairs guitars) even better. Speaking of strings, if you do get a set-up, ask the guitar technician to start you off with light, bronze or phosphor bronze strings. Lighter gauge strings will make the guitar easier to play and easier on the fingertips. In fact I suggest your first set begin with .011 which are "custom lights". They're easiest to play and after you get used to them you can try .012s which may sound a little better. The brand isn’t particularly important, I like either Martin or D’Addarios. Strings run anywhere from $5 to $15 a set. More on strings below.

Here are a few examples:

Also pick up a guitar winder. This is an inexpensive (about $8) plastic device that makes changing strings easier. One end fits over the tuning knob and the other end often has a handy string cutter. Better still, if you have an electric screwdriver or hand drill definitely get a drill bit peg winder that fits into the chuck. SO much easier. They're about $10.

You'll also want a capo. A capo is a castrated rooster . . . no, wait, that's a capon. A capo is a device a gynecologist uses . . . no that's not right either, and frankly I'm embarrassed I even started to go there. A capo goes over the fretboard to change the key. You don't need a capo to play the guitar but it comes in handy to adjust the key for your singing vocal range or to play along with your favorite song on YouTube. They're about $10. Get the grip kind like this.

If you don't already have some, pick up a few guitar picks as well. They're cheap so get two light picks, two light-medium picks, and two medium picks. Each will give you a slightly different feel and sound. When you find one you like get a dozen of that style (more if your dog likes to chew them). I prefer light picks myself. Brand is not important. Dunlops are popular.

This next bit is optional but you might consider getting a guitar humidifier, especially if the body of your guitar is made of solid wood rather than a high pressure laminate (HPL). And especially if you live in a cold climate where RH drops a lot in winter. The wood in your guitar breathes and needs the right amount of moisture. An atmosphere too dry is generally considered more harmful than one that is too wet as dryness can cause cracks and glue to separate. The guitar also sounds better when it has the right amount of moisture. Guitars should be kept at an RH between 45% to 55%. A guitar humidifier is a simple device, basically a sponge, that sits in the sound hole and keeps the interior of the body humidified. They cost between $12 and $20. If you have a case, your guitar should be returned and kept in its case with humidifier in place. It’s much easier to keep the guitar humidified while in its case.

Here are basically two different types. The one on the left sits between the strings, the one in the middle covers the sound hole. The one on the right is the Oasis OH-30 which also sits in between the strings and that thing on the top is a built-in hygrometer that measures relative humidity which is kind of nice. It costs about $40.

You might also want to keep a second humidifier in the case itself, behind the headstock at the top of the case, to humidify the neck and areas outside of the soundhole. But there's no need to buy another humidifier. Simply get a two-piece plastic travel soap dish and a common sponge. Drill a few holes (or make slats if you're creative) in the top of the dish cover, moisten the sponge and cut it to size and voila, instant case humidifier. So set-up, guitar winder, capo, humidifier, and a few picks . . .

One more thing. While you can tune your guitar manually (I'll show you how later) I strongly recommend getting an electronic guitar tuner. Your strings change with age and temperature and as your guitar changes with humidity. I prefer the ones that just clip onto the headstock as they're simple to use and you'll use it a lot. Snark makes good ones for between $10 and $20.

Now, once you decide you’re really serious about learning how to play, and you’ve been playing a few weeks (at least) you might want to consider . . . buying another guitar. A guitar is a highly personal thing, almost an extension of yourself, and every guitar feels and sounds different. You want to love your guitar. You want it to talk to you. In the beginning it really is more about comfort and playability than sound. I guess what I’m trying to say is you can be cautious and just play the guitar you currently have, in case you’re not sure learning the guitar is for you. Then you’re not out the money. On the other hand, if you’re going “all in” and you think you’ll be playing a lot and/or for a long time, which I hope is the case, then you should get a guitar that feels and sounds good to YOU (which, in turn, makes the learning experience that much easier). So what I suggest you do is, after you’ve learned several of the chords and have been playing for a bit, go to a music store and play as many guitars as you can. It’s highly likely you’ll have an “oooooh” moment in which your current guitar will suddenly feel like driving a dump truck with a transistor radio and the one in your hands like driving a Mercedes with the Mormon Tabernacle Choir. Brand and Price. If you have the money (and it's okay if you don't -- there are several great sounding entry-level models) you can't go wrong with the top-drawer names like Martin, Taylor, Collings, Gibson, or Santa Cruz. These are all great guitar makers but you're also paying for the name on the headstock. And they'll run into the thousands of dollars. Mid-level brands include names like Takamine, Larrivee, and Guild can run from the many hundreds to a thousand or more. Entry level (but still good!) brands include Epiphone (especially the Masterbilts), Breedlove, Ovation, Alvarez, and Seagull. I've also heard good

things about Eastman guitars and the new Fender line of acoustics, especially the "F" series which are very moderately priced. I've owned and played many guitars over the years. To my ear, Martins sound the best and hold their value better, but to many are harder to play. Taylors are a close second in sound and, in my experience, are among the most comfortable of the big names to play. But I also own a Korean-made $150 Hondo from 1983 and a $300 Epiphone from 2010 that sound and play almost as good as the lofty high-priced models. Size and Shape. The "dreadnought" is the most common size but there are several smaller-sized guitars as well you should consider, with names like "concert," "auditorium," "000," "00" depending on the manufacturer. In my opinion smaller sized guitars are more comfortable to play, especially in a sitting position which is how many beginners learn, and can sound every bit as good as the big boys. Scale. Scale refers to (but is not a measurement of) the distance between the nut and the saddle (all of these parts of the guitar are explained below) and can be thought of as either long-scale (around 25.4") or short-scale (around 24.9") depending on the manufacturer. The scale length affects (among other things) the positioning of the bridge and as a result the spacing of the frets and the tension of the strings. Short-scale guitars will have a little less string tension and a slightly shorter distance between the frets, both of which can make fretting chords easier and more comfortable. This is just my personal opinion but if I was just starting out, or buying a guitar for my grandson, I would go for a "00" or "Grand Concert" size with a short-scale. One final thought: Your "new" guitar doesn't have to be new at all. Guitars, especially the more expensive solid wood guitars, "open up" and sound better with age the more they're played. There's a reason pre-WWII Martins cost as much as a house. So don't be shy about buying a used, well-looked-after guitar as someone has already done the work for you. Just buy from a reputable source and get a set-up. And if at all possible, don't buy a guitar you haven't actually physically sat down and played yourself. New or used, you want to take home the very same instrument that felt so good in your hands and sounded so sweet to your ears. That's tough to do if you're ordering on-line from a big box music store or an on-line reseller like Reverb or (shudder) eBay. Before I get off this horse I want to repeat something I just said. The best guitar for you is the one that sounds and feels best to YOU. Don't be swayed by brand name, or by price, or by other people's opinion. Let your ears and fingers decide and when you find a guitar that speaks to you, buy it.

So that’s about everything I want you to consider before we get started. If you decide not to get a set-up, then at least get a new set of strings and a winder. There's a link below showing the proper way to string your guitar. BTW, guitar supplies are cheaper on-line. I kind of like Sweetwater.com because the shipping is free regardless of the amount you buy and there’s no sales tax. Other on-line sites (Musicians Friend, ZZ Sounds, Sam Ash, Elderly) are all good too but may require you spend $49 or so before they give you free shipping.

So let's dive in. (CDOC)

LESSON 3 - KNOW THY GUITAR (Geez, when is this guy gonna get around to the chords? Patience, we're getting there. You have to crawl before

you walk and walk before you run . . . unless you're Barry Sanders in which case God just said, "Barry, you go in any direction you want, as long as you're carrying a football.)

Above is an example of a standard 6-string acoustic guitar. I'm sure glad they pointed out where the "back" of the guitar is. I'd have been so unable to find the "back" without it. There are lots of variations (14-fret, 12-fret, acoustic-electric, cutaways) but they all have the same basic components. The "headstock" is the wooden piece at the top of the guitar, above the nut. The "nut" is the piece of plastic, bone, or Tusq at the top of the neck with grooves in it where the strings rest on their way from the tuning heads to the bridge. The "headplate" is the thin portion which sits atop the headstock. On some guitars the headstock and headplate are made of a single piece of wood. "Tuning heads" and "machine heads" are collectively known as "Tuning Machine." Those of us without our noses in the air just call them the "pegs" and "knobs." The "neck" of the guitar is the portion between the nut and the soundhole. The "fingerboard" (or fretboard) is a thin piece of wood veneer that sits atop the neck.

The strings travel from the headstock over the nut and down the neck to the "bridge" which is a piece of wood at the bottom of the guitar where the strings terminate and enter the body of the guitar. Before doing so they rest upon the "saddle" which is a piece of material (usually plastic, Tusq, or bone) that sits in a groove in the bridge. Together the saddle and bridge transfer vibrations from the strings to the soundboard (top of the guitar). "Frets" refer to both the pieces of metal seated across the fingerboard but also to the spaces between the frets. So the "first fret" is the area between the nut and the first strip of metal. Position markers, when present, are always on the 3rd, 5th, 7th, 9th, 12th, and 15th frets. The body of the guitar is made up of the upper bout and lower "bout," the bouts being separated by the portion where the guitar curves in toward the middle, called the "waist". Bouts, along with the type of wood and the type of internal bracing used, help determine the depth and shape of the bass, midrange, and treble sounds of the guitar. The "Scratchplate" is better known as a pick guard. Most are just plastic and designed to keep your guitar from eventually looking like Willie Nelson's "Trigger." The "rosette" is the decorative ring surrounding the soundhole. Most guitars have one but some do not. The "binding" and "purfling" are thin pieces of shaped wood that connects the three parts of the body of the guitar, top, bottom and sides. ("Hey buddy, I got your purfling right here.") Not visible is the truss rod which runs through the neck. Sometimes a nut can be seen or felt just inside and neckward of the soundhole. Not all guitars have a truss rod depending on how the neck is attached to the guitar. The main purpose of the truss rod is to provide relief or add tension to the neck of the guitar, not to raise or lower the height of the strings.

A FEW (OKAY, SEVERAL) WORDS ABOUT STRINGS Strings can be broken down into three different considerations: manufacturer, gauge, and material. - Manufacturer. Just like the guitar itself, players will develop a preference for one brand over another. It's a matter of personal choice. I've found all the major string makers produce good quality strings. Among the main manufacturers are Martin, D'Addario, DR, GHS, Eddie Ball, Dean Markley, John Pearse, and Elixer. Martins and D'Addarios are probably the most popular and easiest to find. Elixers are also popular, especially for Taylor guitar players, but are in my opinion overpriced. You can expect to pay between $4 and $15 for a set of strings so they're pretty inexpensive. - Gauge. Strings come in two varieties, lights and mediums. The lighter the gauge the easier the string will play and most players prefer some variation of a light string. The downside is that because they are more flexible if your chord mechanics aren't the best the chord may be slightly out of tune if you tend to slide or "bend" the string along the fret. Still, this is not much of a problem. Medium strings have their place as well and many players feel they sound better on dreadnoughts but they also require higher tension which places a little more stress on the guitar not to mention your fingertips. It's best to first follow the manufacturer's recommendation and then just experiment with several different types until you find a sound and feel that you like. -- Strings come six to a pack and are denoted by numbers representing the gauge of the treble (1st/bottom string) and the bass (6th/top string). For example: Light strings with a treble gauge of .012 and a bass gauge of .053 are labeled as LT 12-53. Light gauge strings can have a treble gauge of .010, .011, or .012, with .010 designated "extra" or "ultra" light and .011 called "custom" light. -- Medium gauge strings will have a treble gauge of .013 and infrequently .014. - Material. The bottom two strings are unwrapped steel. The top four strings are wound in a combination of bronze and/or phosphor (there are exceptions like Monel strings which are a nickel/bronze or nickel/copper alloy). You'll see designations such as 80/20 or 92/8 which denote the alloy ratio and reflect the amount of brightness. Straight bronze tends to be brighter and more "zingy" while phosphor bronze are a tad more mellow. It's whatever sounds good to you. Strings can also be coated, which (allegedly) extend their life before they go dull.

Here's a good video from Martin regarding the strings they sell and the difference in each. Keep in mind that since it is from Martin you'll only hear about Martin strings but the comments made, especially regarding material, hold true for any manufacturer. The first 5 minutes of the video is all about the history of strings and you can skip that part. http://www.youtube.com/watch?v=BtgqfWIt5ws&feature=channel

WHEN TO CHANGE YOUR STRINGS Strings usually wear out (sound dead and dull) long before they break. There is no hard and fast rule as to when you should change your strings, other than this: When your strings no longer sound good to you, change them. A lot depends on how often you play and the strings you're playing with. I try and play a little bit roughly 4 or 5 days a week for about an hour each time. I change my strings about every other month. Some strings will let you play longer as they're purposely made to last longer than others. Some strings start out sounding great but lose their tone within a relatively short time. If you only play once or twice a month you may be able to go quite a long time with your strings sounding just fine. But since strings are relatively inexpensive and easy to change, if you really want to keep your guitar sounding nice, change your strings when they no longer sound good. One more thing. When you first install a set of strings, if they don't sound good to you, give them a few days. Strange as it may sound, often brand new strings need to settle in. I've often put on a fresh set and thought, "oh my, these sound harsh" only to think the opposite in a few days.

STRINGING THE GUITAR

Stringing a guitar is not rocket science and should only take about 15 minutes. It is much easier to show you how to string a guitar and here is a good video from Taylor that goes through the process step by step (Elixer supplies the strings for Taylor guitars and that's why they're being featured). https://www.taylorguitars.com/support/strings/changing-steel-strings

(CDOC)

http://www.youtube.com/watch?v=BtgqfWIt5ws&feature=channel

http://www.youtube.com/watch?v=BtgqfWIt5ws&feature=channel

https://www.taylorguitars.com/support/strings/changing-steel-strings

https://www.taylorguitars.com/support/strings/changing-steel-strings

LESSON 4 - STANDARD TUNING Once upon a time there was a fellow named Cletus. Cletus lived in the hollers of eastern Kentucky. Cletus was a crack shot with a rifle and always had more game than he could possibly eat. His neighbor was Big Ed. Big Ed wasn't much of a hunter but he had a reputation for eating just about anything that could be shot, trapped, or run over. Cletus was also a little better off that Big Ed and had a big heart and often gave his leftovers to Big Ed who was grateful for the extra food. One winter was particularly harsh and game was hard to find. Cletus felt bad he was unable to bring Big Ed the usual offering of leftovers. One cold morning Cletus appeared on Big Ed's doorstep with a sheepish look as he had to tell Big Ed that he might not be able to provide any leftovers until spring came. But, it just so happened that one of Cletus’ young-ins had a pet gerbil and that gerbil had died during the night. Cletus was about to toss the remains out behind the chicken coop but remembered Big Ed's reputation for eating just about anything. So Cletus knocked, and Big Ed invited him in to get warm. Big Ed waited in anxious anticipation of what vittles Cletus might have brought him this time. After a few pleasantries there was a long pause. Cletus then held up the recently deceased rodent and asked, “Eat a Dead Gerbil, Big Ed?”

Eat A Dead Gerbil, Big Ed? EAT A DEAD GERBIL, BIG ED? EAT A DEAD GERBIL BIG ED E A D G B E E A D G B E 6th (Top) string: E (aka low E or bass E)

5th string: A

4th string: D

3rd string: G

2nd string: B

1st (bottom) string: E (aka high E or treble E)

Or if you prefer: Eddie Ate Dynamite Good Bye Eddie Every Adult Dog Growls Barks Eats Every Acid Dealer Gets Busted Eventually Eat All Dead Gophers Before Easter Eat All Day Get Big Easy Elephants And Donkeys Grow Big Ears Every Apple Does Go Bad Eventually Even Average Dogs Get Bones Eventually Eat a Darn Good Breakfast Early Every Apple Does Get Bitten Eventually Eat A Dog, Get Big Ears Even A Dumb Great Britain Eats (CDOC)

LESSON 5 - DOE, A DEER, A FEMALE DEER Now let's talk about the scale.

As we know from the John Denver song we have our friends in Ohio to thank for the scale: http://www.youtube.com/watch?v=hA1Ppy88qPg

"Ah, but let's not forget that the folks of Toledo Unselfishly gave us the scale No springs, honest weight, that's the promise they made So smile and be thankful next time you get weighed!" While that's all well and good let's talk about another scale, the musical scale. Thanks to Big Ed we've already discovered that 5 of the 7 notes can be found on the open strings. But you'll eventually want to know where the notes can be found on the fretboard as well. So let's take a look at the fretboard diagram and you might want to print out this next section for reference. This is the view of the fretboard as if you're holding your guitar flat in your lap looking down at the neck, nut to your left and soundhole to your right. Note the numbers in the shaded circles the bottom are where you'll find the position markers.

http://www.youtube.com/watch?v=hA1Ppy88qPg

http://www.youtube.com/watch?v=hA1Ppy88qPg

The large capital letters are the major notes and the smaller letters are the sharps/flats. Notice the notes for the open strings repeat themselves at the 12th fret, and notice the 5th fret has no sharps or flats. (Also just notice for now the position of note < f# > at position 4/4 (4th string/4th fret) and 6/2 (6th string/2nd fret). We'll talk more about the < f# > later). Now we're getting a little ahead of ourselves but next I want you to look at the diagram below. Notice the relationship between chord and the individual notes within the chord. Now I know we haven't gotten into the actual chords and chord shapes yet but just notice that each chord will contain the note that the chord is named for. For example, chord (A) has notes <e>, <a>, and <c#>. You don't have to memorize which notes are in each chord but I do want you to memorize two of them, the (C) and (G), and notice for (C) and (G) only the middle note is different. And like "Big Ed" there's a little mnemonic to help you remember it. CHORD: NOTES IN THE CHORD: OPEN STRING: A e - a - c# 5th B f# - b - d# - f# 2nd C c - e - c (C is e asy) D a - d - f# 4th E b - e - g# 1st/6th F f - a- c - f G g - b - g 3rd (G won't give you the heebie geebies or simply Bee Gees)

Now after you do learn the 7 open chord shapes and where they are on the fretboard you'll come back to this but for now just review the following: When playing chord (A) the note <a> will be in the middle. <a> is also the 5th open string. When playing (B) chord the note <b> can be found at the ring finger. <b> is also the 2nd open string. When playing chord (C) the note <c> can be found at both the upper and lower finger positions (the ring and index fingers). When playing chord (D) the note <d> can be found at the ring finger. <d> is also the 4th open string. When playing chord (E) the note <e> can be found at the ring finger. <e> is also the open 1st and open 6th string When playing chord (F) the note <f> can be found at the ring finger. Also notice that <f> is the top and bottom string in the first fret closest to the nut. In other words, "<f> is at the corners." When playing chord (G) the note <g> can be found at the top and bottom strings at least one of which will be played with the ring finger. <g> is also the open 3rd string. See the pattern? Except for the (A), whenever you play a chord you can find the same note under your ring finger. And if you remember just one or two common chords and where the notes are when playing the chords you can find the rest of the notes on the fingerboard pretty quickly. For example, if you remember that "<f> is in the corners", and the notes of (C) are <c><e><c> with <c> under your ring and index finger, and <g> is at the top and bottom string when playing the (G) you can then move from fret to fret (or by comparing them to the open strings) to figure out the rest of the individual notes. In other words, know a few - figure out the rest. So go ahead and practice finding the notes - i.e., playing the scales (doe, ray, me, fah, sew, lah, tea, doe) - but don't spend too much time on it.

TUNING TRICK: Here's an obscure but neat little trick about tuning your guitar in a pinch should you find yourself without your handy dandy little clip-on electronic tuner.

If you look at the 5th fret above you'll see all major notes (no flats or sharps). You may also notice that they're the same notes - albeit in different order - as the open strings (EADGBE) except for the C which has wormed its way onto the 3rd string like a bad party guest and shoved the B down to the far end of the sofa (i.e, the 4th fret). This "phenomenon" allows you to tune your guitar by tuning one string against another. The overall guitar may be flat or sharp but the notes themselves will be in tune with each other. This is also handy to know if you don't have a tuner with you and you think an individual string sounds off. <A> is the standard used to tune a guitar. It naturally vibrates at 440 centimes (if you have an electronic tuner with a moving needle you may see 440 in the middle of the scale). So here's how to tune your guitar without a tuner: Step 1: Pluck the open 5th string, which we know from Big Ed, is A, and tune it until it is pleasing to you. Step 2: Okay now hold down the top string (remember all of this is in the 5th fret) and pluck it. You can see from the diagram above we're still playing note <a>. Now pluck the open 5th string which of course is also <a>. The two should sound the same. If not, adjust the top string.

Step 3: Now hold down the 5th string and pluck it. You're playing note <d>. Pluck the open 4th string which we know is also <d>. These two should sound the same. If not, adjust the 4th string. Step 4: Now hold down the 4th string and pluck it. You're playing note <g>. Pluck the open 3rd string which we know is also <g>. These two should sound the same. If not, adjust the 3rd string. Step 5: Okay, we have to deviate from the process just a tad because if you hold down the 3rd string in the 5th fret you'll get <c> and that does us no good because there's no open C to compare it to. So what we do when we get to the 3rd string is we send that C out for more beer and hold down the 4th fret instead. Note the diagram above and you'll see that is note <b> and the open 2nd string below it is, "voila" B. So hold down 3rd string/4th fret and compare it to the open 2nd string. The two should sound the same. If not, adjust the 2nd string. Step 6: Back to the 5th fret for the 2nd string. Hold it down and you're playing <e>. The open bottom string is also <e>. The two should sound the same. You've just tuned your guitar. C is back from Tesco with more brew and B has gone upstairs with that handsome E flat from the 8th fret. As sort of a double check at this point I usually finish the process by playing the (G) chord. The top string, bottom string, and 3rd string should all sound the same since all three are note <g>. Again, ALL of your strings may not be within their individual tuning standards, i.e., they may all be slightly sharp or flat, but they should be in tune relative to each other and will give you a passing sound until you can tune them with an electronic tuner. Enough about the frickin' scale. Who's ready for some chords!? You are! (CDOC)

LESSON 6 - THE FIRST FIVE CHORDS Let the fun begin! For each chord there will be a diagram and a photo of how the position is most commonly played. I'll then show you any alternate ways of playing them. Most people play chords the same way except for the (G) and maybe the (A) in which there are two distinct camps but we'll get to that eventually. BUT THIS IS IMPORTANT!: Once you start playing a chord in a particular way it is very difficult to change later. It just becomes ingrained. So pick a way to play the chord and stick with it. The chord diagram (also called a chord box) will have a thick line at the top which denotes the guitar nut. Just above the nut there might be an "O". An "O" denotes an open string which can be included in the strum or not, at your preference. If you don't see an "O" then it means this string is not meant to be stuck as its harmonics may not be agreeable to the chord, although this is not a hard and fast rule. Some diagrams you will run across, rather than showing the lack of an "O" will show an "X" which means the same thing, don't play this string. Also, in some of the photos it appears as if the fingers are pressing down on the fret (the metal strip) itself. They're not (or shouldn't be) and doing so will result in a dull sound. Ideally you want your fingertips to be as close as possible to the fret, but not on the fret. Aim for the "backward slope" of where the string come off the fret on its way to the nut. Too far away from the fret and you'll have a tendency to bend the string which will make the note sound sharp. Directly on the fret and the note will sound dull or muted. Now I'm going to start you out with a full plate and ask you to learn 5 chords in this first chord lesson. But this will be the most I'll ask you to learn at any one time. So take some time and learn these chords until you can move between them easily and without thinking too much about it. It's to be expected that you'll need to go slow at first. Concentrate on forming the chord correctly so each string sounds pure, without dullness or buzz. Speed will come with practice. And here we go . . .

A MAJOR which is denoted by "A" or (A) or

This is the preferred way to play (A), with the three middle fingers as shown. Some chord diagrams, like this one, will have numbers that correspond to the fingers, as shown in the photo above. The smaller numbers in parenthesis show an alternate way to play the chord, in this case with the index and middle finger reversed. Also notice where the dots are relative to the fret. They're close to the fret but not on the fret. Notice the "O"s on the bottom and 5th string which means you can strum all of the strings or any portion thereof. There's no "X" on the top string but the lack of a "O" indicates this string isn't meant to be included in the strum. Another way to play the (A) would be to use your lower three fingers in the same configuration as shown above. But I find this limits your flexibility when playing other variations of the (A) chord family which we'll get to later. So stick with how it's being played in the photo above.

E MAJOR denoted by "E" or (E)

(E) is played exactly as illustrated above (except don't place your ring finger directly on top of the fret like this guy is). Has a pretty sound doesn't it? Okay now you know two chords. Notice when going from (A) to (E) all you do is keep the middle and ring fingers in formation and just move them up two strings while rotating your index finger back to the 3rd string/1st fret. This is too easy, isn't it! Practice moving back and forth between (A) and (E).

A MINOR which is denoted "Am" or (Am)

Look familiar? Look at this chord diagram. Now look at the chord diagram for (E) above. Now look at the chord diagram for (Am). Now look at the chord diagram for (E). Now look at the chord diagram for (Am) . . . it's the same bloody chord, just on different strings! Whoa, this really is too easy.

To move from (E) to (Am) you keep the fingers formed and just drop down one string. To move from (Am) to (E) you keep the fingers formed and just move up one string. To move from (A) to (E) you keep the middle and ring fingers together and move them up two strings while dropping the index finger over to the first fret. To move from (A) to (Am) you do the exact same thing but move up just one string. Practice moving between these three chords until you feel comfortable.

E MINOR which is denoted by "Em" or (Em)

First of all, in the photo above the index finger is in the air. Only the middle and ring fingers are in play here. Okay, look at this diagram for (Em). Now look at the diagram for (E). (Em) is nothing more than (E) without the index finger. Doesn't get much easier than that.

I was going to stop here but I'm going to include the (D) because many songs, particularly those in the key of (A) will also include the (E) and the (D). The (D) chord is formed completely different than the first four. Here it is:

Your index and middle finger are in the 2nd fret and straddle the 2nd string. The ring finger is in the 3rd fret and on the 2nd string. Note the diagram has an "O" only on the 4th string, meaning the 5th and 6th strings are not meant to be struck. Nonsense. Play as many as you want. In fact many players routinely wrap their thumb over the top string of the 2nd fret for a fuller sound (which is what note . . . anyone? . . . anyone? . . . well if you remembered that "< f > is in the corners" and the top string/2nd fret is up one fret from <f>, then it's gotta be < f# > ). The middle finger is key here. You want to rock your wrist down just a bit so the lower part of your middle finger is nearly perpendicular to the fingerboard and presses straight down on the string. The ring finger next door will follow and this helps it, the ring finger, from touching the bottom string and yielding a muffled sound. You can be a little more sloppy with the index finger since it can touch the string below it (the 2nd string) without consequence as the string is "covered" by the ring finger to its right. Practice until you can move to and from the (D) with a nice clear tone from all three strings.

And this is a good place to mention using your wrist and elbows to improve form. As you're playing the various chords, if you find your fingers are touching adjacent strings and muffling the chord, take a moment to look at your wrist. Often you can improve your form and how your fingers are touching the strings by small movements of your wrist (up and down, left and right). Also try moving your elbow closer to (or further from) your body to improve the angle. Experiment and you'll find a comfortable technique that improves your string attack. That's all the chords for this lesson. Time to practice, practice, practice. Remember to stop and take a break when your fingertips start hurting. After you feel a little comfortable, and when you start getting bored with just switching back and forth between chords, here are some songs that use only (A) (D) (E) (Am) and (Em). There's also a Youtube link to the song so you can play along. After the song title you'll see "C" and a number. For example (C0) or (C2). That's where you place the capo so it'll match the recording. (C0) means no capo is used.) But practice the chords for a while first before trying to play the songs. (CDOC)

ARE YOU SURE HANK DONE IT THIS WAY? - Waylon Jennings (C2)

https://www.youtube.com/watch?v=TNpLSaCirj8

TIP: Super easy song with just two chords but there's a distinct rhythm that goes from

beginning to end. You'll pick it up immediately.

INTRO: (A)(D), (A)(D), (A)(D), (A)(D)

Lord it's the (A) same old tune, (D) fiddle and guitar. (A) Where do we take it from

(D) here? (A) Rhinestone suits and (D) new shiny cars. (A) It's been the same way for

(D) years (A). We need a (D) change. (A)(D)

Some (A) body told me, when (D) I came to Nashville, (A) "Son you finally got it (D) made."

Old (A) Hank made it here, (D) we're all sure that you will but I (A) don't think Hank done

it this (D) way, naw, I (A) don't think Hank done it this (D) way. Okay.

(A)(D), (A)(D), (A)(D), (A)(D), (A)(D)

(A) Ten years on the road makin' (D) one-night stands. (A) Speedin' my young life a (D) way.

(A) Tell me one more time just so's (D) I'll understand are you (A) sure Hank done it this

(D) way? Did ol' (A) Hank really do it this (D) way? (A)(D)

Lord (A) I've seen the world with a (D) five-piece band, (A) lookin' at the back side of

(D) me. (A) Singing my songs one of (D) his now and then, but I (A) don't think Hank done

'em this (D) way, no, I (A) don't think Hank done 'em this (D) way. Take it home.

(A)(D), (A)(D), (A)(D), (A)(D), (A)(D), (A)(D), (A)(D), (A)(D), (A)(D), |A|



AMANDA - (McDill) - Waylon Jennings/Don Williams (C0) [No, they're not all Waylon Jennings

tunes.]

https://www.youtube.com/watch?v=R_WjVFhAgCo

INTRO: (A),(A),(A),(A)

I've (A) held it all inward, (D) God knows I've (A) tried. But it's an awful awakening, in a

(E) country boy's (A) life. To look in the mirror in (D) total sur (A) prise, at the hair on

my shoulders and the (E) age in my (A) eyes.

Amanda, (D) light of my (A) life. Fate should have made you, a (E) gentleman's (A) wife.


(A)(D)(A); (A)(E)(A)

It's a (A) measure of people, who (D) don't under (A) stand, the pleasures of life, in a

(E) hillbilly (A) band. I got my first guitar, when (D) I was (A) fourteen. Well I finally

made forty, (E) still wearing (A) jeans.



(A)(D)(A); (A)(E)(A)



ALL SHOOK UP – (Blackwell) – Elvis Presley (C1) [See?]

https://www.youtube.com/watch?v=23zLefwiii4

INTRO: (A), (A), (A), (A)

(NC) Well a (A) bless my soul what's wrong with me? I'm itching like a man on a fuzzy tree.

My friends say I'm actin' wild as a bug I'm in love. <slap> (NC) I'm all shook up.

Muh hoo (D) hoo, muh (E) hoo, (A) yay yay, yay.

Well my hands are shaky and my knees are weak. I can't seem to stand on my own two feet.

Who do you thank when you have such luck I'm in love. <slap> (NC) I'm all shook up.


Well a (D) please don't ask me what's on my mind I'm a (A) little mixed up but I'm feelin'

fine. When (D) I'm near that girl, that I love best, my (E7) heart beats so it (E) scares me

to death.

When (A) she touched my hand what a chill I got. Her lips are like a volcano that's hot.

I'm proud to say she's my, buttercup. I'm in love. <slap> (NC) I'm all shook up.


My (D) tongue gets tied when I try to speak. My (A) insides shake like a leaf on a tree.

There's (D) only one cure for this body of mine and that's to (E) hound the girl that I love

so fine.

(A) She touched my hand and what a chill I got. Her lips are like a volcano that's hot. I'm

proud to say she's my, buttercup. I'm in love. <grunt "uh"> I'm all shook up.


Muh hoo (D) hoo, muh (E) hoo, (A) yay yay, I’m all shook up.



BLUE SUEDE SHOES – (Perkins) – Carl Perkins/Elvis Presley/Buddy Holly (C0)

https://www.youtube.com/watch?v=b2f_eSZgp88

TIP: The A in brackets |A| means strum once at that point.

Well it's |A)| one for the money. |A| Two for the show. |A| Three to get ready now go cat

go but (D) don't you, step on my blue suede (A) shoes. You can (E) do anything but lay

(D) off of my blue suede (A) shoes.

Well you can |A| knock me down, |A| step in my face. |A| Slander my name all |A| over the

place. |A| Do anything that you |A| want to do, but uh-uh Honey lay (A) off of my shoes and

(D) don't you, step on my blue suede (A) shoes. You can (E) do anything but lay (D) off of

my blue suede (A) shoes.

(A)(A),(D),(A),(E)(D)(A)

Well you can |A| burn my house. |A| Steal my car. |A| Drink my liquor from an |A| old fruit

jar. |A| Do anything that you |A| want to do. But uh-uh Honey lay (A) off of them shoes and

(D7) don't you, step on my blue suede (A) shoes. You can (E) do anything but lay (D) off of

my blue suede (A) shoes.

(A)(A),(D),(A),(E)(D)(A)

Well it's |A)| one for the money. |A| Two for the show. |A| Three to get ready now (A) go

cat go but (D) don't you, step on my blue suede (A) shoes. You can (E) do anything but lay

(E7) off of my blue suede (A) shoes.



Well it's blue blue, blue suede shoes. Blue blue, blue suede shoes. Yeah (D) blue blue,

blue suede shoes. (A) Baby blue blue, blue suede shoes. You can (E) do anything but lay

(E) off of my blue suede (A) shoes. (A)(A)(A)(A)(A)(A)(E)(E)(E)-(A),(A)

BYE BYE LOVE – (Bryant/Bryant) – The Everly Brothers (C0)

https://www.youtube.com/watch?v=LRyrWN-fftE

(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello, (A) loneliness. I think I'm a

(E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello

(A) emptiness. I feel like (E) I could di- (A) ie. Bye bye, my (E) love, goodby- (A) eye.

There goes my (E) baby, with a someone (A) new. She sure looks (E) happy, I sure am

(A) blue. She was my (D) baby, til he stepped (E) in. Goodbye to romance, that (D) might

(E) have (A) been.

(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello, (A) loneliness. I think I'm a

(E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello

(A) emptiness. I feel like (E) I could di- (A) ie. Bye bye, my (E) love, goodby- (A) eye.

I'm a through with (E) romance. I'm a through with (A) love. I'm through with

a (E) countin', the stars a (A) bove. And here's the (D) reason, that I'm so (E) free:

My lovin' baby, is a (D) through (E) with (A) me.

(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello, (A) loneliness. I think I'm

a (E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello

(A) emptiness. I feel like (E) I could di- (A) ie. Bye bye, my (E) love,

goodby- (A) eye.

Bye bye, my (E) love, goodby- (A) ye. Bye bye, my (E) love, goodby- (A) ye.



COVER OF THE ROLLING STONE - (Silverstein) – Dr. Hook and the Medicine Show (C0)

https://www.youtube.com/watch?v=-Ux3-a9RE1Q

INTRO: <Spoken>: Oh huh huh I don't believe it. Uh, uh, uh, uh. Don't touch me.

Hey Ray, hey Sugar, (D)-(E)-(A) tell them who we are.

(NC) Well we're (A) big rock singers we got golden fingers and we're loved everywhere we

(E) go. (That sounds like us). We sing about beauty and we sing about truth at ten-thousand

dollars a (A) show right. We take all kinds of pills that give us all kind of thrills but

the thrill we've never (D) known. Is the (E) thrill that'll gitcha when you get your picture

on the |E| cover of the Rollin’ (A) Stone.

Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Stone wanna buy five copies for

my mother. (E) Stone wanna see my smilin’ face on the (D) cover of the Rollin’ (A) Stone.

(A)(A)-(D), (A)(A)-(D) (That's a very very good idea.) (A)(A)-(D), (A)

I got a freaky ol’ lady name a Cocaine Katy who embroideries on my (E) jeans. I got my poor

ol’ grey-haired daddy, drivin my limo (A) sine. Now it's all decided to blow our minds but

our minds won't really be (D) blown. Like the (E) blow that'll gitcha when you get your

picture on the |E| cover of the Rollin’ (A) Stone.

Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Stone wanna buy five copies for

my mother. (E) Stone wanna see my smilin’ face on the (D) cover of the Rollin’ (A) Stone.

(A)(A)-(D), (A)(A)-(D) (Hey I know how. Rock and roll!)

<Play 5 seconds of screaching nonsense, just come back to (A)>



(A) Ah, that's beautiful.

We got a lot of little teenage, blue-eyed groupies, who do anything we (E) say. We got a

genu-wine Indian Guru, who's teaching us a better (A) way. We got all the friends, that

money can buy, so we never have to be (D) alone. And we (E) keep getting richer but we can't

get our picture on the |E| cover of the Rollin’ (A) Stone.

Rollin’ (E) Stone. Gonna see my picture on the cover. (A) Stone gonna buy five copies for

my mother. (E) Stone gonna see my smilin’ face on the (D) cover of the Rollin (A) Stooone,

on the (D) cover of the Rollin' - (E) stone gonna see my picture on the cover, (A) stone

gonna buy five copies for my mother. (E) Stone gonna see my smilin’ face on the (D) cover of

the Rollin (A) Stone.

OUTRO: <Spoken>: Right up front man I can see it now. We'll be on the front smilin' man,

ahh, beautiful.

THE CRAWDAD SONG - Traditional/Woodie Guthrie (C5)

http://www.youtube.com/watch?v=mBKv7F32ohQ&feature=related

(A) You get a line and I'll get a pole, honey. You get a line and I'll get a pole, (E) babe.

(A) You get a line and I'll get a pole. (D) And we'll go down to the crawdad hole.

(A) Honey, oh (E) babe of (A) mine.

(A)(E)(A); (A)(E)(A)

(A) Yonder come a man with a sack on his back, honey. Yonder come a man with a sack on his

back, (E) babe. (A) Yonder come a man with a sack on his back. (D) Look at them crawdads in

that sack. (A) Honey, oh (E) baby, (A) mine.

(A) Hurry up babe you slept too late, honey. Hurry up babe you slept too late, (E) babe.

(A) Hurry up honey you slept too late. (D) Crawdad Man done passed your gate.

(A) Honey, (E) baby, (A) mine.

(A) Sell you crawdads three for a dime, honey. Sell your crawdads three for a dime,

(E) babe. (A) Sell your crawdads three for a dime, (D) you're crawdads ain't good as mine.

(A) Honey, (E) babe of (A) mine.

(A) What you gonna do when the lake goes dry, honey? What you gonna do when the lake goes

dry, (E) babe? (A) What you gonna do when the lake goes dry? (D) Sit on the bank and watch

crawdads die. (A) Honey, (E) babe of (A) mine.



(A)(E)(A); (A)(E)(A)

(A) Hurry up babe you slept too late, baby. Hurry up babe you slept too late, (E) babe.

(A) Hurry up babe you slept too late. (D) Crawdad Man done passed your gate.


(A) I heard the duck say to the drake, honey. I heard the duck say to the drake, (E) babe.

(A) I heard the duck say to the drake, (D) ain’t no crawdads in this lake!


(A) There's a little bitty sailor nine days old, honey. Little bitty baby nine days old,

(E) sweet thing. (A) Little bitty baby nine days old (D) stuck his finger in the crawdad

hole. (A) Babe (E) hey hey (A) hey.

DON’T LET ME DOWN – (Lennon/McCartney) - The Beatles (C2)

https://www.youtube.com/watch?v=NCtzkaL2t_Y

TIP: To find the right note to start singing with – bottom string/2nd fret - strum (D)

Don't let me (Em) down, don't let me (D) down.


Nobody ever loved me like she (Em) does. Oooh she does, yes she (D) does.

And if somebody loved me like she (Em) do me. Oooh she do me, yes she (D) does.



I'm in love for the first time. Don't you know it's gonna (A) last?

It's a love that lasts forever. It's a love that had no (D) past.



And from the first time that she really (Em) done me.

Oooh she done me, she done me (D) good.

I guess nobody ever really (Em) done me.

Oooh she done me, she done me (D) good.


Don't let me (Em) down, don't let me (D) down. Yee-(Em) hee-ee (D). Yee-(Em) -eee(D).



HIGH COTTON - (Murrah/Anders) - Alabama

[No video for this one unless you want to capo at the 8th fret.]

(A) We didn't know that times were lean. A (D) round our home the grass was green.

It (A) didn't seem like things were all that (E) bad. I (A) bet we walked a thousand miles,

(D) choppin' cotton and pushin' plows, and (A) learnin' how to (E) give it all we (A) had.

As life went on and years went by, I (D) saw the light in daddy's eyes, and (A) felt, the

love in mama's (E) hands. They (A) kept us warm and kept us fed. (D) Taught us how to look

ahead. (A) Now, lookin' (E) back, I under (A) stand.

We were walkin' in high cotton. Old times (D) there are not forgotten. Those (A) fertile

fields are never far a (E) way. We were walkin' in (A) high cotton. Old times (D) there are

not forgotten. Leavin' (A) home was the hardest (E) thing we ever (A) faced.

When Sunday mornings rolled around, (D) we dressed up in hand-me-downs. (A) Just in time,

together with the (E) church. Some (A) times I think how long it's been, (D) and how it

impressed me then. It was the (A) only day my (E) daddy wouldn't (A) work.







We were walkin' in high cotton. (D) (A)

HONKY TONK WOMEN

(A) I met a, gin soaked, barroom queen in (D) Memphis. She (A) tried to take me upstairs for

a (E) ride. She (A) had to heave me right across her (D) shoulder. 'Cause I (A) just can't

seem to (E) drink you off my (A) mind.

It's the (A) hon (E) ky tonk (A) women. Gimme, gimme, (E) gimme the honky tonk (A) blues.

(A) I played a divorcee in New York (D) City. I (A) had to put up some kind of a (E) fight.

The (A) lady then she covered me with (D) roses. She (A) blew my nose and (E) then she blew

my (A) mind.



(BTI)

KUMBAYA - Campfires all over the world

Kumba (A) ya, my Lord, (D) kumba (A) ya. Kumbaya my Lord, (D) kumba (E) ya.

Kumba (A) ya, my Lord, (D) kumba (A) ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) crying, Lord, (D) kumba (A) ya. Someone's crying, Lord, (D) kumba (E) ya.

Someone's (A) crying, Lord, (D) kumba (A) ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) praying, Lord, (D) kumba (A) ya. Someone's praying, Lord, (D) kumba (E) ya.

Someone's (A) praying, Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) singing Lord, (D) kumba (A) ya. Someone's singing Lord, (D) kumba (E) ya.

Someone's (A) singing Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) sleeping, Lord, (D) kumba (A) ya. Someone's sleeping, Lord, (D) kumba (E) ya.

Someone's (A) sleeping, Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.

(D) Oh (A) Lord, (E) kumba (A) ya.

LIVING ON LOVE – Alan Jackson (C0)

https://www.youtube.com/watch?v=DDXLmYyFu4I

INTRO: (A) (E) (A) (D) (A) (E) (A) (E)

Two young (A) people, without a (E) thing, say some (A) vows, and spread their (D) wings.

Settle (A) down, with just what they need, livin’ on (E) love. She don’t (A) care, 'bout

what’s in (E) style. She just (A) likes, the way he (D) smiles. It takes (A) more than

marble and (E) tile, livin’ on (A) love.

Livin’ on (E) love, buyin’ on (A) time without some (D) body nothin' ain’t worth a (A) dime.

Just like an (D) old fashioned story book (A) rhyme, livin’ on (E) love. It sounds

(A) simple, that’s what you're (E) thinkin', but love can (A) walk through fire without

(D) blinkin' it doesn’t take (A) much, when you get (E) enough, livin' on (A) love (E).

(A)(E)(A)(D)(A)(A)(E)(E); (A)(E)(A)(D)(A)(E)(A)(E)

Two old (A) people, without a (E) thing. Children (A) gonnnne but still they (D) sing.

Side by (A) side in that front porch swing, livin’ on (E) love. He can’t (A) see,

any (E) more, she can (A) bare, ly sweep the (D) floor. Hand in (A) hand they'll walk

through that (E) door, just livin’ on (A) love.

Livin’ on (E) love, buyin’ on (A) time without some (D) body nothing ain’t worth a (A) dime.



(D) blinkin' it doesn’t take (A) much, when you get (E) enough, livin' on (A) love.



Livin’ on (E) love, buyin’ on (A) time without some (D) body nothing ain’t worth a (A) dime.



(D) blinkin' it doesn’t take (A) much, when you get (E) enough, livin' on (A) love (D).

No it doesn’t take (A) much, when you get (E) enough, livin' on (A) love (D)-(E)-(A).

OH BOY – (West/Tilghman/Petty) - Buddy Holly (C0)

http://www.youtube.com/watch?v=YwHrx0r0t2s

(A) All of my love, all of my kissin'. You don't know what you been a missin'.

Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy).

The world can see that (E) you, were meant, for (A) me (D)-(A).

(A) All of my life, I been a waitin'. Tonight there'll be no hesitatin'.



(E) Stars appear and the shadows are fallin'. (A) You can hear my heart a callin'.

A (D) little bit of lovin' makes everything right. And (E) I'm gonna see my baby tonight.




(A) Dum de-dum-dum, oh boy. Dum de-dum-dum, oh boy.

(D) Ah... (A) Ah... (E) Ah... (A) Ah...




(A) All of my life, I been a waitin'. Tonight there'll be no hesitatin'.





(E) Stars appear and the shadows are fallin'. (A) You can hear my heart a callin'.

A (D) little bit of lovin' makes everything right. And (E) I'm gonna see my baby tonight.




PEGGY SUE – (Holly/Allison/Petty) – Buddy Holly (C0)

https://www.youtube.com/watch?v=OUesbTObC9A

INTO: (A) (D) (A) (E); (A) (D) (A) (E)

(A) If you knew, (D) Peggy Sue, (A) then you’d (D) know why (A) I feel blue without

(D) Peggy. My Peggy (A) Sue (D) (A). Oh well, I (E) love you gal. Yes, I (D) love you

Peggy (A) Sue (D)(A)(E).

(A) Peggy Sue, (D) Peggy Sue. (A) Oh how (D) my heart (A) yearns for you. Oh (D) Peggy, my

Peggy (A) Sue (D) (A). Oh well, I (E) love you gal. Yes, I (D) love you Peggy (A) Sue

(D) (A) (E).

(A) Peggy Sue, Peggy Sue. (D) Pretty pretty pretty pretty (A) Peggy Sue. Oh (D) Peggy, my

Peggy (A) Sue (D)(A). Oh well, I (E) love you gal and I (D) need you Peggy

(A) Sue (D)(A)(E).

(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true. Oh (D) Peggy, my

Peggy (A) Sue (D) ooh, ooh, (A) hoo, hoo. Well I (E) love you gal I (D) want you

Peggy (A) Sue (D) (A).

(Instrumental)

(A) (D) A/D/A/D/A/D/A (D)(D)(D) (A) (D)-(A) (E) (D) (A)-(D)-(A)-(D)-(A) (E)

(A) Peggy Sue, Peggy Sue. (D) Pretty pretty pretty pretty (A) Peggy Sue. oh (D) Peggy, my

Peggy (A) Sue (D)(A). Oh well, I (E) love you gal, yes I (D) need you Peggy

(A) Sue (D)(A)(E).



(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true. Oh (D) Peggy, my

Peggy (A) Sue (D)(A). Well I (E) love you gal and I (D) want you Peggy (A) Sue (D) (A).

(Outro): Oh well, I (E) love you gal and I (D) want you Peggy (A) Sue (D)(A).

QUE SERA SERA – (Livingston/Evans) – Doris Day (C0)

https://www.youtube.com/watch?v=xZbKHDPPrrc

INTRO: (E)(E); (E)(E)(A)(A)

When I was just a little girl, I asked my mother, what will I (D) be?

Will I be pretty, will I be (E) rich? Here's what she said to (A) me.

Que Se (D) ra, Sera. Whatever will (A) be will be. The future's not (E) ours to see.

Que Sera, Se (A) ra. (E) What will be will (A) be.

When I grew up and fell in love. I asked my sweetheart, what lies a (D) head?

Will we have rainbows, day after (E) day? Here's what my sweetheart (A) said.


Que Sera, Se (A) ra. (E) What will be will (A) be.

Now I have children of my own. They ask their mother, what will I (D) be?

Will I be handsome, will I be (E) rich? I tell them tender (A) ly.


Que Sera, Se (A) ra. (E) What will be will (A) be. Que Se (E) ser (A). (A)-(A)



RED RIVER VALLEY – (Kerrigan) – Traditional/Michael Martin Murphey

From this (A) valley they say you are going. We will miss your bright eyes and sweet

(E) smile. They (A) say you are taking the sun (D) shine. That has (A) brightened

our (E) pathway a (A) while.

(A) Come and sit by my side if you love me. Do not hasten to bid me a (E) dieu.

But re (A) member the Red River Vall (D) ey, and the (A) cowboy that (E) loved you

so (A) true.

(A) I’ve been thinking a long time, my darling. Of the sweet words you never would (E) say.

Now (A) alas, must my fond hopes all van (D) ish, for they (A) say you are (E) going

(A) away.



so (A) true.

(A) Do you think of the valley you’re leaving, and how lonely and dreary it will (E) be?

Do you (A) think of the kind hearts you’re break (D) ing, and the (A) pain you are

(E) causing to (A) me?



so (A) true.

SAVE THE LAST DANCE FOR ME – (Pomus/Shuman) – The Drifters

(A) You can dance every dance with the guy who gives you the eye. Let him (E) hold you

tight. You can smile every smile for the man who held your hand 'neath the (A) pale

moonlight. But don't for (D) get who's taking you home and in whose arms you're (A) gonna

be. So (E) darling, save the last dance for (A) me.

(A) Oh I know that the music is fine like sparkling wine. Go and (E) have your fun. Laugh

and sing but while we're apart don't give your heart to (A) anyone. But don't for (D) get

who's taking you home and in whose arms you're (A) gonna be. So (E) darling, save the last

dance for (A) me.

(A) Baby don't you know I (E) love you so? Can't you feel it when we (A) touch? I will

never never (E) let you go. Cause I love you oh so (A) much.

(A) You can dance, go and carry on, till the night is gone and it’s (E) time to go. If he

asks if you’re all alone, can he take you home, you must (A) tell him, “No.” And don’t for

(D) get who’s taking you home and in whose arms you’re (A) gonna be. So (E) darling, save

the last dance for (A) me. So (E) darling, save the last dance for (A) me.

SHOOTING STAR – (Rodgers) – Bad Company (C0)

https://www.youtube.com/watch?v=0kEDa6bXnA8

(A) Johnny was a (E) schoolboy when he (D) heard his first Beatle (A) song. Love me (E) do I

think it was, and from (D) there it didn't take him (A) long. Got himself a (E) guitar, used

to (D) play every (A) night. Now he's in a (E) rock 'n' roll outfit and (D) everything's all

(A) right, don't you (E) know? (D) (E)

(A) Johnny told his (E) Mama, ‘Hey, (D) 'Mama, I'm goin' (A) away. I'm gonna hit the (E) big

time, gonna (D) be a big star some (A) day'. Mama came (E) to the door with a (D) teardrop

in her (A) eye. (A) Johnny said, (E) ‘Don't cry, mama, (D) smile and wave good (A) bye.'

(D) Don't you (E) know, (D) yeah (E) yeah. Don't you (D) know that you are a (A) shooting

star. (D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a

(A) shooting star. And (G) all the world will love you just as (D) long, as long as you

(E) are. (D)(E)

(A) Johnny made a (E) record, went (D) straight up to number (A) one. Suddenly (E) everyone

loved to (D) hear him sing the (A) song. Watching the (E) world go by, (D) surprising it

goes so (A) fast. Johnny looked (E) around him and said, 'Well, I (D) made the big time at

(A) last'.

(D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a

(A) shooting star. (D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that

you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long

as you (E) are. (D)(E)



(A) Johnny died (E) one night, (D) died in his (A) bed. A bottle of (E) whiskey, sleeping

(D) tablets by his (A) head. Johnny's life (E) passed him by like a (D) warm summer (A) day.

If you listen to the (E) wind you can (D) still hear him (A) play.

(D) Whoa (E). Don't you (D) know that you are a (A) shooting star. (D) Don't you (E) know,

(D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. And (G) all

the world will love you just as (D) long, as long as you (E) are, a (D) shooting (A) star.

(E) Don't you (D) know that you are a (A) shooting star. (E) Don't you, don't you, don't

you, don't you know. Don't you (D) know that you are a (A) shooting star. And (G) all the

world will love you just as (D) long, as long as you (E) are, a (D) shooting (E) star.

(D) A shooting (E) star.

SOME BROKEN HEARTS NEVER MEND - (Jennings) – Don Williams (C0)

https://www.youtube.com/watch?v=RqjDvEC1uVw

INTRO: (A), (A), (A), (A)

(E) Coffee (A) black, cigar (E) ette. Start this day (E) like all the (A) rest.

(D) First thing every morning that I (A) do, is start (E) missing you (E).

(A) Some broken (E) hearts never mend. Some mem'ries (A) never end.

Some tears will (D) never dry. (E) My love for you will never (A) die.

(A)(E),(E)(A),(A)(D),(E)(A)(A)

(E) Rendez (A) vous, in the (E) night. A willing (E) woman to hold me (A) tight.

(D) But in the middle of love's em (A) brace, I (E) see your face (E).

(A) Some broken (E) hearts never mend. Some mem'ries (A) never end.

Some tears will (D) never dry. (E) My love for you will never (A) die (A).

Some broken (E) hearts never mend. Some mem'ries (A) never end.

Some tears will (D) never dry. (E) My love for you will never (A) die.

(A)(E),(E)(A),(A)(D),(E)(A); (A)(E)),(E)(A),(A)(D),(E)(A)(A)-|A|



SPIRIT IN THE SKY – Norman Greenbaum (C0)

https://www.youtube.com/watch?v=AZQxH_8raCI

(A) When I die and they lay me to rest. Gonna go to the (D) place that's the best.

When I lay me (A) down to die, (E) goin' up to the spirit in the (A) sky.

Goin' up to the spirit in the sky. That's where I'm gonna go (D) when I die.

When I die and they (A) lay me to rest, I’m gonna (E) go to the place that's the (A) best.

Prepare yourself, you know it's a must. Gotta have a friend in (D) Jesus.

So you know that (A) when you die, he's (E) gonna recommend you to the spirit in the (A) sky.

Gonna recommend you to the spirit in the sky. That's where you're gonna go (D) when you die.

When you die and they (A) lay you to rest, you're gonna (E) go to the place that's the

(A) best.

Never been a sinner, I never sinned. I got a friend in (D) Jesus.

So you know that (A) when I die, He's (E) gonna set me up with the spirit in the (A) sky.

Oh set me up with the spirit in the sky. That's where I'm gonna go (D) when I die.

When I die and they (A) lay me to rest, I'm gonna (E) go to the place that's the (A) best.

(E) Go to the place that's the (A) best.

(BTI)



YOU ARE MY SUNSHINE - (Davis/Mitchell) - Traditional

The other (A) night dear, as I lay sleeping, I dreamed I (D) held you in my (A) arms.

When I a (D) woke dear, I was mis (A) taken. So I hung my (E) head and I (A) cried.

You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray.

You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a

(A) way.

I'll always (A) love you and make you happy, if you will (D) only say the (A) same.

But if you (D) leave me, and love a (A) nother, you'll regret-it- (E) all some (A) day.



(A) way.

You told me (A) once dear, you really loved me. And no one (D) else could, come

be (A) tween. But now you've (D) left me, and love a (A) nother. You have shattered (E) all

of my (A) dreams.



(A) way.

In all my (A) dreams dear, you seem to leave me. When I a (D) wake my, poor heart (A) pains.

So when you (D) come back, and make me (A) happy. I'll forgive, you (E) dear, I'll take the

(A) blame.



(A) way. (CDOC)

LESSON 7 - THE BIGGIES There are only two chords for this lesson but they are biggies. Not that (D), (A), and (E) aren't biggies, they are. Or whether we took a few liberties with our female party guests. We did. ( http://www.youtube.com/watch?v=ROxvT8KKdFw 1:18-1:28). But (D), (A), and (E) are members of a family of chords that usually occur together. Adding the next two chords to your repertoire expands your musical world significantly. Think of them as wild cards, chords that can be found in songs in just about any key. They are . . . drum roll . . . the (C) and the (G). First the (C)

(Again, I don't like the way the fingers are being depicted in this photo as it looks like the ring and middle fingers are pressing down on the fret bars. You don't want or need to do that. The sweet spot is just behind the fret -- close to the fret but not on it. This will require the least finger pressure while still resulting in a good tone. Too far in the middle and you'll tend to produce a sharp note.) (C) is a very important chord and is played a lot. It's complimentary to the songs played in the key of (G), (D), and especially (F) so it appears frequently. You might find it helpful when moving your fingers to play the (C) to first concentrate on getting the ring and middle fingers down first. If you do you'll find your index finger will already be in the correct position to complete the chord. It's just a slight hesitation: ring-middle, index.

http://www.youtube.com/watch?v=ROxvT8KKdFw

One more thing about the (C). What is shown here is what you could call "basic C". Notice on the diagram that there is no "O" indication on the top string, meaning you shouldn't strike the top string when playing it. You can if you want. But after you've been playing for a while you'll learn to use your pinky on that top string right above the ring finger (or directly above the "3" on the diagram). This is called 'covering the bass' and it usually involves the top string or 5th string. Some chords have a complimentary bass string, most notably the (C), and the (F) which we haven't talked about yet. Here is the chord for (C) with the bass string.

But for now just learn the basic (C).

The (G) chord is HUGE. And like the (C) is used quite often. Many songs are written in the key of G. And also like the (C), the (G) is used frequently in concert with many other chords. I personally find songs in the key of G the easiest to play and I like to transpose songs written in other keys into G. I just wished I could sing in the key of G . . . come to think of it I wish I could sing in just about any key. The cockpit? It's the little room up front where the pilots sit but that's not important right now.

Okay, time out. As I mentioned before there are two schools of instruction concerning the best way to play the (G). The way shown here is how I play it and I admit I am biased toward playing it this way. And since here it is in a photograph which came from a book of chords, it must be a popular way to play it. I like this method because there is another chord which is played a lot, called the (G-Add), which looks like this:

As you can see, this is just one more finger added to the chord. Alright, as for the other method, which has just as many advocates including a lot of performers I see playing on music videos, if you look at the diagram you'll see numbers in parentheses which represents the other way: Ring finger on the top string/3rd fret, middle finger on the 5th string/2nd fret, and pinky on the bottom string/3rd fret. The advocates of this method say it's much

easier to move from the (G) to the (C) and back, and I suppose it is. But because the pinky is not used in most of the other major chords some find it difficult . . . or unnatural to use the pinky with a major chord like the (G). Since you've not tried either, my best advice is to try each one and go with whichever you find most comfortable. But, again, once you adopt one way to play it, it will be very hard to start playing it the other way later on. Muscle memory. Now incorporate the (C) and the (G) into your repertoire and practice, practice, practice. Here are a few more songs to practice with which incorporate the (C) and (G). (CDOC)

Yes, this song was in the group for Lesson 1 but here it is rekeyed in [G]. ARE YOU SURE HANK DONE IT THIS WAY? - Waylon Jennings (C4)


TIP: Super easy song with just two chords but there's a distinct rhythm that goes from

beginning to end. You'll pick it up immediately.

INTRO: (G)(C), (G)(C), (G)(C), (G)(C)

Lord it's the (G) same old tune, (C) fiddle and guitar. (G) Where do we take it from

(C) here? (G) Rhinestone suits and (C) new shiny cars. (G) It's been the same way for

(C) years (G). We need a (C) change. (G)(C)

Some (G) body told me, when (C) I came to Nashville, (G) "Son you finally got it (C) made."

Old (G) Hank made it here, (C) we're all sure that you will but I (G) don't think Hank done

it this (C) way, naw, I (G) don't think Hank done it this (C) way. Okay.

(G)(C), (G)(C), (G)(C), (G)(C), (G)(C)

(G) Ten years on the road makin' (C) one-night stands. (G) Speedin' my young life a (C) way.

(G) Tell me one more time just so's (C) I'll understand are you (G) sure Hank done it this

(C) way? Did ol' (G) Hank really do it this (C) way? (G)(C)

Lord (G) I've seen the world with a (C) five-piece band, (G) lookin' at the back side of

(C) me. (G) Singing my songs one of (C) his now and then, but I (G) don't think Hank done

'em this (C) way, no, I (G) don't think Hank done 'em this (C) way. Take it home.

(G)(C), (G)(C), (G)(C), (G)(C), (G)(C), (G)(C), (G)(C), (G)(C), (G)(C), |G|



Yes, this song was also in the first set of songs. But now with the (C) you can play those bitchin' intro chords! Try playing it again with the recording! (Bonus points if you can name another Norman Greenbaum song.) SPIRIT IN THE SKY – Norman Greenbaum (C0)


INTRO: (A)(A),|D||C||A|; (A)(A),|C||D||A|; (A)(A),|D||C||A|; (A)(A),|C||D||A|

(A)(A),|D||C||A|; (A)(A),|C||D||A|; (A)(A),|D||C||A|; (A)(A),|C||D||A|

When I die and they lay me to rest. Gonna go to the (D) place that's the best.

When I lay me (A) down to die goin' (E) up to the spirit in the (A) sky.

Goin' up to the spirit in the sky. That's where I'm gonna go (D) when I die.

When I die and they (A) lay me to rest I’m gonna (E) go to the place that's the (A) best.


Prepare yourself, you know it's a must. You gotta have a friend in (D) Jesus.

So you know that (A) when you die, he's (E) gonna recommend you to the spirit in the (A) sky.

Gonna recommend you to the spirit in the sky. That's where you're gonna go (D) when you die.

When you die and they (A) lay you to rest you're gonna (E) go to the place that's the

(A) best.


(A), (G), (A), (C), (A), (G), (A), (C)(D)(A);




Never been a sinner, I never sinned. I got a friend in (D) Jesus.

So you know that (A) when I die, He's (E) gonna set me up with the spirit in the (A) sky.

Gonna set me up with the spirit in the sky. That's where I'm gonna go (D) when I die.

When I die and they (A) lay me to rest I'm gonna (E) go to the place that's the (A) best.

(E) Go to the place that's the (A) best.




(A)(A),|D||C||A|; (A)(A),|C||D||A|

ALL SHOOK UP - (Blackwell) - Elvis Presley (This time in a different key).

Intro: (G) (Em) (G) (Em) (G)

(G) A well a bless my soul, what's wrong with me? I'm itching like a man on a fuzzy tree.

My friends say I'm actin' queer as a bug. I'm in love. I'm all shook up.

Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.

My hands are shaky and my knees are weak. I can't seem to stand on my own two feet.

Who do you thank when you have such luck? I'm in love. I'm all shook up.


(C) Please don't ask me what's on my mind. I'm a (G) little mixed up, but I'm feelin' fine.

When (C) I'm near that girl that I love best, my (D) heart beats so it scares me to death!

(G) She touched my hand what a chill I got. Her lips are like a volcano that's hot.

I'm proud to say she's my buttercup. I'm in love. I'm all shook up.


My (C) tongue get tied when I try to speak. My (G) insides shake like a leaf on a tree.

There's (C) only one cure for this soul of mine and that's to (D) have the girl that I love

so fine.

(G) She touched my hand what a chill I got. Her lips are like a volcano that's hot.

I'm proud to say she's my buttercup. I'm in love. I'm all shook up.


Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah. I’m all shook up.

ANGEL OF THE MORNING – (Taylor) – Juice Newton (C1)

https://www.youtube.com/watch?v=HTzGMEfbnAw

(G) There'll be no (C) strings to bind your (D) hands. Not if my (C) love can't bind your

(G) heart. (C)(D)(C) (G) There's no (C) need to take a (D) stand, for it was (C) I who chose

to (G) start. (C)(D)(C) (Am) I see no (C) need to take me (D) home. (Am) I'm old

e (C) nough to face the (D) dawn.

(G) Just call me (C) angel of the (D) morning, (C) an (D) gel. (G) Just touch my (C) cheek

before you (D) leave me, (C) ba (D) by. (G) Just call me (C) angel of the (D) morning,

(C) an (D) gel. (C) Then slowly turn away, from (G) me. (C)(D)(C)

(G) Maybe the (C) sun's light will be (D) dim, and it won't (C) matter any (G) how. (C)(D)(C)

(G) If morning's (C) echo says we (D) sinned, well it was (C) what I wanted (G) now.

(C)(D)(C) (Am) And if we're the (C) victims of the (D) night, (Am) I won't be (C) blinded by

the (D) light.



(C) an (D) gel. (C) Then slowly turn away. I won’t beg you to stay, with (G) me. (C)(D)(C)

(G)(C)(D)(C)

Through the (G) tears, (C)(D)(C) of the (G) day (C)(D)(C). Of the (G) years,

(C)(D) - (D) ba-a-by (G).





(C) darl (D) lin’.

(G) Just touch my (C) cheek before you (D) leave me, (C) an (D) gel. (G) Just call me

(C) angel of the (D) morning . . . dar – ar - (G) lin’. (C)(G)(C)(G)(C)(G)

THE BANANA BOAT SONG (DAY-O) - (Burgie/Attaway) - Harry Belafonte (C3)

https://www.youtube.com/watch?v=LVUcz6wPrCs

Strike the chords in brackets once, strum the chords in parenthesis.

|D| Day-o, |A| Day-ay-ay- |D| o. (D) Daylight come and me (A) wan' go (D) home.

|D| Day. Me say |A| day, me say |G| day, me say |D| day, me say |G| day, me say

|D| day-ay-ay-o. (D) Daylight come and me (A) wan' go (D) home.

Work all night on a drink o' rum. Daylight come and me (A) wan' go (D) home.

Stack banana til the mornin' come. Daylight come and me (A) wan' go (D) home.

|D| Come Mister |D| tally man |A| tally me ba |A| nana. (D) Daylight come and me (A) wan' go

(D) home. |D| Come Mister |D| tally man |A| tally me ba |A| nana. (D) Daylight come and me

(A7) wan' go (D) home.

|D| Six foot |D| seven foot |D| eight foot |D| bunch! (D) Daylight come and me (A) wan' go

(D) home. |D| Six foot |D| seven foot |D| eight foot |D| bunch! (D) Daylight come and me

(A7) wan' go (D) home.

|D| Day. Me say day- |A| -ay-ay- |D| o. (D) Daylight come and me (A) wan' go (D) home.


|D| day-ay-ay-o. (D) Daylight come and me (A7) wan' go (D) home.

A beautiful bunch o' ripe banana. Daylight come and me (A) wan' go (D) home.

Hide the deadly black tarantula. Daylight come and me (A) wan' go (D) home.



|D| Six foot |D| seven foot |D| eight foot |D| bunch! (D) Daylight come and me (A) wan' go

(D) home. |D| Six foot |D| seven foot |D| eight foot |D| bunch! (D) Daylight come and me

(A) wan' go (D) home.

|D| Day. Me say day- |A| -ay-ay- |D| o. (D) Daylight come and me (A7) wan' go (D) home.



|D| Come Mister |D| tally man |A| tally me ba |A| nana. (D) Daylight come and me (A) wan' go

(D) home. |D| Come Mister |D| tally man |A7| tally me ba |A| nana. (D) Daylight come and me

(A) wan' go (D) home.

|D| Day-o, |A| Day-ay-ay- |D| o. (D) Daylight come and me (A) wan' go (D) home.



BLOWIN’ IN THE WIND – (Dylan) - Bob Dylan/Peter, Paul and Mary (C3)

https://www.youtube.com/watch?v=HfrG6_TvTQw

(G) How many (C) roads must a (G) man walk down, before you (C) call him a (D) man?

And (G) how many (C) seas must a (G) white dove sail, before she (C) sleeps in the (D) sand?

And (G) how many (C) times must the (G) cannon balls fly, before they're (C) forever

(D) banned?

The (C) answer, my (D) friend, is (G) blowin' in the wind, the (C) answer is (D) blowin' in

the (G) wind.

(G) How many (C) times must a (G) man look up, before he can (C) see the (D) sky)?

And (G) how many (C) ears must (G) one man have, before he can (C) hear people (D) cry?

And (G) how many (C) deaths will it (G) take till he knows, that too many (C) people have

(D) died?


the (G) wind.

How many (C) years can a (G) mountain exist, before it is (C) washed to the (D) sea?

And (G) how many (C) years can some (G) people exist, before they're a (C) llowed to be

(D) free? And (G) how many (C) times can a (G) man turn his head, pretending he (C) just

doesn't (D) see?


the (G) wind.



Oh the (C) answer, my (D) friend, is (G) blowin' in the wind, the (C) answer is (D) blowin'

in the (C) wi (G) nd.

CANDLE IN THE WIND - (John/Taupin) - Elton John

(G) Goodbye Norma Jean, though I never (C) knew you at all you had the grace to (G) hold

yourself, while those around you (C) crawled. They crawled out of the (G) woodwork, and they

whispered, (C) into your brain. They set you on the (G) treadmill, and they made you change

your (C) name.

And it (D) seems to me, you lived your life, like a (G) candle in the (C) wind.

Never (G) knowing who to cling to when the (D) rain set in. And I (C) would have liked to

have known you, but I was (Em) just a kid. Your candle burned out (D) long before,

your (C) legend ever (Em) did.

(G) Loneliness was tough, the toughest (C) role you ever played. Hollywood created a

(G) superstar. And pain was the price you (C) paid. Even when you (G) died, oh the press,

(C) still hounded you, all the papers (G) had to say, was that Marilyn was found (C) in the

nude.




your (C) legend ever (Em) did.

(G) Goodbye Norma Jean, though I never (C) knew you at all you had the grace to (G) hold

yourself, while those around you (C) crawled. (G) Goodbye Norma Jean, from the young man in

the (C) 22nd row, who sees you as something more than (G) sexual. More than just our Marilyn

Mon (C) roe.




your (C) legend ever (Em) did. (G)

THE CAR SONG - Woody Guthrie

TIP: As you’ve probably guessed, you can substitute any car sound for the “Brrm brm brm”

part. I personally recommend the “raspberry” sound made with tongue between closed lips.

(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm.

Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm.

(G) Brrrm brm (D) brm brm brm brm (G) brrrm.

(G) Take me riding in the (D) car, car. Take me riding in the (G) car, car.

Take you riding in the (C) car, car. I'll (G) take you (D) riding in my (G) car.




Click clack, open up the (D) door, girls. Click clack, open up the (G) door, boys.

Front door, back door, (C) clickety clack. (G) Take you (D) riding in my (G) car.




Climb, climb, rattle on the (D) front seat. Spree I spraddle on the (G) backseat.

Turn my key, (C) step on my starter. (G) Take you (D) riding in my (G) car.

Engine it goes (D) brrm, brrm. Engine it goes (G) brrm, brrm.

Front seat, backseat, (C) boys and girls. (G) Take you (D) riding in my (G) car.

Trees and the houses (D) walk along. Trees and the houses (G) walk along.

Truck and a car and a (C) garbage can. I’ll (G) take you (D) riding in my (G) car.




Ships and the little boats (D) chug along. Ships and the little boats (G) chug along.

Brrrm brm brm brm brm brm, (C) brrrm b' brrrm. (G) Take you (D) riding in my (G) car.

I'm a gonna send you (D) home again. I'm a gonna send you (G) home again.

Brrrm brm brm brm brm brm brrrm, (C) rolling home. (G) Take you (D) riding in my (G) car.

I'm a gonna let you (D) blow the horn. I'm a gonna let you (G) blow the horn.

A oorah, a oorah, oo (C) rah, oorah. I'll (G) take you (D) riding in my (G) car.







CLOSE ENOUGH TO PERFECT – (Chambers) - Alabama (C0)

https://www.youtube.com/watch?v=UVivkbmu3To

(G) Sometimes her morning (D) coffee's way too (Am) strong. And (C) sometimes what she

(D) says, she says all (G) wrong. (D) Right or (G) wrong she's there (D) beside me,

like (C) only a (Am) friend could (C) be. And that's (Am) close enough to (C) perfect for

(G) me. (D)

(G) Now she's been know to (D) wear her her pants too (Am) tight. And (C) drinking puts her

(D) out just like a (G) light. (D) Heaven (G) knows she's not an (D) angel, but she'd

(C) really (Am) like to (C) be. And that's (Am) close enough to (C) perfect for (G) me.

(C) She kisses me each (Am) morning (G) and smiles her sleepy smile. (C) And she don't have

to (Am) say it, I can (F) see it in her (D) eyes. Don't you (G) worry about my (D) woman or

what you (C) think she (Am) ought to (C) be. Cause she’s (Am) close enough to (C) perfect

for (G) me.

(G) Well sometimes she gets (D) down and starts to (Am) cry. (C) But then again a (D) woman

has the (G) right. (D) She's (G) everything I ever (D) wanted, and (C) all I'll (Am) ever

(C) need. She's (Am) close enough to (C) perfect for (G) me.



COME DANCING – (Davies) – The Kinks (C0)

https://www.youtube.com/watch?v=xRUE0aAI5o8

INTRO: (G)(D)(G); (G)(D)(G)

(G) They put a parking lot on a piece of land, (D) where the supermarket used to (G) stand.

Before that they put up a bowling alley, (D) on the site that used to be the local

(G) palais. (C) That's where the big bands (G) used to come and play. (D) My sister went

there on a Satur (G) day. Come (C) dancing. All her boyfriends (G) used to come and call.

Why not come (D) dancing, it's (C) only natur (G) al.

(G)(D)(G); (G)(D)(G)

Another Saturday, another date. (D) She would be ready but she's always make them (G) wait.

In the hallway in anticipation, (D) he didn't know the night would end up in

frust (G) ration. (C) He'd end up blowing all his (G) wages for the week. (D) All for a

cuddle and a (G) peck on the cheek. Come (C) dancing. That's how they did it when (G) I was

just a kid. And when they said come (D) dancing, my (C) sister always

(G) did.

(G)(D)(G); (G)(D)(G)

My (Em) sister should have (D) come in at (C) midnight (D). And my (Em) mom would always

(D) sit up and (C) wait (D). It (Em) always ended (D) up in a big (C) row, (D) when my

(Em) sister used to (D) get home (C) late.

(G) [Spoken] Out of my window I can see them in the moonlight. Two silhouettes saying

goodnight by the garden gate.



The (Em) day they (D) knocked down the (C) palais (D). My (Em) sister (D) stood and

(C) cried (D). The (Em) day they (D) knocked down the pal (C) ais, (Em) part of my

(D) childhood (C) died, just (G) died.

(Em)-(D)-(C) (D); (Em)-(D)-(C) (D); (Em)-(D)-(C) (D), (Em)-(D)-(C) (G)

Now I'm grown up and playing in a band, (D) and there's a car park where the palais used to

(G) stand. My sister's married and she lives on an estate. (D) Her daughters go out now

it's her turn to (G) wait. (C) She knows they get away with (G) things she never could.

(D) But if I asked her I (G) wonder if she would . . . Come (C) dancing. Come on sister

(G) have yourself a ball. Don't be afraid to come (D) dancing. It's (C) only natur (G) al.

(G)(D)(G); (G)(D)(G); (C)(G) (D)(G)

Come (C) dancing. Just like the palais (G) on a Saturday. And all her friends will come

(D) dancing, where the (C) big bands used to (G) play.

(G)(D)(G); (G)(D)(G); (G)(D)-(G)

COTTON JENNY – (Lightfoot) - Gordon Lightfoot/Anne Murray (C2)

https://www.youtube.com/watch?v=ty2PUo2kPok

INTRO: (G)(C)(G)(C) x 4

There's a (G) house, on a hill, by a (C) worn down weathered old (G) mill. In a valley be

(D) low where the river winds, there's no such thing as bad (G) times. And a soft southern

flame, oh (C) Cotton Jenny's her (G) name. And she wakes me (D) up when the sun goes down,

and the wheel of love goes (G) round.

Wheels of love go (C) round, love go (G) round. Love go (A) round, a joyful (D) sound.

I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then the wheels go

(G) round (C)(G).

When the new day begins, he goes (C) down to the cotton (G) gin. And he makes his (D) time

worth while to then. Then he climbs back up a (G) gain. And she waits by the door,

oh (C) Cotton Jenny he's (G) sore. And she rubs his (D) feet while the sun goes down, and

the wheel of love goes (G) round.



(G) round (C)(G).

In the hot sickly South, when they (C) say, “Well, shut my (G) mouth,” I can never be

(D) free from the cotton grind, but I know I got what’s (G) mine. A soft southern flame,

oh (C) Cotton Jenny’s her (G) name and she wakes me (D) up when the sun goes down,

and the wheels of love go (G) round.





(G) round (C)(G). (G)

CRY, CRY, CRY – (Sherrill/Devaney) – Highway 101 (C0)

https://www.youtube.com/watch?v=f_nxAcl5zKo

INTRO: (G)(Em)(C)-(G),(D)(D)(A)(A)(D)

It's just a little creek now but when the rain comes down, it's (G) gonna be a raging

(D) river. I just heard my baby, say good (A) bye. He (D) left me here holding back my

tears, (G) nowww he's gonnne for (D) ever. The dam's gonna break and (A) I'm a gonna cry

cry, (D) cry (G)-(D).

I'm a gonna (G) cry and I don't care who sees. I (D) wonder if he knows what he's done to

me. Gonna (G) love that boy till the day I die til the (D) day I do I'm gonna (A) cry cry,

(D) cry.

(G)(G),(D)(C)(A)(D)

Now he's gone, the pain's comin' on I can (G) feel my whole body (D) shakin'. Lookie here,

now what's this, in my (A) eyes? (D) All I hear ringing in my ear is the (G) sound of my

heart (D) breaking. The dam's gonna break and (A) I'm a gonna cry cry, (D) cry (G)-(D).



(D) cry.



(D) cry. Til the day I do I'm gonna (A) cry cry, (D) cry.



DEAD SKUNK - Loudon Wainwright III (C0)

https://www.youtube.com/watch?v=Uu5hzc2Mei4

INTRO: (G)(D)(C)(G); (G)(D)(C)(G)

Crossin' the highway (D) late last night. He (C) shoulda looked left and he (G) shoulda

looked right. He didn't see the station (D) wagon car. The (C) skunk got squashed and

(G) there you are.

You got yer dead skunk in the (D) middle of the road. (C) Dead skunk in the (G) middle of

the road. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven.

(G)(D)(C)(G)

Take a whiff on me that (D) ain't no rose. (C) Roll up yer window and (G) hold yer nose.

You don't have to look and you (D) don't have to see 'cause you can (C) feel it in your

ol (G) factory.

You got yer dead skunk in the (D) middle of the road. (C) Dead skunk in the (G) middle of

the road. Dead skunk in the (D) middle of the road and it's (C) stinkin' to high (G) heaven.

(G)(D)(C)(G); (G)(D)(C)(G)

Yeah you got yer dead cat and you (D) got yer dead dog. On a (C) moonlight night you got yer

(G) dead toad frog. You got yer dead rabbit and yer (D) dead raccoon. The (C) blood and the

guts they're gonna (G) make you swoon you got yer, dead skunk, (D) in the middle, (C) dead

skunk in the (G) middle of the road. Dead skunk in the (D) middle of the road, (C) stinkin'

to high (G) heaven. Come on stink.



(G)(D)(C)(G); (G)(D)(C)(G)

You got it it's dead. (D) It's in the middle. (C) Dead skunk in the (G) middle. Dead skunk

in the (D) middle of the road (C) stinkin' to high (G) heaven. (D)(D)

All over the road. (C)(G) Technicolor man. (G)(D)(C)(G), (G)(D)(C) Oh you got poll (G) ution,

it's dead, it's in the (D) middle, and it's (C) stinkin' to high high (G) heaven.

(G)(D)(C)(G); (G)(D)(C)(G); (G)(D)(C)(G)

DUKES OF HAZZARD THEME – Waylon Jennings (C3)

https://www.youtube.com/watch?v=qogVHlmFcx0

TIP: The theme song from the television series includes the next to last verse "...wouldn't

change if they could" while the version that appears on Waylon's studio albums does not.

That verse is included here in [brackets]. Skip it if you're playing along to the video.

INTRO: (A)...(D)

Just a’good ol' boys. Never meanin' no (G) harm. Beats (D) all you never saw been in

(A) trouble with the law since the day they was (D) born.

Straightnin' the curves, flattenin’ the (G) hills. Some (D) day, the mountain, might (A) get

'em but the law never (D) will.

Makin' their (A) way, the only way they know how. That's just a little bit more than the law

will (D) allow.

(D)(D)(G)(G)(D)(A)(D)(D); (D)(D)(G)(G)(D)(A)(D)(D)

Makin' their (A) way, the only way they know how. That's just a little bit more than the law

will (D) allow.

[Just a good ol' boys, wouldn't change if they (G) could. (D) Fightin' the system like a

(A) two modern day Robin (D) Hood.]



I'm a good ol' boy. You know my momma loves (G) me. But she (D) don't understand they keep

a (A) showin my hands and not my face on T (D) V.

(D)(D)(G)(G)(D)(A)(D)(D); (D)(D)(G)(G)(D)(A)(D)(D)

EL CONDOR PASA – (Robles/Simon) - Simon and Garfunkel (C0)

https://www.youtube.com/watch?v=dKbW-DwDfpg

(Em) I'd rather be a sparrow than a (G) snail. Yes I would. If I could.

I surely (Em) would. Hmmm. I'd rather be a hammer than a (G) nail. Yes I would.

If I only could, I surely (Em) would. Hmmm.

A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone. A (C) man, gets

tied up to the ground. He gives the (G) world, its saddest sound. It’s saddest (Em) sound.

I'd rather be a forest than a (G) street. Yes I would. If I could. I surely (Em) would.

I'd rather feel the earth beneath my (G) feet. Yes I would. If I only could, I surely

(Em) would.

A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone. A (C) man, gets

tied up to the ground. He gives the (G) world, its saddest sound. It’s saddest (Em) sound.

Oh yeah. (Em)



HE'S GOT THE WHOLE WORLD IN HIS HANDS - Traditional

INTRO: (G) (D) (G)

He’s got the (G) whole world in His hands. He’s got the (D) whole world in His hands.

He’s got the (G) whole world in His hands. He’s got the (D) whole world in His (G) hands.

He’s got the wind and the rain in His hands. He’s got the (D) wind and the rain in His

hands. He’s got the (G) wind and the rain in His hands. He’s got the (D) whole world in His

(G) hands.

He’s got the little bitty baby in His hands. He’s got the (D) little bitty baby in His

hands. He’s got the (G) little bitty baby in His hands. He’s got the (D) whole world in His

(G) hands.

He’s got you and me, brother, in His hands. He’s got (D) you and me, brother, in His hands.

He’s got (G) you and me, brother, in his hands. He’s got the (D) whole world in His

(G) hands.

He’s got the (G) whole world in His hands. He’s got the (D) whole world in His hands.

He’s got the (G) whole world in His hands. He’s got the (D) whole world in His (G) hands.

I FOUGHT THE LAW – (Curtis) - Bobby Fuller (C0)

https://www.youtube.com/watch?v=OgtQj8O92eI

INTRO: (G x 7) (C) (D) (G x 7) (D) (G) (D) (G)

(G) Breakin’ rocks in the (C) hot (G) sun. (G) I fought the law and the (C) law (G) won,

(G) I fought the law and the (D) law (G) won. (G) I needed money cause I (C) had (G) none.

(G) I fought the law and the (C) law (G) won, (G) I fought the law and the (C) law (G) won.

I (C) left my baby and it feels so bad, I (G) guess my race is run. (C) She’s the best girl

that I ever had. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the

(D) law (G) won.

(G x 7) (C) (D) (G x 7) (D) (G) (D) (G)

(G) Robbin’ people with a (C) six (G) gun. (G) I fought the law and the (C) law (G) won,

(G) I fought the law and the (D) law (G) won. (G) I lost my girl and I (C) lost (G) fun.

(G) I fought the law and the (C) law (G) won, (G) I fought the law and the (D) law (G) won.

I (C) left my baby and it feels so bad. I (G) guess my race is run. (C) She’s the best girl

that I ever had. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the

(D) law (G) won.

(G x 7) (C) (D) (G x 7) (D) (G) (D) (G)



I’LL FLY AWAY – (Brumley) – Traditional/Alison Krauss & Gillian Welch (C0)

https://www.youtube.com/watch?v=uz-0C2dhKlg

(D) Some bright morning when this life is over, (G) I'll fly a (D) way. To that home on

God's celestial shore, I (A) 'll fly a (D) way. I'll, fly away oh glory, (G) I'll, fly

a (D) way (in the morning). When I die, Hallelujah by and by, I (A) ‘ll, fly a (D) way.

When the shadows of this life have gone, (G) I'll fly a (D) way. Like a bird from these

prison walls I’ll fly, I (A) 'll fly a (D) way. I'll fly away, fly away oh glory.

(G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) 'll,

fly a (D) way.

Oh how glad and happy when we meet, (G) I’ll fly a (D) way. No more cold iron shackles on my

feet, I (A) ’ll fly a (D) way. I'll, fly away oh glory. (G) I'll, fly a (D) way (in the

morning). When I die, Hallelujah by and by, I (A) ‘ll, fly a (D) way.

Just a few more weary days and then, (G) I'll fly a (D) way. To a land where joys will never

end, I (A) 'll fly a (D) way. I'll fly away, fly away oh glory. (G) I'll, fly a (D) way (in

the morning). When I die, Hallelujah by and by, I (A) 'll, fly a (D) way. I (A) ’ll, fly

a (D) way.



THE WRECK OF THE EDMUND FITZGERALD - Gordon Lightfoot

INTRO: (D)(Am)(C)(G)(D)(D), (G)(D)

The legend lives on from the (Am) Chippewa on down of the (C) big lake they (G) call Gitche

(D) Gumee (DOWN). The lake, it is said, never (Am) gives up her dead when the (C) skies of

No (G) vember turn (D) gloomy (DOWN). With a load of iron ore twenty-six (Am) thousand tons

more than the (C) Edmund Fitz (G) gerald weighed (D) empty (DOWN), that big ship and true was

a (Am) bone to be chewed when the (C) gales of No (G) vember came (D) early (UP).

The ship was the pride of the A (Am) merican side coming (C) back from some (G) mill in

Wis (D) consin (DOWN). As the big freighters go it was (Am) bigger than most with a (C) crew

and the (G) Captain well (D) seasoned (UP). Concluding some terms with a (Am) couple of

steel firms when they (C) left fully (G) loaded for (D) Cleveland (DOWN). And later that

night when the (Am) ships bell rang, could it (C) be the north (G) wind they'd been

(D) feeling (UP)?

(D) (Am) (C) (G) (D) - (C) (G) (D)

The wind in the wire made a (Am) tattletale sound and a (C) wave broke (G) over the

(D) railing (DOWN). And every man knew, as the (Am) Captain did, too, t'was the (C) witch of

No (G) vember come (D) stealing (UP). The dawn came late and the (Am) breakfast had to wait

when the (C) gales of No (G) vember came (D) slashing (UP). When afternoon came it was

(Am) freezing rain in the (C) face of a (G) hurricane (D) westwind (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D)

When supper time came the old (Am) cook came on deck saying (C) fellas it's (G) too rough to

(D) feed ya(DOWN). At 7 p.m. a main (Am) hatchway caved in he said (C) fellas it's (G) been

good to (D) know ya. (UP) The Captain wired in he had (Am) water coming in and the (C) good

ship and (G) crew was in (D) peril (DOWN). And later that night when his (Am) lights went

out of sight came the (C) wreck of the (G) Edmund Fitz (D) gerald. (UP)

(D) (Am) (C) (G) (D) - (C) (G) (D)

Does anyone know where the (Am) love of God goes when the (C) waves turn the (G) minutes to

(D) hours (DOWN). The searchers all say they'd have (Am) made Whitefish Bay if they'd

(C) put fifteen (G) more miles be (D) hind her (UP). They might have split up or they

(Am) might have capsized. They (C) may have broke (G) deep and took (D) water (DOWN).

And all that remains is the (Am) faces and the names of the (C) wives and the (G) sons and

the (D) daughters (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D)

Lake Huron rolls, Su (Am) perior sings, in the (C) ruins of her (G) icewater (D) mansion

(DOWN). Old Michigan steams like a (Am) young man's dreams, the (C) islands and (G) bays are

for (D) sportsmen (UP). Farther below Lake On (Am) tario takes (C) in what Lake (G) Erie can

(D) send her (DOWN). And the iron boats go as the (Am) mariners all know with the (C) gales

of No (G) vember re (D) membered (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D) (D) (Am) (C) (G) (D) - (C) (G) (D)

In a musty old hall in De (Am) troit they prayed in the (C) Maritime (G) Sailors'

Ca (D) thedral (DOWN). The church bell chimed, 'til it rang (Am) 29 times for each (C) man

on the (G) Edmund Fitz (D) gerald (UP).

The legend lives on from the (Am) Chippewa on down of the (C) big lake they (G) call Gitche

(D) Gumee (DOWN). Superior, they said, never (Am) gives up her dead when the (C) gales of

No (G) vember come (D) early (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D) (D) (Am) (C) (G) (D) (C) <twice as many strums as

normal> (G) <twice as many strums as normal, slowing at the end, ending with a one-strum> |D| (CDOC)

LESSON 8: THE 7THS This next batch of chords are the 7ths. They're played often and they're important chords - think of them as the salt in the recipe of a song - as they provide flavor and depth. And since they are all simple variations on chords you've already learned they should be easy adjustments for you. D SEVENTH denoted as D7 or (D7)

If you just look at the (D7) diagram you'll see the formation is kind of a reversal of (D). But don't think of it that way as the finger use is completely different. The (D7) is fairly easy to play. The key is to first get the index finger down and then your middle and ring ringer straddle the B string.

A SEVENTH denoted as A7 or (A7)

The (A7) is (A) without the middle finger and while it can be played using whichever two fingers that is comfortable for you I personally like, and recommend using the middle and ring fingers most of the time. Occasionally I'll use the index and middle finger when moving to the (A7) from a (D) since they're already in position and all I have to do is move up a string-set, but using the middle and ring fingers frees up the index finger to cover other notes or transitioning to chords where the index finger is in the first fret. For example moving from an (A7) to the (Am) all you have to is drop the index finger.

E SEVENTH denoted as E7 or (E7)

The (E7) is another chord often played. It is (E) without the middle finger and played the same way. Now there are variations in the (E7) sometimes called (E7-full) in which the pinky and/or ring finger is added. One version of that chord is what's being played in the photo above. The diagrams looks like this:

But unless specified you can just play the simple (E7).

G SEVENTH denoted as G7 or (G7)

The (G7) isn't played quite as often as the (D7), (A7), or (E7) but is played more often than the (C7). It is played as indicated. The pinky in the photo is in the air and not in play. Note the diagram looks very similar to regular (G) but it's played completely different, by different fingers. Also, for some reason, the (G7) is often played after a (G). Rolling your wrist to the left will help align your fingers for proper placement.

C SEVENTH denoted as C7 or (C7)

The least played of the 7th chords. It is played by first playing a normal (C) and then adding the pinky to the 3rd string/3rd fret. C MAJOR SEVENTH denoted as Cmaj7 or (Cmaj7)

(Cmaj7) isn't played a whole lot either and is simply (C) without the index finger. Not much more to say. So that's it for the most common 7th chords.

Practice, practice. (CDOC)

YELLOW SUBMARINE - (Lennon/McCartney) - The Beatles

(Cmaj7) is just (C) without the index finger.

TIP: The (G)(Em) (C)-(D7) bit is “the band playing.”

(G) In the (D) town where I was (G) born, (Em) lived a (Am) man who (Cmaj7) sailed to

(D) sea. (G) And he (D) told us of his (G) life, (Em) in the (Am) land of

(Cmaj7) submar (D) ines. (G) So we (D) sailed on to the (G) sun, (Em) till we (Am) found a

sea of (D) green. (G) And we (D) lived beneath the (G) waves, in our (Am) yellow

submar (D) ine.

(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.

We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.

(G) And our (D) friends are all (G) aboard, (Em) many (Am) more of them (Cmaj7) live next

(D) door. (G) And the (D) band begins to (G) play. (G)(Em) (C)-(D)



As we (D) live, a life of (G) ease. (Em) Every (Am) one of us, has (Cmaj7) all we (D) need.

(G) Sky of (D) blue and sea of (G) green. In our (Am) yellow submar (D) ine.




We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G)

WILL THE CIRCLE BE UNBROKEN – (Traditional) – Johnny Cash/Nitty Gritty Dirt Band (C2)

https://www.youtube.com/watch?v=7bRJLkNqNXI

TIP: There are several versions of this old standard. The version here is the one performed

by some of the legends of country and bluegrass from the Nitty Gritty Dirt Band's "Circle"

album.

INTRO: (G)(G)(C)(G),(G)(G)-(D)-(Em),(G)(D)(G)

I was standing, by my window, (G7) on one (C) cold and cloudy (G) day. When I saw that,

hearse come roll-ol-(Em)in’, for to (G) carry my (D) mother (G) away.

Will the circle, be unbrok (G7) en, by and (C) by Lord by and (G) by. There’s a better, home

a wa-a-(Em)-ting, in the (G) sky Lord (D) in the (G) sky.

I said to that, undertak (G7) er, under (C) taker, please drive (G) slow. For this lady, you

are carr-y-(Em)-ing, Lord I (G) hate, to (D) see her (G) go.


a wa-a-(Em)-tin’, in the (G) sky, Lord, (D) in the (G) sky.

(G)(G)(C)(G), (G)(G)(Em)(G)(D)(G)

Oh I followed, close behind (G7) her. I tried to (C) hold up and be (G) brave. But I could

not, hide my sor-(Em)-row, when they (G) laid her (D) in the (G) grave.





I went back home, my home was lone (G7) some, cuz my (C) mother she was (G) gone. Saw my

brothers, sisters cry-y-(Em)-in'. What a (G) home so (D) sad and (G) alone.



(G)(G)(C)(G), (G)(G)(Em)(G)(D)(G)

We sanng, the songs of child (G7) hood, hymns of (C) faith that made us (G) strong.

Ones that Mo - ther Maybelle taught (Em) us. Hear the (G) angels (D) sing a (G) long.




a (D) wa-a-(Em)-in’ <pause> in the-huh-uh-uh (G) sky Lord (D) in the, (C) sky- (G)(Am)(G) -y.

WHY DON'T WE GET DRUNK AND SCREW - Jimmy Buffett (C0)

https://www.youtube.com/watch?v=LL9O0B0gzZE

INTRO: (A)(A)-(A)-(A)-(A)-(D) (D)(D) . . .

I really do, appreci (D7) ate, the (G) fact you’re, sittin’ (D) here. Your voice it sounds

so wonderful but your (E7) face don’t, look too (A) clear (A). So (G) bar maid bring a

pitcher, (D) another round o’ brew. Honey (G) why don't we (A) get drunk, and (D) screw?

(G) Why don’t we get drunk and (D) screw (D)? (E7) I just bought a water bed it’s filled

(A) up for me and you. They (G) say you are a snuff queen. Honey (D) I don’t think that's

true. So (G) why don’t we (A) get drunk and (D) screw (D)?

(D)(D)(G)(D), (D)(D)(E)(A), (A)(G)(G)(D)(D), (G)(A)(D)(D)

(G) Why don’t we get drunk and (D) screw (D)? (E7) I just bought a water bed it’s filled

(A) up for me and you. They (G) say you are a snuff queen. Honey (D) I don’t think that's

true. So (G) why don’t we (A) get drunk and (D) screw? Yes now baby I said (G) why don't we

(A) get drunk and (D) screw. (D)(D)|D|



WHICH WAY DOES THAT OLD PONY RUN - Lyle Lovett (C2)

https://www.youtube.com/watch?v=ZVhx536i-jM

INTRO: (C)(G); (C)(G); (G)(G7)(Em)(A)(G)(D)(C)(G)(C)(G)

When (C) I was a very young (G) man. I was a (C) cowboy. The (G) best in the land.

But then she settled me (G7) down, with a (C) touch of her (A) ha-and. Now I'm (G) begging

you (D) mister, tell (C) me if you (G) can:

Which (C) way does that old pony (G) run? Which (C) way, does that ol-old pony (G) run?

And how much, is that (G7) saddle, and a (Em) straight, shooting (A) gun? Which (G) way,

does that (D) old, po-ony (G) run?

Now a (C) young girl she don't know when she's (G) lying. But a (C) woman, great God,

she (G) knows how it's done. So Mama, be-fore I (G7) go, there's just one (C) thing on my

(A) mind: Which (G) way, does that (D) old, pony (G) run?

Which (C) way does that olld pony (G) run? Which (C) way does that ollllld pony (G) run?

And how much, is that (G7) saddle, and a (Em) straight, shootin' (A) gun? Which (G) way,

does that (D) old, po-ony (G) run?

(C)(G)(C)(G)(Em)(A)(G)(D)(C)(G)

So this (C) good life you know I must (G) leave. Your (C) new car and your, (G) color TV.

But what's riches to (G7) you, just ain't (Em) riches to (A) me, if (G) you're staying out

(D) here, then I'm (C) headed back (G) east.



Which (C) way does that olld pony (G) run? And which (C) way does that ollllld pony (G) run?

And how much, is that (G7) saddle, and a (Em) straight, shootin' (A) gun? Which (G) way does

that (D) old po-ony (G) run? How much, is that (G7) saddle, and a (Em) straight shootin'

|A| gun? And which (G) way, does that (D) old, pony (C) run (G)? (C) Mmmm (G) mmmm (C)(G)

VIVA LAS VEGAS – (Pomus/Shuman) – Elvis Presley (C1)/ZZ Top (C3)

https://www.youtube.com/watch?v=9MO1KyNUOIs Elvis

https://www.youtube.com/watch?v=Y2nQJo_KD1k ZZ Top

INTRO: <spoken> Y'all still want me to come with ya? (G)(G)(G)(G)

Bright light city gonna set my soul, gonna set my soul on fire. There’s a whole lot of money

that's ready to burn, so get those stakes up higher. There's a (Em) thousand pretty women,

awaitin' out there. They're all livin', devil may care. And I'm just the devil with a love

to spare. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. |G| Hey now. (G) Thank you very

much.

How I wish that, there were more, than twenty-four hours in the day. But even if there were

forty more, I wouldn't sleep a minute away. Oh there's (Em) black jack and poker and the

roulette wheel, a fortune won and lost on a every deal. All you need's a strong heart and

nerves of steel. (C) Viva Las (G) Vegas, (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas,

(C) Viva Las (G) Vegas.

(C) Viva Las Vegas with your, neon flashin' and your, one arm bandits crashin', (G) all those

hopes down the drain. (C) Viva Las Vegas turnin', day into nighttime turnin', night into

daytime if you (A) see it once, you'll never come home a (D) gain (D).

(G)(G)(G)(G),(G)(G)(G)(G),(G)(G)(G)(G),(G)(G)(D)

I'm gonna (G) keep on the run I'm gonna have me some fun if it costs me my very last dime.

If I wind up broke then I'll always remember that I, had a swingin' time. (Em) I'm gonna

give it everything I've got, Lady Luck please let the dice stay hot, let me shoot a seven

https://www.youtube.com/watch?v=9MO1KyNUOIs

https://www.youtube.com/watch?v=Y2nQJo_KD1k

with a every shot. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas.

(C) Viva Las (G) Vegas. (C) Viva, (D) Viva |D| well hel-hel-hel.

(G)(G)(G)(G) (G)(G)(G)(G) (Em)(Em)(Em)(Em) (G)(G)(G)(G) (G)(G)(G)(G) (G)(G)(G)(G)|G|

UNDER THE BOARDWALK – (Young/Resnick) - The Drifters (C0)

https://www.youtube.com/watch?v=EPEqRMVnZNU

Oh when the (G) sun beats down and burns the tar up on the (D) roof. And your (D7) shoes get

so hot you wish your tired (D) feet were fire (G) proof (G7).

Under the (C) boardwalk, down by the (G) se-ee, ee-ee-yeah. On a blanket with my baby (D) is

where I'll (G) be.

Under the (Em) boardwalk, out of the sun. Under the (D) boardwalk, we'll be having some fun.

Under the (Em) boardwalk, people walking above. Under the (D) boardwalk, we'll be falling in

love under the (Em) boardwalk, boardwalk.

From the (G) park you hear the happy sound of the carou (D) sel. Mmmmm you can (D7) almost

taste the hot dogs and (D) French fries they (G) sell.

Under the (C) boardwalk, down by the (G) se-ee, ee-ee-yeah. On a blanket with my baby (D) is

where I'll (G) be.



love under the (Em) boardwalk, boardwalk. (C)(G), (G)(D), (D)(D7)(G)

Ohhhh under the (C) boardwalk, down by the (G) se-ee, ee-ee-yeah. On a blanket with my baby

(D) is where I'll (G) be.





love under the (Em) boardwalk, boardwalk.

TOM DOOLEY - (Land/Traditional) - The Kingston Trio

Intro: Strum (G)

(G) Hang down your head, Tom Dooley. Hang down your head and (D) cry. Hang down your head,

Tom Doo (D7) ley. Poor boy, you're bound to (G) die.

I met her on the mountain. I swore she’d be (D) my wife. But the gal re (D7) fused me, so I

stabbed her with my (G) knife. I left her by the roadside, I begged to be ex (D) cused. I

left her by the (D7) roadside, then I hid her clothes and (G) shoes.

Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie

(D7) Foster, you know you're bound to (G) die.

I dug the grave four feet long, and I dug it three feet (D) deep. I rolled the cold clay

(D7) over her, and tromped it with my (G) feet. "Trouble, oh it's trouble. A-rollin'

through my (D) breast. As long as I'm a (D7) livin', boys, they ain't a-gonna let me

(G) rest.



In this world and one more, then reckon that’s where I'll (D) be. If it wasn't for Sheriff

(D7) Grayson, I'd be in Tenne (G) see. I know they're gonna hang me, tomorrow I'll be

(D) dead. Though I never even (D7) harmed a hair, on poor little Laurie's (G) head."



Take down my old violin, and play it all you (D) please. For at this time (D7) tomorrow,

boys. It'll be of no use to (G) me." This here time tomorrow, I know just where I'll

(D) be. In some lonesome (D7) valley, hanging from a white oak (G) tree.





THIS LAND IS YOUR LAND – (Guthrie) – Peter, Paul and Mary (C2)

https://www.youtube.com/watch?v=BGsz0eV-Ckk

I've roamed and I’ve |C| rambled, and followed my |G|, footsteps, from the sparkling |D|,

sands of her diamond |G| desert. And all a |C| round me I heard a voice, |G| calling,

calling, singing |D| “This land was made for you and (G) me.”

This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York

(G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was

(D7) made for you and (G) me.

I roamed and I (C) rambled, and I followed my (G) footsteps, to the sparkling (D) sands of,

her diamond (G) deserts. And all a (C) round me, a voice was, (G) sing-in', (D) “This land

was made for you and (G) me.”

This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York

(G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was

(D7) made for you and (G) me.

Well I went (C) walkin', and the sun was (G) shining. The wheat fields (D) waving and the

dust clouds (G) rolling. The fog was (C) lifting, and I heard this voice (G) singin' (it

might have been Woody!) (D) “This land was (D7) made for you and (G) me.” This land is

(C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands.

From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for

you and (G) me.

As I went (C) walking, that ribbon of (G) highway. I saw a (D) bove me, that endless



(G) skyway. I saw be (C) low me, a golden (G) val-ley. (D) This land was (D7) made for you

and (G) me. This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to

the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters.

(D) This land was (D7) made for you and (G) me.

(D) This land was (D7) maaaade, for you and, (G) me. (CDOC)

LESSON 9: LICK MY LOVE PUMP Except for (Em) which we've already talked about, the other minor chords aren't played as much as the 7th chords but play a similar role, to add a variation and accent. D MINOR denoted as Dm or (Dm)

(Dm) as we all know is the saddest of all keys. I don't know why but it makes people weep instantly . . . http://www.youtube.com/watch?v=H7vk5keNbRc (Seriously, watch this clip.)

Nothing more to say. It's played exactly as shown. It will help to plant the index finger first on the bottom string and "climb" up and down, left to right.

http://www.youtube.com/watch?v=H7vk5keNbRc

A MINOR SEVENTH denoted by Am7 or (Am7)

This chord is played as in the diagram with the middle and index finger. You can see it's an easy chord, kind of like an (A7) but with the index finger shifted onto the 1st fret; or like an (Am) without the middle finger; or like shown in the upper right above, an (E7) but shifted down one string-set. You may occasionally see the (Am7) indicated like this:

which is the (Am) with the pinky extended down to the bottom string of the 3rd fret. In almost every case however you can play it like the simpler version above.

B MINOR denoted as Bm or (Bm)

Alright there are a couple of things to talk about with this chord. First of all, it's massively useful and you need to know how to play it even if it feels a little uncomfortable at first. Second, I don't agree with how it's being played above. Reverse the ring finger and pinky so the ring finger is covering the 3rd string and the pinky is covering the 4th string. This is a more natural progression with the fingers just climbing up the fretboard. Start by nailing the index finger and the middle and ring will follow. And since you're just starting out you can play this chord with just these three fingers and ignore the 4th string for now. Then, as you get more comfortable you must add the pinky above the ring finger to cover the 4th string/4th fret (dot 3). Now this just works for me and may not for you, but when I see the (Bm) coming up while playing a song I'll think to myself "think (C)" because the hand formation is similar between the (C) and (Bm) with (Bm) kind of like a (C) but played lower and up one fret. Obviously you don't have the open 3rd string like you do with (C) but the finger formation is very similar.

Third, I'll say this and then you can (mostly) forget it because it's not the way you should learn to play (Bm). If you compare the (D) and the "basic" (Bm) side by side:

and remember your finger positioning for playing (D):

you could play the (Bm) by leaving your index finger right where it is and just add your pinky to the 3rd string/4th fret to complete the chord. This is a more "convenient" way to play the (Bm), and does come in handy when the (Bm) follows a (D) in a song. But this is the only time you should play it this way. And if you learn to play the (Bm) as 1-2-3 as previously mentioned right from the get-go you'll eventually find it just as easy to play. I guess what I'm trying to say is playing (Bm) as an extension of (D) is the easy way out early but makes things harder later on. So unless the (Bm) follows a (D), play (Bm) as 1-2-3 (and later 1-2-3-4). I think you'll also get a cleaner sounding chord playing 1-2-3 because you're using stronger fingers rather than three fingers plus the pinky. One other argument for playing the (Bm) with three or four fingers walking up the fingerboard is that this formation is repeated in other less-used chords. So occasionally you'll run across a chord and say, "what the heck is this?" only to realize, "oh, that's just (Bm) played on the 4th fret" or something along those lines.

Finally, (Bm) is actually a . . . cue evil music . . . barre chord. Barre chords aren't really all that different but are more involved and you can worry about barre chords after you've mastered the others.

F MINOR denoted as Fm or (Fm) & F SHARP MINOR denoted as F#m or (F#m)

The diagram and photo depicts a sort of hybrid (Fm). A fuller version of the (Fm) has the 5th string also covered. But for now just forget about that note hanging out there in the 3rd fret but do not play the bottom three notes like you would an (A), with three fingers together, play it as a barre using the index finger as shown. Then as you gain experience you can add the pinky to cover that note on the 4th string/3rd fret (you can use either the ring finger -- finger "3" -- or the pinky -- finger "4" -- but I prefer the pinky because after you get a little more experience still you'll use the ring finger to cover the 5th string/3rd fret as well -- not shown on the diagram or photo). NOTE: (F#m) is identical to (Fm) in every way except moved forward one fret.

G MINOR denoted as Gm or (Gm) & G SHARP MINOR denoted as G#m or (G#m)

Here's (Gm) and (G#m). They're identical to (Fm) and (F#m) except they're further up the fretboard. So (Fm) is played in the 1st fret, (F#m) in the 2nd fret, (Gm) is played in the third fret, and (G#m) is played in the 4th fret. And like I said before I like to play "dot 3" with my pinky, not my ring finger. Like the (Bm), all four of these chords are also barre chords with the index finger extending across the fingerboard. But worry about that later. (CDOC)

LESSON 10: THE ADD CHORDS and BASS ADDITIONS This is really a "sub lesson" as the next batch of chords are merely variations of chords already discussed. They're just slight alterations which give a further accent or flavor to the major chords. In almost every instance you can play the major chord associated with it but they're easy to learn and simple to play. If you're finding yourself a bit overwhelmed you can skip these chords for now and then come back to them when you've mastered the others. G-ADD denoted as (Gadd). Also sometimes called "full G" or "four-finger G" or (G/D). We touched on this one earlier when discussing the (G) and it looks like this:

As you can see it's a regular (G) with the 2nd string/3rd fret (the <d> note, dot 3, right above the bottom string) covered. It's still just a (G) chord but it gives a little treble zing. But we have to call it something to differentiate it from "regular (G)". You'll remember I mentioned (G) is like a wild card chord and goes well with most every other chord family. The (Gadd) is played to both give a treble emphasis to the (G) and also as a momentary flirtation when the note in the harmony is a <d>. It is also played a lot when fingerpicking. As to how to play the (Gadd), well remember the discussion on how to play the (G) in the first place? If you play it the first way I mentioned - the way it's showed in the photo - then all you have to do is lift the ring finger from the bottom string to the one above it and use your pinky on the string just vacated. It would be much more difficult to play the (Gadd) if you're playing it like suggested in the second camp.

CaddG denoted as (CaddG). Like the "four-finger G" this one is sometimes called the "four-finger C" for the same reason.

As you can see it's just (C) with your pinky added to the bottom string at the 3rd fret which is (drum roll) note <g>. Hence (CaddG). CaddD denoted as (CaddD). Technically known as (Cadd9), the "9" having to do with positions within music theory that you really don't have to worry about right now.

Similar to the (CaddG) but this time you add your pinky to the 2nd string string/3rd fret which is note . . . (Bueller? Bueller?) right, note <d>. Hence (CaddD). When playing the (CaddD) you actually play the (C), leaving the index finger on the 2nd string/1st fret since pinky covering the <d> will cancel out the index finger playing the <c>. And (CaddD) usually follows a (C) in a song sequence so it's convenient to do so anyway.

DaddA denoted as (DaddA). Fortunately this chord is not played very often because it is a bit of a stretch and usually appears only to emphasize a high treble note <a> to complement the middle <a> already present in the (D).

It's a regular (D) with your pinky extended way over to the bottom string of the 5th fret. MIDDLE D denoted as (D/A) although I'm not sure why since, like the Bass D, the extra note is an <f#> and not an <a>.

It's just (D) with your pinky added to the 4th string at the 4th fret. (D/A) is usually played to accentuate or match a vocal being sung in the middle register. D4 denoted as (D4)

--> --> (D4) is purely an accent chord and is almost always played in conjunction with a (D), as in (D)-(D4)-(D). All you do is add your pinky to the bottom string of the 3rd fret while keeping the (D) chord shape since the pinky will cancel out the middle finger on the bottom string in the 2nd fret, and when you lift off the pinky you'll be right back at (D).

BASS ADDITIONS.

Smallmouth Bass. Pound for pound one of the greatest Largemouth Bass. Larger than the smallmouth, freshwater fighters. Will battle all the way to the surface. but will hit hard but then turn into an anchor. Easily identifiable by vertical stripes along its side. Easily differentiated from the smallmouth by its single horizontal stripe.

Getting back to music, some songs focus on a different kind of bass, the lower end of the tonal spectrum, so it's often convenient to add an additional lower note to the chord. BASS C denoted by (C/G). In the case of Bass C you simply add your pinky to the string directly above the ring finger, top string/3rd fret. And it's really just that easy.

BASS D. Rarely you'll see it notated as (D/F#) and usually it's just a "feel" thing. Here is Bass D:

And as you can see you play a regular (D) and wrap your thumb over the top string of the 3rd fret to cover note <f#> which complements the bottom string in the 2nd fret which is also <f#>. There's one more, BASS F, but since we haven't talked about the (F) chord yet I'll save it for when we do. Okay, that's it for this lesson. Here are a few more songs with these new chords in it. Some will have these new add chords but if you're not quite ready for them just play the major chord (for example, play (C) instead of (CaddG) but give it a try. (CDOC)

ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE – Eric Idle (C1)

https://www.youtube.com/watch?v=kE186w91YVU

TIP: In the intro strum each chord once where it appears and begin strumming on "always."

TIP: The (Em)-(Am)-(D7) series is the “whistling part”. After the key change at the end

it’s (F#m)-(D)-(E7).

TIP: After the key change you’ll play (A) and the (F#m).

;

Some |Am| things in life are |D| bad. They can |G| really make you |Em| mad.

|Am| Other things just |D| make you swear and |G| curse. When you're |Am| chewing an life's

|D| gristle, don't |G| grumble, give a |Em| whistle. And |Am| this'll help things turn out

for the |D7| best.

<b> And, (G) always (Em) look on the (Am7) bright (D7) side of (G) life. (Em)-(Am)-(D)

(G) Always (Em) look on the (Am7) light (D7) side of (G) life. (Em)-(Am)-(D)

If (Am) life seems jolly (D) rotten, there's (G) somethin' you've for (Em) gotten.

And (Am) that's to laugh and (D) smile and dance and (G) sing. When you're (Am) feeling in

the (D) dumps, (G) don't be silly (Em) chumps. Just (Am) purse your lips and whistle -

that's the (D7) thing.

And (G) always (Em) look on the (Am7) bright (D7) side of (G) life. (Em)-(Am)-(D) Come on.

(G) Always (Em) look on the (Am7) light (D7) side of (G) life. (Em)-(Am)-D)



For (Am) life is quite ab (D) surd, and (G) death's the final (Em) word. You must

(Am) always face the (D) curtain with a (G) bow. For (Am) get about your (D) sin, give the

(G) audience a (Em) grin. (Am) Enjoy it it's your last chance any (D7) how.

So (G) always (Em) look on the (Am7) bright (D7) side of (G) death. (Em)-(Am)-(D)

(G) Just be (Em) fore you (Am7) draw your (D7) terminal (G) breath. (Em)-(Am)-(D)

(Am) Life's a piece of (D) shit, (G) when you look at (Em) it. (Am) Life's a laugh and

(D) death's a joke it's (G) true. You'll (Am) see it's all a (D) show, keep'em (G) laughing

as you (Em) go. Just re (Am) member that the last laugh is on (D7) you.

And (G) always (Em) look on the (Am7) bright (D7) side of (G) life. (Em)-(Am)-(D)

Always (Em) look on the (Am7) right (D7) side of (G) life. (Em)-(Am)-(D) <Come on boys,

cheer up.>

<key change>

(A) Always (F#m) look on the (D) right (E7) side of (A) life. (F#m)-(D)-(E)

(A) Always (F#m) look on the (D) bright (E7) side of (A) life. (F#m)-(D)-(E)

Repeat and end with |A|.

BLOOD ON THE COAL - (Guest/McKean/Shearer) – The Folksmen (C0)

https://www.youtube.com/watch?v=KBGa9e2n_z4

TIP: To get the harmony at the end of the chorus right, you've got all three notes right

there within the (Dm). The line ends with note <d> (2nd string with (Dm) formed). And this

is key, the first refrain starts with <f> (bottom string with (Dm) formed) and the last one

begins with <a> (3rd string with (Dm formed) (although one octave higher) so just elevate

your voice a little each time.

TIP: Where you see the chord in straight brackets |Dm| it means to strum the chord once at

that position. At the end of the song there's a long drawn out "coal" and you strum the

chord slowly once at each position.

INTRO: (Dm)

It was (Dm) April 27th in the (C) year of '91. 'Bout a (Am) mile below the surface,

in the (Dm) warm Kentucky sun. The late shift was ending and the (C) early shift was late,

and the (Am) foreman ate his dinner from a (Dm) dirty tin plate.

Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible

time. Old Ninety-Seven went (C) in the wrong hole now in, (Am) mine number Sixty there's

(Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am)(Dm).

Well the slag pits was steamin' it was (C) seven twenty-five. Every (Am) miner worked the

coal face every (Dm) one of them alive. Train came round the corner you could (C) hear the

trestle groan. But the (Am) switcher wasn't listenin' so he |Dm| left the |Dm| switch

a |Dm| lone.



(Dm) Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a

(Dm) terrible time. Old Ninety-Seven went (C) in the wrong hole now in, (Am) mine number

Sixty, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the

co (C) al (Am)(Dm).

Well the walls began to tremblin' and the (C) men began to yell. They could (Am) hear that

lonesome whistle like an (Dm) echo out of, well. They dropped their picks and shovels as to

(C) safety they did run, for to (Am) stay amongst the living in the |Dm| year of |Dm| Ninety

|Dm| One.

(Dm) Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a

(Dm) terrible time. Old Ninety-Seven went (C) in the wrong hole now in, (Am) mine number

Sixty, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the

co (C) al (Am)(Dm).

Now an Irishman named Murphy said "I'll (C) stop that iron horse." As he (Am) stood athwart

its passage, and it (Dm) crushed him dead of course. And I hope he hears the irony when

(C) e'er this tale is told that the (Am) train that took his life was burnin' |Dm| good

Ken |Dm| tucky |Dm| coal. (Hey!)

(Dm) Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm)

terrible time. Old Ninety-Seven got (C) in the wrong hole now in, (Am) mine number Sixty

there's (Dm) blood on the coal. (Dm) Blood on the coal, blood on the <slow down>

co- |C| -oh- |Am| -oh- |Dm| -oal.

CIRCLE - Harry Chapin

TIP: The (CaddG) will always follow the (Am7). And if you look at the diagram, all you have

to do to play the (CaddG) is add your pinky to the bottom string/3rd fret. Doesn’t really

matter if you play the upper <c>.

(G) All my life's a circle, sunrise and sun (Am7) down. The (Am) moon rolls thru the

(Am7) nighttime, till the (D7) daybreak comes a (G) round. All my life's a circle,

but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again,

the (C) years keep (D7) rollin' (G) by.

It seems like I've been here before; I can't remember (Am7) when. But (Am) I have this funny

(Am7) feeling, that we'll (D7) all be together a (G) gain. No straight lines make up my

life, and all my roads have (Am7) bends. There's (CaddG) no clear-cut be (D7) ginnings,

and (C) so far (D7) no dead (G) ends.



but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years

keep (D7) rollin' (G) by.

I found you a thousand times. I guess you done the (Am7) same. But (Am) then we lose each

(Am7) other, it's (D7) like a children's (G) game. As I find you here again, a thought runs

through my (Am7) mind: Our (CaddG) love is like a (D7) circle, let's (C) go 'round (D7) one

more (G) time.



but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years

keep (D7) rollin' (G) by.

The (C) years (the years), keep on (D7) rollin’ (keep on rollin’), (G) by. (Am7)(D7)(G)

COULD I HAVE THIS DANCE – (Holyfield/House) – Anne Murray (C0)

https://www.youtube.com/watch?v=2wagjpWtRII

INTRO: (A)(E)(D)(E)

I'll (A) always re (A7) member, the (D) song they were (E) playin', the (D) first time we

(E7) danced, and I (A) knew (E7). As we (A) swayed to the (A7) music, and (D) held to each

(E) other, (D) I fell in (E) love with (A) you (E7).

Could (A) I have this (A7) dance, for the (D) rest of my life? Would (E7) you be my partner,

(D) every (E) night? (A) When we're to (A7) gether it (D) feels so (Dm) right.

Could (A) I have this dance, for the (E7) rest of my (A) life? (E)

I'll (A) always re (A7) member, (D) that magic (E) moment, when (D) I held you (E7) close to

(A) me (E7). 'Cause (A) we moved to (A7) gether, (D) I knew for (E) ever, (D) you're all

I'll (E) ever (A) need (E7).



Could (A) I have this dance, for the (E7) rest of my (A) life? (E)



Could (A) I have this dance, for the (E7) rest, of, (E) my (A) life? (E)(D)(E)(A)



DAYDREAM BELIEVER – (Stewart) - The Monkees/Anne Murray (C0)

https://www.youtube.com/watch?v=9_SMJ-Uwmkg

INTRO: (G)(D7), (G)(D7)

Oh I could (G) hide, ‘neath the (Am) wings, of the (Bm) bluebird as she (C) sings.

The (G) six o’clock a (Em) larm, would never (A7) ring (D7). But it (G) rings, and

I (Am) rise, wipe the (Bm) sleep out of my (C) eyes. My (G) shavin’ (Em) razor’s (C) cold

(D7) and it (G) stings.

|G||D||Em||Am||G||D||G|

(C) Cheer up (D) sleepy (Bm) Jean. (C) Oh what (D) can it (Em) mean? (C) To a (G), daydream

be (C) liever and a (G) homecom (Em) ing (A7) queen (D7).

(G) You once thought of (Am) me, as a (Bm) white knight on a (C) steed. (G) Now you know how

(Em) happy, I can (A7) be (D7). Oh and our (G) good times starts and (Am) end, without

(Bm) dollar one to (C) spend. But (G) how much (Em) baby (C) do we (D7) really (G) need?

|G||D||Em||Am||G||D||G|


be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7).



(G)(D), (G)(D)






be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7). (G)

DESPERADO - (Henley/Frey) - Eagles/Linda Ronstadt

TIP: Sorry, no pass this time with the (Am7). In this song the “full version” should be

played (if possible) rather than the Easy Chord. Both diagrams appear. The “full version”

is simply a regular (Am) with the pinky extended to the 1st string/4th fret.

(G) Desperado (G7), why don't you (C) come to your (A7) senses? You been (G) out ridin'

fences, for (A7) so long (D7) now. Oh, you're a (G) hard one. (G7) I know that (C) you got

your (A7) reasons. These (G) things that are (Em) pleasin' you, can (A7) hurt you

(D7) some (G) how. (D)

Don't you (Em) draw the queen of (Bm) diamonds, boy. She'll (C) beat you if she's a (G) ble.

You know the (Em) queen of hearts is (C) always your best (G) bet (D). Now it (Em) seems to

me, some (Bm) fine things have been (C) laid upon your (G) table. But you (Em) only want the

(A7) ones that you can't (Am7) get (A).

(D7) Desper (G) ado (G7), oh you ain't (C) gettin' no (A7) younger. Your (G) pain and your

(Em) hunger, they're (A7) drivin' you (D7) home. And (G) freedom, oh freedom (G7) well,

that's just (C) some people (A7) talkin'. Your (G) prison is (Em) walking through this

(A7) world all (D7) a (G) lone. (D)

Don't your (Em) feet get cold in the (Bm) winter time? The (C) sky won't snow and the

(G) sun won't shine. It's (Em) hard to tell the (C) night time from the (G) day (D).

You're (Em) losin' all your (Bm) highs and lows, ain't it (C) funny how the (G) feeling goes

a (Am7) way (A)?

(D7) Desper (G) ado (G7), why don't you (C) come to your (A7) senses? Come (G) down from

your (Em) fences, (A7) open the (D7) gate. It may be (G) rainin', (G7) but there's a

(C) rainbow above (A7) you. You better (G) let somebody (Em) love you - (C) let somebody

love (Am7) - you better (G) let somebody (Em) love you . . . [slow down] . . . be (Am7) fore

it's (D7) too (G) late.(C)(G)

DO YOU LOVE ME – (Gordy) – The Contours (C3)

https://www.youtube.com/watch?v=azKPeIWdE6I

TIP: In the intro, the chords in brackets means strum just once at that position. And rip

into those (A7)s with some quick downstrokes.

INTRO: |D| You broke my heart, |G| 'cause I couldn't dance. |A| You didn't even, want me

around |Bm|. And now I'm back, to let you know, |A| I can really shake 'em down |D|. <pause>

(A7)-(A7)-(A7)-(A7)-(A7) Do you (D) love me? I can (G) really (A) move. Do you (D) love me?

I'm (G) in the (A) groove. Do you (D) love me? (G) Do you (A) love me. (G) Now, that

(Gm) I, can (A) dance, (A7) dance, dance. (NC) Watch me now hey.

(D) Work work. Ah (G) work it all ba (A) by. (D) Work work. Well you're (G) drivin' me

cra (A) zy. (D) Work work. With just a (G) little bit of (A) soul now. (D) Work.

(A7)-(A7)-(A7)-(A7)-(A7)

I can (D) mash potato. I can (G) mash po (A) tato. I can (D) do the twist. I can (G) do

the (A) twist. Now (D) tell me baby. (G) Tell me (A) baby, do you (D) like it like this?

Do you (G) like it like (A) this? Tell me. Tell me. (A7) Tell me. (A)

Do you (D) love me? (G) Do you (A) love me? Now do you (D) love me? (G) Do you (A) love

me? Now do you (D) love me? (G) Do you (A) love me? (G) Now, that (Gm) I, can (A) dance.

(A7) Dance, dance. (No Chord) Watch me now hey.

(D) Work work. Ooahh, (G) shake it up (A) shake it. (D) Work work. Ah (G) shake 'em shake

'em (A) down. (D) Work work. Ah (G) little bit of (A) soul now. (D) Work.



Work work. Ah (G) get 'em little ba (A) by. (D) Work work. Ah you're (G) driving me

cra (A) zy. (D) Work work. Ah (G) don't get la (A) zy. (D) Work. (A)

I can (D) mash potato. I can (G) mash po (A) tato. And I can (D) do the twist. I can

(G) do the (A) twist. Well now (D) tell me baby. (G) Tell me (A) baby, do you (D) like it

like this? Do you (G) like it like (A) this? Tell me. Tell me. (A7) Tell me.

Do you (D) love me? (G) Do you (A) love me? Now do you (D) love me? (G) Do you (A) love

me? Now do you (D) love me? (G) Do you (A) love me? Now, <softer> now, <even softer>

now . . .

(D) Work work. Ah I'm (G) working hard ba (A) by. (D) Work work. Well you're (G) driving

me cra (A) zy. (D) Work work. And (G) don't you get la (A) zy. (D) Work. (A)

(D) Work work. Ah I'm (G) working hard ba (A) by. (D) Work work. Well you're (G) driving

me cra (A) zy. (D) Work work. And (G) don't you get la (A) zy. (D) Work. (A)(D)

FERRY CROSS THE MERSEY – (Marsden) – Gerry and the Pacemakers (C2)

https://www.youtube.com/watch?v=08083BNaYcA

INTRO: (D),(Am7); (D),(Am7); (D),(Am7); (D),(Am7)

(D) Li- (Am7) -ife, goes on day after (D) day (Am7)-(Am),(D)(Am7)-(Am).

(D) Hearts (Am7), torn in every (D) way (Am7)-(Am),(D)(Am7)-(Am).

So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love.

And here I'll (D) stay (Am7)-(Am),(D)(Am7)-(Am).

(D) Peo- (Am7), -ple they rush every (D) where (Am7)-(Am),(D)(Am7)-(Am).

(D) Each (Am7), with their own secret (D) care (Am7)-(Am),(D)(Am7)-(Am).

So (D) ferry, 'cross the (F#m) Mersey, and (G) always take me (A) there.

The place I (D) love (Am7)-(Am),(D)(Am7)-(Am).

(Em) People a (G) round every (D) corner. (Em) They seem to (G) smile and (D) say.

(Em) “We don't (A) care what your (D) name is (F#m) boy. (E) We'll never turn you

a (A) way.”

(D) So (Am7), I'll continue to (D) say (Am7)-(Am),(D)(Am7)-(Am).

(D) Here (Am7), I, always will (D) stay (Am7)-(Am),(D)(Am7)-(Am).

So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love.

And here I'll (D) stay (Am7)(Am7). And here I'll (D) stay (Am7)-(Am)(Am).

Here I'll (D) stay (Am7)-(Am7),(D)(Am7)-(Am), (D)



FOLLOW ME - John Denver

It's by (Em) far the hardest (D) thing I've ever (G) done. To be (C) so in (G) love with

(Am7) you and so a (D) lone. (D7)

Follow (G) me where I (Am7) go, what I (G) do and who I (C) know. Make it (G) part of you to

(Am7) be a part of (D) me. (D7) Follow (G) me up and (Am7) down, all the (G) way and all a

(C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.

It's (G) long been on my (D) mind, you know it's (C) been a long, long (G) time. I've

(Em) tried to find the (D) way that I can (C) make you under (D) stand. The (C) way I feel a

(G) bout you, and (C) just how much I (G) need you. To be (C) there where (G) I can

(Am7) talk to you, when (C) there's no one else a (D) round.



(C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.

You see I'd (G) like to share my (D) life with you, and (C) show you things I've (G) seen.

(Em) Places that I'm (D) going to, (C) places where I've (D) been. To (C) have you there

beside (G) me, and (C) never be (G) alone. And (C) all the (G) time that (Am7) you're with

me, (C) we will be at (D) home.



(C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me. (CDOC)

LESSON 11 - THE "KILLERS" There are three chords in particular that give new guitar players fits. And I must admit I was among them. But with a little practice and experience you'll learn these as well. You'll never love seeing them, but they won't scare you either. F MAJOR denoted as F or (F)

So here is big bad (F). It's the first chord that beginners learn which requires four strings be covered instead of three. But it's not so bad. You'll play (F) a lot so you just have to deal with it. The secret to playing (F) is to nail the ring finger (3 in the diagram). The middle finger will then fall naturally where it's suppose to go. The index finger covers the bottom two strings in the first fret in a mini-barre. And the secret to doing that is to roll your wrist just a bit so it's the thumb side of your index finger that's pressing down on these two strings. The rolling of the wrist will also help to keep your fingers off the adjacent strings which creates a muffled, muted chord. The (F) just takes practice. Lots of practice. Deal with it. After a while you'll play the (F) just as easily as any other chord. BASS F (F/C). Just like the Bass C mentioned in the last lesson, after you get use to playing the (F) for a while you can add your pinky above the ring finger to cover the bass <c> note string at the 5th string/3rd fret. Here it is:

but you can worry about it later. For now just get regular (F) down comfortably.

B SEVENTH denoted by B7 or (B7)

I admit this is not the easiest chord to play. The problem is that open 2nd string. You have to get your ring and pinky positioned correctly so you don't touch the B string. The secret is to get the top three notes down first and then worry about getting the pinky on the bottom string. And the secret to doing that is the index finger. When you see a (B7) coming up in a song you want to use the index finger to "point" at the 4th string in the 1st fret. It's the only one in the first fret so it's not that hard to hit. Once you do then you can "naturally" straddle the 5th and 3rd strings with your middle and ring fingers. Then you can lay down the pinky. It might also help to think about the (D7) from the earlier lesson on the 7ths. It's the same chord but plated two strings ups. Then add the pinky. If it's just a brief one or two note cover in the song, you can even forget about the pinky altogether if you can remember not to strum or strike the bottom string. Unfortunately, when a song calls for a (B7) there's usually no way around it due to its distinctive sound. You could try playing a (Bm) instead, which sometimes you can get away with (not that the (Bm) is a picnic) but for the most case you'll just need to play the (B7). Again, deal with it.

One final comment. In some song diagrams you might see the (B7) like this:

While this is a suitable short cut to playing the (B7), providing you don't strike above the 4th/D string, the problem comes in how you play the chord. The easiest way is to straddle the open 2nd/B string with the middle and ring fingers, with the index finger covering the 4th/D string in the 1st fret. That is how I learned to play the (B7) and did so for the longest time. When I realized I should have been playing it as in the photo I struggled to make the adjustment. So avoid my mistake and learn to play the (B7) with four notes and not three. Sure it's a little harder but you'll be glad you did.

B FLAT denoted by Bb or (Bb) B MAJOR denoted by B or (B) I've lumped these two together because they're the same chord just played on a different fret. The (Bb) is played more often than the (B), usually in conjunction with an (F).

On first glance at the diagram you might say, "well that doesn't look so bad, let's see, that's just an (A) with your pinky in the corner" . . . until you realize your pinky is on the other side of your hand. So you have to use your bottom three fingers instead of the middle three and use your index finger to cover the bottom string, as shown. But for some reason, the (Bb) gives people fits, including me. It's my absolute least favorite chord to play (in fact I'll often play the (B7) instead). Maybe because it's the pinky in there, although with the pinky there's less mass squeezed into a single fret, but I just never seem to get a good sounding chord and since it takes me a second or two to get properly placed I find it hard to maintain the rhythm of the song. Although . . . the (Bb) seems much easier to play on a guitar with smaller nut width, say a 1 11/16ths rather than a 1 3/4, and also easier on a small-scale guitar (24.9) instead of the more common (25.4) scale. But maybe that's just me. It is what it is. Here are a few songs with the (F) and (B7) and (Bb) to play with. (CDOC)

A MIGHTY WIND - (Levy/Guest/McKean) – The Folksmen, Mitch & Mickey, The New Main Street

Singers (C0)

https://www.youtube.com/watch?v=y_fOIbuUAiY

As I (C) travel down the back roads, of this (Am) home I love so (F) much. Every

(C) carpenter and (Am) cowboy, every (Dm) lame man on a (G) crutch. They’re all (F) talking

about a (Em) feeling, ‘bout a (F) taste that’s in the (G) air. They’re all (F) talking about

this (C) mighty (Am) wind that’s (F) blowing eve (G) ry (C) where.

Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand. It’s (Am) blowin’

out a message, to every (D7) woman child and (Bb) man (G). Yes a (Bb) mighty wind’s a

(F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G). It’s (F) blowin’ peace

and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.

From a lighthouse in Bar Harbor, to a (Am) bridge called Golden (F) Gate. From a (C) trawler

down in (Am) Shreveport, to the (Dm) shore of one great (G) lake. There’s a (F) star on the

hor (Em) izon, and it’s (F) burning like a (G) flame. It’s (F) lighting up this (C) mighty

(Am) wind that’s (F) blowin’ eve (G) ry (C) where.




and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.

When the blind man sees the picture, when the (Am) deaf man hears the (F) word. When the

(C) fisherman stops (Am) fishing, when the (Dm) hunter spares the (G) herd. We’ll still

(F) hear the wondrous (Em) story, of a (F) world where people (G) care. The (F) story of

this (C) mighty (Am) wind that’s (F) blowin’ eve (G) ry (C) where.






and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y. Yes it’s (F) blowin’ peace and

(C) free (Am) dom, it’s (F) blowin’ you (G) and (C) me. (C)

ALL I HAVE TO DO IS DREAM – (Bryant) - The Everly Brothers (C4)

https://www.youtube.com/watch?v=tbU3zdAgiX8

TIP: You’ll already be playing the (C) so to play (C7) just add a pinky to the 3rd string/3rd

fret.

INTRO: <single strum> |C|

(C) Dreee-(Am)-am, (F) dream dream (G) dream. (C) Dreee-(Am)-am, (F) dream dream (G) dream.

When (C) I want (Am) you (Dm), in my (G7) arms. When (C) I want (Am) you (Dm), and all your

(G) charms. When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dre-(Am)-am.

(F) Dream dream (G7) dream.

When (C) I feel (Am) blue (Dm), in the (G7) night, and (C) I need (Am) you (Dm), to hold me

(G) tight. When (C) ever I (Am) want you, (F) all I have to (G7) do, is

(C) dre-(F)-ee-(C)-am. (C7)

(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or

(C) day (C7). (F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G) way (G7).

I (C) need you (Am) so (Dm), that I could (G7) die. I (C) love you (Am) so (Dm), and that is

(G) why, when (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dre-(Am)-am.

(F) Dream dream (G7) dream. (C) Dre-(F)-ee-(C)-am. (C7)

(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or

(C) day (C7). (F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G) way (G7).



I (C) need you (Am) so (Dm), that I could (G7) die. I (C) love you (Am) so (Dm), and that is

(G) why, when (C) ever I (Am) want you, (F) all I have to (G7) do, (C) dre-(Am)-am.

(F) Dream dream (G7) dream. (C) Dre-(Am)-am. (F) Dream dream (G7) dream. (C) Dre-(Am)-am.

(F) Dream dream (G7) dream. (C) Dre-(F)-ee-(C)-am.

AMERICA THE BEAUTIFUL - (Bates) - Traditional

(E7) O (A) beautiful for (E) spacious skies, for (E7) amber waves of (A) grain.

(E7) For (A) purple mountain (E) majesties, above the (B7) fruited (E) plain.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God shed his grace on (A) thee.

And (D) crown thy good with (A) brotherhood from (D) sea to (E7) shining (A) sea.

(E7) O (A) beautiful for (E) pilgrim feet, whose (E7) stern impassion'd (A) stress,

(E7) a (A) thoroughfare for (E) freedom beat, across the (B7) wilder (E) ness.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God mend thine ev'ry (A) flaw.

Con (D) firm thy soul in (A) self-control, thy (D) liber (E7) ty in (A) law.

(E7) O (A) beautiful for (E) heroes proved, in (E7) liberating (A) strife.

(E7) Who (A) more than self their (E) country loved, and (E7) mercy more than (A) life.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. May God thy gold re (A) fine,

till (D) all success be (A) nobleness, and (D) ev'ry (E7) gain div (A) ine.

(E7) O (A) beautiful for (E) patriot dream, that (E7) sees beyond the (A) years.

(E7) Thine (A) alabaster (E) cities gleam, un (E7) dimmed by human (A) tears.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God shed his grace on (A) thee,

and (D) crown thy good with (A) brotherhood, from (D) sea to (E7) shining (A) sea.

BALLAD OF THE GREEN BERETS – (Sadler/Moore) - Barry Sadler (C0)

https://www.youtube.com/watch?v=iWjkeXKPQOI

INTRO: <Strum> (C), (C), (C), (C)

Fighting soldiers (G) from the (C) sky. Fearless (G) men, who jump and (C) die.

Men who (F) mean, just what they (C) say. The brave (G) men, of the Green Ber (C) et.

Silver wings, up (G) on their (C) chest. These are (G) men, America's (C) best.

One hundred (F) men, will test to (C) day, but only (G) three, win the Green Ber (C) et.

Trained to live, off (G) nature's (C) land. (G) Trained in combat, hand to (C) hand.

Men who (F) fight, by night and (C) day. Courage (G) taken, from the Green (C) Beret.

Silver wings, up (G) on their (C) chest. These are (G) men, America's (C) best.

One hundred (F) men, will test to (C) day, but only (G) three, win the Green Ber (C) et.

Back at home, a (G) young wife (C) waits. Her Green Ber (G) et, has met his (C) fate.

He has (F) died, for those o (C) ppressed. Leaving (G) her, his last re (C) quest.

Put silver wings, on (G) my son's (C) chest. Make him (G) one, of America's (C) best.

He'll be a (F) man, they'll test one (C) day. Have him (G) win, the Green Ber (C) et (F)(C).



BOATS TO BUILD – (Clark) - Jimmy Buffett & Alan Jackson (C2)

https://www.youtube.com/watch?v=pe0U7rG3xyw

INTRO: (D)(D)(D)(D) x 4

It's (D) time, for a change. I'm tired, of that (G) same ol same. The (A) same ol words,

the (Bm) same ol lines, the (C) same ol tricks and the (A) same ol rhymes.

(D) Days, precious days. Roll, in and (G) out like waves. I got (A) boards to bend, I got

(Bm) planks to nail, I got (C) charts to make, I got (A) seas to sail.

I'm gonna (G) build me a boat, with (A) these two hands she'll be a (D), fair curve from a

(G) noble plan. (Em) Let the chips fall (A) where they will, cause I, got (D) boats to

build.

(D)(D)(D)(D), (D)(D)(D)(D)

(D) Sails, are just like wings. The wind, can (G) make 'em sing. (A) Songs of life,

(Bm) songs of hope, (C) songs to keep your (A) dreams afloat.

I'm gonna (G) build me a boat, with (A) these two hands. She'll be a (D), fair curve from a

(G) noble plan. (Em) Let the chips fall (A) where they will, cause I, got (D) boats to

build.

(D)(G)(D)(G)(D)(A),(D)(D)(D)(D)

(D) Shores distant shores. There's, where I'm (G) headed for. (A) I (A) the stars, to

(Bm) guide my way, (C) sail into the (A) light of day.



I'm gonna (G) build me a boat, with (A) these two hands. She'll be a (D), fair curve from a

(G) noble plan. (Em) Let the chips fall (A) where they will, cause I . . . gonna (G) build

me a boat, with (A) these two hands. She'll be a (D), fair curve from a (G) noble plan.

(Em) Let the chips fall (A) where they will, cause I, got (D) boats to build. (D)(D)(D)(D)

I got boats to build. (A) I got (D) boats to build. (D)(D)(D)(D), (D)(D)(D)(D), |D|

THE BOXER - (Simon) - Simon and Garfunkel

(C) I am just a poor boy though my story's seldom (Am) told I have (G) squandered my

resistance for a (F) pocket full of (G7) mumble such are (C) promises. All lies and

(Am) jest, still a (G) man hears what he (F) wants to hear and disregards the (C) rest.

(G) (C)

When I left my home and my family, I was no more than a (Am) boy in the (G) company of

strangers in the (Dm7) quiet of a railway (G7) station running (C) scared. Laying

(Am) low, seeking (G) out the poorer (F) quarters Where the ragged people (C) go looking

(G) for the places (F) only (Em) they (G) would (C) know.

Lie la (Am) lie -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie

-- la lie (G) lie lie lie (F) lie -- lie lie lie lie lie (C) lie

Asking only workman's wages I come looking for a (Am) job but I get no (G) offers.

Just a (Dm7) come-on from the (F) whores on 7th Aven (C) ue. I do de (Am) clare, there were

(G) times when I was so (F) lonesome I took some comfort (C) there. Ooh lah (G) lah lah lah

lah (C) lah.

Then I'm laying out my winter clothes and wishing I was (Am) gone, going (G) home where the

(Dm7) New York city (F) winters are not (C) bleeding me. Leading (Em) me, (Am) going

(G) home. In the (C) clearing stands a boxer and a fighter by his (Am) trade and he

(G) carries a reminder of (G7) ev’ry glove that laid him down or (C) cut him till he cried

out in his anger and his (Am) shame I am (G) leaving, I am leaving but the (G7) fighter still

(C) remains.


-- la lie (G) lie lie lie (F) lie -- lie lie lie (G) lie (C) lie.


-- la lie (G) lie lie lie (F) lie -- lie lie lie lie (C) lie.

CAN YOU FEEL THE LOVE TONIGHT – (John/Rice) – Elton John (C3)

https://www.youtube.com/watch?v=fTtgVSxfr5M

TIP: For the transition from (C) to (Cmaj7) just lift off your index finger.

INTRO: (G) (D) (C) (G)(G) (C) (G)(G) (D)-(G)-(Am7)(G)

(C) There's a calm surr (G) ender, (C) to the rush of (G) day. (C) When the heat of a

(G) rolling wind, (Am) can’t be turned a (D) way. (C) An enchanted (G) moment,

(C) and it sees me (G) through. (C) It's enough for this (Gadd) rest (G) less (Em) warrior

(Am) just to be with (D) you.

And (G) cannn you (D) feel the (Em) love to (C) night? (G) It is (C) where (G) we (D) are.

(C) It's e-(G)-nough, for this (Gadd) wide (Em) eyed (C) wanderer, (Am) that (G) we (C) got

(Cmaj7) this (D) far. And (G) cannn, you (D) feel the (Em) love to (C) night? (G) How it's

(C) laid (Cmaj7) to (D) rest. (C) It's e-(G) nough, to make (Gadd) kings (Em) and

(C) vagabonds, be (Am) lieve (G) the (D) ver-(C)-y (G) best.

(G) (D) (C) (G)(G) (C) (G)(G) (D)-(G)-(Am7)(D)

(C) There's a time for (G) everyone, (C) if they only (G) learn. (C) That the twisting

kal (G) eidoscope, (Am) moves us all in (D) turn. (C) There's a rhyme and (G) reason,

(C) to the wild out (G) doors. (C) When the heart of this (Gadd) star- (G) crossed

(Em) voyager, (Am) beats in time with (D) yours.



And (G) cannn you (D) feel the (Em) love to (C) night? (G) It is (C) where (G) we (D) are.

(C) It's e-(G)-nough, for this (Gadd) wide (Em) eyed (C) wanderer, (Am) that (G) we (C) got

(Cmaj7) this (D) far. And (G) cannn, you (D) feel the (Em) love to (C) night? (G) How it's

(C) laid (Cmaj7) to (D) rest. (C) It's e-(G) nough, to make (Gadd) kings (Em) and

(C) vagabonds, be (Am) lieve (G) the (D) ver-(C)-y (G) best.

(C) It's e-(G)-nough, to make (Gadd) kings (Em) and (C) vagabonds, be (Am) lieve (G) the

(D) ver-(C)-y (G) best.

CHAPEL OF LOVE – (Barry/Greenwich/Specter) – Dixie Cups (C0)

https://www.youtube.com/watch?v=cMfrLFirGWc

TIP: The first two lines are sung acapella, and the second line has fingersnaps, but I've

included the chords if you want to play them. Skip them if you're a purist.

(D) Going to the chapel and we're, gonna get married. (Fingersnaps) (Em) Going to the

(A) chapel and we're, (Em) gonna get (F#m) married. (D) Gee I really love you and we're,

gonna get married. (Em) Going to the (F#m) chapel of (D) love. (A)

(D) Spring is here, the-uh-uh, sky is blue. Whoa-o-oh, (Em) birds all (A) sing as,

(Em) if they (A) knew. (D) Today's the day, we'll say "I (B) do." And we'll (Em) never,

be (F#m) lonely any (D) more (A).

Because we’re, (D) going to the chapel and we're, gonna get married. (Em) Going to the


gonna get married. (Em) Going to the (F#m) chapel of (D) love. (A)

(D) Bells will ring, the-uh-uh, sun will shine. Whoa-o-oh, (Em) I'll be (A) hers and,

(Em) she'll be (A) mine. (D) We'll love until, the end of (B) time. And we'll (Em) never,

be (F#m) lonely any (D) more (A).

Because we’re, (D) going to the chapel and we're, gonna get married. (Em) Going to the


gonna get married. (Em) Going to the (F#m) chapel of (D) love. Yeah yeah yeah yeah,

(Em) going to the (F#m) chapel of (D) love. Yeah yeah yeah yeah, (Em) going to the

(F#m) chapel of (D) love. (A) (D)



DANIEL – (John/Taupin) – Elton John (C0)

https://www.youtube.com/watch?v=UA78e27R_J4

INTRO: (C) (F) (G) (F) (C)

Daniel is traveling tonight on a (Dm) plane. (G) I can see the red tail lights (E7) heading

for Spa- (Am) -ain oh (G) and (F), I can see (G) Daniel wavin’ good (Am) bye. God it

(F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes. (C)(G)

(C) They say-Spain-is-pretty, though I've never (Dm) been. (G) Well Daniel says-it's-the-

best place, (E7) that he's ever (Am) seen. Oh (G) and (F), he should (G) know he's been

there e (Am) nough. Lord (F) I miss Daniel, (G7) oh I (F) miss him so (C) much.

Ohhhh, (F) Daniel my brother, you are, (C) older than me do you still (F) feel the pain, of

the (C) scars that won't heal your eyes have (Am) died, but you see more than (F) I.

(Fm) Daniel you're a (C) star, (A7) in the face of the (Dm) sky (G7).

(C)(C)(Dm), (Dm)(E7)(Am), (Am)-(G)-(F)(G)(Am), (Am)(G)(F)(F)(G), (G)(F)-(C)-(G)-(C)

Ohhhh, (F) Daniel my brother, you are, (C) older than me do you still (F) feel the pain, of

the (C) scars that won't heal your eyes have (Am) died, but you see more than (F) I.

(Fm) Daniel you're a (C) star, (A7) in the face of the (Dm) sky (G7).

(C) Daniel is traveling tonight on a (Dm) plane. (G) I can see the red tail lights

(E7) heading for Spa- (Am) -ain oh (G) and (F), I can see (G) Daniel wavin’ good (Am) bye.

God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes.

Oh God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes. (C)(F)(G)(F)(C)



DIXIE - (Emmett) - Traditional

O, I (A) wish I was in the land of cotton. (D) Old times there are not forgotten.

Look (A) away! Look away! Look (E) away! Dixie (A) Land. In Dixie Land where I was born

in, (D) early on a frosty mornin'. Look (A) away! Look away! Look (E) away!

Dixie (A) Land.

O, I wish I was in (D) Dixie! Hoo (B7) ray! Hoo (E7) ray! In (A) Dixie Land I'll (D) take

my stand to (A) live and die in Dix (E7) ie. A (A) way, a (E7) way. A (A) way down south in

(E7) Dix (A) ie!

Old Missus marry Will, the weaver. (D) William was a gay deceiver. Look (A) away!

Look away! Look (E) away! Dixie (A) Land. But when he put his arm around her, (D) smiled

as fierce as a forty pounder. Look (A) away, look away. Look (E) away, Dixie (A) land.



(E7) Dix (A) ie!

There is buckwheat cakes and Injun batter, (D) makes you fat or a little fatter.

Look (A) away, look away, look (E) away, Dixie (A) land. Then hoe it down and scratch your

gravel, to (D) Dixie's land I'm bound to travel. Look (A) away, look away. Look (E) away,

Dixie (A) land.



(E7) Dix (A) ie.

A (A) way, a (E7) way. A (A) way down south in (E7) Dix (A) ie! (CDOC)

LESSON 12: ALTERNATE CHORDS AND CHORDS GALORE

CONGRATULATIONS!! No more chords to memorize! With the ones I've shown you you'll be able to play 90% of the

songs out there. This lesson focuses on alternate chords, which are common chords that can be played elsewhere on the fingerboard, and the many other chords which I haven't shown you, and won't cover in any detail, because they're played so seldom. BARRE CHORDS. I'm not covering barre chords as they're beyond the scope of an introductory guide. While they do qualify as "alternate chords" they require learning a completely different finger formation and are best left until after you've mastered the basics. ALTERNATE CHORDS. Ninety-five percent of the time you'll play the chords as you've learned them, in the position you've learned them, down in the first 5 frets. But the major chords can be played elsewhere up the fingerboard using the same finger formations you've already learned for other chords, usually in the form of an (F) or a (Bm -- remember back in lesson 9 where I said the (Bm) is "massively useful?"). Why would you want to play them up there in an alternate form and location? Well, every so often there will be a cadence or rhythm in which you want a little different sound, usually to accentuate the treble side of things. Here's an example from Bill Haley's Rock Around the Clock: We're gonna (D) rock around the clock tonight. We're gonna (A) rock, rock, rock, 'til broad daylight. We're gonna (E7) rock, gonna rock, a (E7 full) round the clock to (A) night.

(Instrumental) (A) (D) (F5) (E) (A)

When the clock strikes twelve, we'll cool off then. Start a rockin' round (A6) the (A6+)

clock (A6) a (A) gain.

In the (F5) diagram below, whenever you see a number outside the box, in this case the little "5" it means that's the 5th fret. So that looks like an (F) chord but it's played way up on the 5th fret (the diagram name is a misnomer, a teaching aid -- there's no such thing as an (F5) chord and both diagrams are actually an (A)).

The (A) and the (F5) are both (A) chords but the (F5) has a higher pitch. So in the instrumental riff in the song playing the (F5) instead of another (A) gives the song a slightly different sound. If you play them both you'll hear the same chord but with a "tingle" with the (F5). Kind of how when you sing the same note but an octave higher. Same sort of thing. Another reason you might play an alternate chord is because it's simply easier to play the chord in a different way, higher up the fingerboard. For example, let's say, try as you might, you just can't get comfortable playing the (Bm). It can be played as a barre chord on the 7th fret:

These are the same chords (you'd play the one on the right either as an (A) down one string-set or as a barre with your index finger, and forget about the top one or two notes). The trade off is quickly finding the right fret, which is what the fingerboard markings (the 7 adjacent to the top string on the chord box) are for. Now some alternatives are actually harder to play than the non-alternatives but it's nice to know they can be played a different way.

Here then are some alternate chords:

= = (or "F on 5")

=

= (or "F on 7", ignore the top one or two notes)

= (A on 4th with pinky on bottom, or index finger barre on 4th fret with middle or ring on bottom string)

= ("A" on 7th fret and down one string-set, or index finger barre - in either case ignoring the top three notes)

= (A on 5th, ignore top note) = (F on 8th fret, ignoring top note) All three are (C) chords.

= = (Bm on 3rd fret, or index finger barre on the 8th fret (ignoring the one or two notes).

= (B on 5th fret) = (A on 7th fret with pinky on 8th, or a barre on 7th)

= (Dm7 is played like an F but without the ring finger. But if the (D) is more comfortable you could play it on the 5th fret and ignore the top string note or covering it with your thumb wrapped over the fingerboard).

= (D on 5th fret. The thing is, to make the chord really sound like an (F) you want to include that rogue note at the 4th string/4th fret with your pinky and it's not easy to do. This formation is sometimes called (D/A). Still, it's an alternative to the (F) which some find difficult to master.)

= (D on 7th fret)

I want to go back to what I mentioned at the beginning of this section about the (F) and (Bm) finger formations. Notice how many chords can be played with these formations by simply walking them up the fingerboard:

= =

= =

= =

= G# =

= =

=

= =

=

CHORDS GALORE. Okay, we've covered quite a few chords but there are literally hundreds more: augmented chords, diminished chords, suspended chords, sharps, flats, and the list goes on. For example, here's a small sampling just for the family of (G) chords:

And as you can imagine there's a similar list for each major chord. But the thing is, when you play a song containing one of these weird chords, there will be the attendant diagram to go with it. So all you've got to do is study the diagram and figure out the easiest way to play the damn thing using what you know about the major chords and alternate chords, etc. And curse the songwriter who put them in there in the first place. In the final lesson I will show you where to go to find all the diagrams for all the chords. That's it for this lesson . . . and we're done with chords! Before you finish up with lesson 12 might I suggest you return to lesson 7 and review the bit on finding the individual notes on the fretboard as it will now make much more sense to you. Click <here> to go there in warp speed. (CDOC)

LESSON 13: INTERNET RESOURCES In this final lesson I'm going to share with you my favorite resources. SONGBOOK. First up, and not to sound too self-congratulatory, is my own Songbook which you can find at https://songbook19.my-free.website/ The practice songs in this tutorial came from Songbook and there are hundreds more. There are two versions, one for beginners and one for more advanced players and both also have a section full of chord diagrams. It has the added benefit of not having to be on-line to practice. ON-LINE SOURCES. Three on-line sources I want to show you. Some websites change their format over the years but most retain the features I'm going to mention although they may look a little different from what you see here. The first is a site called Chordie: http://www.chordie.com/

Here you'll find thousands of songs, searchable alphabetically by artist or song title, and most include the chord diagrams. The website is pretty self explanatory but I want to make you aware of one feature in particular.

https://songbook19.my-free.website/

http://www.chordie.com/

http://www.chordie.com/

Let's say you find a song you like but it appears like this you don't like having to deal with the (F) or especially the (Bb).

If you look over at the right hand side you'll see a section called "Transpose Chords".

All you have to do is click on this feature and choose from among the different semitones, which changes the key and the resulting chords, for example here into (G) which is much easier to play.

Sweet!

Another great website that does the same thing is the hugely popular Ultimate Guitar. https://www.ultimate-guitar.com Aside for a ton of useful information and forums it has a scroll over/pop up chord diagram as well as a transpose feature. I find Ultimate Guitar more efficient if you already know the song you want to look up. For example, let's say you want the chords for the Eagles' "Hotel California." So before ever going to Ultimate Guitar.com we first enter the phrase "chords Hotel California ultimate guitar" into Google's search window and usually several links will appear: HOTEL CALIFORNIA CHORDS by Eagles @ Ultimate-Guitar.Com https://tabs.ultimate-guitar.com/tab/eagles/hotel_california_chords_46190 Rating: 4.8 - 4,181 reviews HOTEL CALIFORNIA ALBUM TAB by Eagles @ Ultimate-Guitar.Com https://tabs.ultimate-guitar.com/tab/eagles/hotel_california_tabs_347964 Rating: 4.5 - 70 reviews Note the links are rated by other guitar players on a scale from 1-5 with 5 being the best. Choose the highest rated or several of the higher rated links and have a look. When thinking about using the transposing feature at either website, or just transposing in general, as a general rule: Songs in the key of: Will use these chords (and their derivatives) most often: A (A) (B) (D) (E) C (C) (D) (E) (F) (G) D (D) (E) (G) (A) E (E) (A) (B) F (F) (G) (A) (B) (C) (D) G (G) (A) (C) (D) (E)

https://www.ultimate-guitar.com/

https://www.ultimate-guitar.com/

The last website I want to mention is Chordify.net Chordify also has songs and a transposition feature but what makes it different from the first two is with Chordify you can watch a video of the song and see the chords as they're played. In this way Chordify is like a karaoke for guitar.

Unfortunately, transposing the song in order to find more friendly chords means you'll no longer be able to play or sing along with the video. But, in addition to the transposition feature, there's also a capo feature in which you can see how the chords change based on where you place a capo on the fingerboard -- all while maintaining the original key being played in the video.

Unlike Chordie and Ultimate Guitar, most of Chordify's most useful features (like the capo function just mentioned) requires a subscription. In 2019 it was about $43 for an entire year which is pretty reasonable if you use the site a lot. Well, that's it. I hope you've found this informative and useful. There are a few more pages that follow but they're all chord diagrams and their corresponding photos. Good luck, all the best, and keep at it! Alvin Tostig (CDOC)

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ACOUSTIC GUITAR PLAYING 101...Welcome to Acoustic Guitar Playing 101. You’ve taken the first step in learning a skill that will provide a lifetime of enjoyment. Here's what I can