Study Guide Music 6A

8/12/2019 Study Guide Music 6A

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Guitar Study GuideMusic 6A

byLawrenceFerra

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TABLE OF CONTENTS

SUBJECT Notation, Tab

CHAPTER 1

.........................................GUITAR FINGERBOARD CHART ..............9............9

...................................................PARTS OF THE GUITAR ..............10............10

......................................................................TUNING ..............11-12.........11-12

...........................GETTING ACQUAINTED WITH MUSIC ..............13............13

..........................................NOTES VALUES AND RESTS ..............14............14

.........................................................CHROMATIC SCALE ..............15............15

CHORDS OF E, Am, and Dm

.............................................................Dark Eyes ..............16............16

...........................................................................OL, OL .............17............17

......................E MINOR SCALE ON THE FIRST STRING ..............18............18

CHAPTER 2

.........TOP THREE TREBLE STRINGS (OPEN E, B, & G) ..............19............64

......BOTTOM THREE BASS STRINGS (OPEN E, A, & D) ..............20............65

ARPEGGIOS

...............................................................Ascending ..............21............66

.............................................................Descending ..............22............67

.........................................................Combination 1 ..............23............68

.........................................................Combination 2 ..............24............69

Copyright 2011 Lawrence Ferrara


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ii

CHAPTER 3

...................E, F, AND G ON THE FIRST STRING .....................25-26.......70-71

..........................................................................A SOALIN ..............27............72

CHORDS OF D, G, AND A7

..........................When the Saints Go Marching In ..............28............28

..................................................Oh, How He Lied ..............29............29

..........................................................................PRELUDE ..............30............73

CHAPTER 4

.....................B,C, AND D ON THE SECOND STRING ..............31-32.......74-75

..........................................................................ANDANTE ..............33............76

.........................................ANDANTE ACCOMPANIMENT ..............34............34

CHORDS OF G, C, AND D7

................................For Hes a Jolly Good Fellow ..............35............35

...........................................................ODE TO JOY (duet) ..............36............77

CHAPTER 5

..............................G, and A ON THE THIRD STRING ..............37-38.......78-79

..............................................................GREENSLEEVES ..............39............80

.......................................................SONG OF THE WIND ..............40............81

......................................................FRENCH FOLK SONG ..............41............82

..........................................................SHORTNIN BREAD ..............42............83

..............................................SUR LE PONT DAVIGNON ..............43............84



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iii

CHAPTER 6

.....................D, E, and F ON THE FOURTH STRING .............. 44-45.......85-86

............................................................AMAZING GRACE ..............46............87

.......................................................................THIS TRAIN ..............47............88

............................................................CROSSROADS ..............48-49.......48-49

CHORDS OF A, D, AND E7

......................................................Blues Traveler ..............50............50

.....................................................CARIBBEAN AIR (duet) ..............51............89

CHAPTER 7

...........................A, B, and C ON THE FIFTH STRING ..............52-53.......90-91

.........................................WALKIN BLUES (12 bar blues) ..............54............92

..........................................HOUSE OF THE RISING SUN ..............55............93

.....................................DUST IN THE WIND (Travis Pick) ..............56............56

CHAPTER 8

E. .........................F, AND G ON THE SIXTH STRING ..............57-58.......94-95

.................................................................................LEYENDA . 59-61.......96-98

................................................................................VALS.. ..............62............99

...............................................................MALAGUEA... ..............63............100

APPENDICES

SCALES

............................................................................................. Major 101

............................................................................................. Minor 102

........................................................................... Major Pentatonic 103



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iv

........................................................................... Minor Pentatonic 104

............................................................................................. Blues 105

TECHNIQUE

.................................................... Left Hand Accuracy 1, 2, 3 106-108

...................................................................... Sequential Exercise 109

................................................................ Right Hand Studies 110-111

......................................................................................... Tremolo 112

RHYTHMIC EXERCISES

........................................... Quarter, Half, Whole Notes, and Ties 113

.................................................................................. Syncopation 114

............................................................................ Sixteenth Notes 115

ADDITIONAL REPERTOIRE

........................................................... A Soalin (with counterpoint) 116

............................................................................ Two Guitars 117-120

..................................... Sur la Pont DAvignon (solo version) 121-122

........................................................................................ Fr Elise 123

.................................................................... Romance I, II, III 124-126

..................................................................................... Etude 127-128

...........................ACOUSTIC GUITAR ARTICLE ON PLANTING 129-133

CHECKLISTS

..................................................................................... Technique 134

...................................................................................... Musicality 135



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v

CHORDS

........................................................................... Beginner Chords 136

......................................................................... Advanced Chords 137

NOTATION AND TAB PAPER

.......................................................................... Blank Staff Paper 138

................................................. Blank Staff and Guitar Tab Paper 139

................................................................. Blank Guitar Tab Paper 140

........................................................................... REFERENCES 141-143

.................................................................... ACKNOWLEDGMENTS 144

................................................ AUTOBIOGRAPHICAL STATEMENT 145



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Parts of the Guitar

upper bout

soundhold

lower bout

neck

tuning pegs

frets

waist

bridge

Tuning and arrangement of open strings

E

6 5

D

4

G

3

B

2

E

1

The Left Hand

The finger comes down just behing the fret wire.The thumb is held behind the neck and each finger

comes down vertically on it's extreme tip.

Playing Position

The guitar is held with the following

points in mind.

1. You should sit on the front of the chair.

2. Hold the guitar by making contact with -

a. The left leg, supported 6" off the ground

b. The right inner thigh.

c. The chest. d. The right arm, over the edge.

Free Stroke

The tip of the right hand finger pushes the

string down and glides freely over adjacent string,

producing a soft and delicate tone.

Rest Stroke

The tip of the right hand finger pushes thestring down and in and afterwards leans onto

adjacent string, producing a round and full-

bodied tone.

Right and Left Hand Symbols! !Left Hand:!0=open string! !1=index finger!2=middle finger!3=anular finger!4=little finger

A

Right Hand:

p=thumb (pulgar)

i=index

m=middle

a=anular

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1

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Parts of the Guitar

neck

lower bout

upper boutsoundhold

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b. The right inner thigh.c. The chest.d. The right arm, over the edge.

'

tuning pegs

Free StrokeThe tip of the right hand finger pushes the

string down and glides freely over adjacent string,producing a soft and delicate tone.

The Left HandThe finger comes down just behing the fret wire.The thumb is held behind the neck and each finger

comes down vertically on it's extreme tip.

frets

waist

bridge

Tuning and arrangement of open strings

CD,

Chromatic Scale0 1 2 3 4 3 2 1

Right and Left Hand Symbols

D G B E

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adjacent string, producing a round and full-bodied tone.

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Tuning

It is essential to get your guitar in tune so the pieces you play sound musical. You can train youear to hear slight differences in pitch with practice. Start by hearing a reference tone and thencompare that tone to certain pitch on your guitar (open string or fret). If the guitar string is sharp(higher) or flat (lower) than the given reference pitch, you adjust it to match. This whole processwill refine your hearing and you will begin the basics of ear training.

In the beginning stages you can use various aids in order to get you in tune.

1. Matching pitches. Tuning your open strings to another instrument such as a piano, anotherguitar, or a recording.

2. Fifth fret tuning. Tuning the guitar to itself (starting with a tuning fork, or a metronome, to getyou up to concert pitch = A 440).

3. Tuning to an electronic tuner

Matching Pitches

Using a piano's 12th white key from the lowest note (left end of the keyboard), match the 6thopen string to the "E" note. Then match the remaining five strings to the equivalent key markedbelow:

Five Fret Tuning (tuning the guitar to itself)

This method involves finding notes of the same pitch on different strings and then comparing thtwo. The most common pattern is below:

6th string 5th fret = 5th open string5th string 5th fret = 4th open string4th string 5th fret = 3rd open string3rd string 4th fret = 2nd open string2nd string 5th fret = 1st open string

TuningIt is essential to get your guitar in tune so the pieces you play sound musical. You can train youear to hear slight differences in pitch with practice. Start by hearing a reference tone and thencompare that tone to certain pitch on your guitar (open string or fret). I f the guitar string is sharp(higher) or flat (lower) than the given reference pitch, you adjust it to match. This whole processwill refine your hearing and you will begin the basics of ear training.In the beginning stages you can use various aids in order to get you in tune.1. Matching pitches. Tuning your open strings to another instrument such as a piano, anotherguitar, or a recording.2. Fifth fret tuning. Tuning the guitar to itself (starting with a tuning fork, or a metronome, to getyou up to concert pitch A 440).3. Tuning to an electronic tunerMatching PitchesUsing a piano's 12th white key from the lowest note (left end of the keyboard), match the 6thopen string to the E note. Then match the remaining five strings to the equivalent key markedbelow:

Nut

II HI6th 5 t h

6th string 5th fret 5 t h open string5th string 5th fret 4 t h open string4th string 5th fret 3 r d open string3rd string 4th fret 2 n d open string2nd string 5th fret 1 s t open string

4th

Five Fret Tuning (tuning the guitar to itself)

3rd fret

IIt t3rd 2nd s tMiddle C

111

This method involves finding notes of the same pitch on different strings and then comparing thtwo. The most common pattern is below:5th fret

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Electronic Tuner

Electronic tuners make tuning your guitar very easy. They indicate the exact pitch of each stringwhile telling you (with an led display) if your guitar string is sharp, flat, or right on pitch. There iseither a microphone built into the tuner the detects the vibration of air that your guitar string isproducing or a motion sensor that feels the beats per second the moving string is putting outalong the guitar neck.

Tuning by Octaves and Unisons

Play the 7th fret E on the 5th stringTune the open 6th string to this note (one octave down).

Play the 7th fret E on the 5th stringTune the open 1st string to this note (one octave up).

Play the 5th fret D on the 5th stringTune the open 4th string to this note (by unison)

Play the 2nd fret B on the 5th stringTune the open 2nd string to this note (one octave up).

Play the 10th fret G on the 5th stringTune the open 3rd string to this note (by unison)

Electronic Tuner

Electronic tuners make tuning your guitar very easy. They indicate the exact pitch of each stringwhile telling you with an led display) if your guitar string is sharp, flat, or right on pitch. There iseither a microphone built into the tuner the detects the vibration of air that your guitar string isproducing or a motion sensor that feels the beats per second the moving string is putting outalong the guitar neck.

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Tuning by Octaves and UnisonsPlay the 7th fret E on the 5th stringTune the open 6th string to this note one octave down).Play the 7th fret E on the 5th stringTune the open l st string to this note one octave up).Play the 5th fret D on the 5th stringTune the open 4th string to this note by unison)Play the 2nd fret B on the 5th stringTune the open 2nd string to this note one octave up).Play the 10th fret G on the 5th stringTune the open 3rd string to this note by unison)

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Getting Acquainted With Music

STAFF

MEASURES

CLEFS

Musical sounds are indicated by symbols called NOTES. Their time value is determined

by their color (white or black) and by stems and flags attached to the note:

The notes are named after te first seven letters of the alphabet (A-G), endlessly repeated to embrace the

entire range of musical sound. The name and pitch of the note is determined by its position on the five

horizontal lines, and the spaces between, called the...

1st LINE

2nd LINE3rd LINE

4th LINE

5th LINE

1st SPACE

2nd SPACE

3rd SPACE

4th SPACE

E G B D G F A C E

Music is also divided into equal parts called....

One measure is divided from another by a BAR LINE

During the evolution of musical notation, the staff had from 2 to 20 lines, and symbols

were invented to locate certain lines and the pitch of the note on that line. These

symbols were called...

Music has three clefs, the C, F and G clefs. The entire

range of the Guitar can be written in the G clef and is

used exclusively in this book. Originally the Gothic

letter G was used on a four-line staff to establish

the pitch of G:

w j

NOTES ON THE LINES NOTES IN THE SPACES

It grew into

the modern

G clef

Getting Acquainted With MusicMusical sounds are indicated by symbols called NOTES. Their time value is determinedby their color white or black) and by stems and flags attached to the note:

The notes are named after te first seven letters of the alphabet A-G), endlessly repeated to embrace theentire range of musical sound. The name and pitch of the note is determined by its position on the fivehorizontal lines, and the spaces between, called the...STAFF

1st LINE3 r d LI NE2nd LINE

4th LINE

NOTES ON THE LINES N O T E S IN THE SPACES -1

E G B D GMusic is also divided into equal parts called....

5th LINE

1st SPACE

M E A S U R E S One measure is div ided f rom another by a BAR LINE

During the evolution of musical notation, the staff had from 2 to 20 lines, and symbolswere invented to locate certain lines and the pitch of the note on that line. Thesesymbols were called...CLEFSMusic has three clefs, the C, F and G clefs. The entirerange of the Guitar can be written in the G clef and isused exclusively in this book. Originally the Gothicletter G was used on a four-line staff to establishthe pitch of G:

2nd SPACE

It grew intothe modernG clef

3rd SPACE4th SPACE

A C E

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Notes Values and Rests

Rhythm Chart

The following charts indicate HOW MANY BEATS various NOTES and RESTS would get in time. You

can accurately measure the duration of each note by: (1) TAPPING your FOOT - to keep track of the beat, (2)

by COUNTING the number of beats given to each note. Notice that in the case of the EIGHT NOTE, a noteis played on both the DOWN and UP of the BEAT.

To understand the values of NOTES and RESTS (signs of silence) in the music, you must understand what is

meant by BEAT. The beat is the regularly or sometimes irregularly recurring pulsation of the music. When

listening to music, tap your foot to the beat of the music. You will discover that the BEAT is divided into:

note Count 1 2 3 4

Tap

DOWNand

UP

When your foot is Down

When your foot is Up

note Count 1

Tap

rest

note Count 1

Tap

rest

note Count 1 2

Tap

note Count 1 2 3

Tap

rest

NOTE: A dot adds one-half

the value of the note

rest

ONE

WHOLE

NOTE

TWO

HALF

NOTES

FOUR

QUARTER

NOTES

EIGHT

EIGHTH

NOTES

count

count

1 2 3 4= 4 BEATS

= 4 BEATS

1 2 3 4

count

count

Tap

1 an 2 an 3 an 4 an

1 2 3 4

= 4 BEATS

= 4 BEATS

# # $%

$ %

& & %' %'( )& &

#& &% % % %% % % % % % % %

Notes Values and RestsTo understand the values of NOTES and RESTS signs of silence) in the music, you must understand what ismeant by BEAT. The beat is the regularly or sometimes irregularly recurring pulsation of the music. Whenlistening to music, tap your foot to the beat of the music. Y ou will discover that the BEAT is divided into:

Rhythm Chart

DOWN A i dandUP 44 *

When your foot is Down

When your foot is Up

4The following charts indicate HOW MAN Y BEATS various NOTES and RESTS would get in 4 time. Y oucan accurately measure the duration of each note by: 1) TAPPING your FOOT - to keep track of the beat, 2)by COUNTING the number of beats given to each note. Notice that in the case of the EIGHT NOTE, a noteis played on both the DOWN and UP of the BEAT.

co note C ou nt ci 234 res t Tap -a t

-* I f-a t-t he-the-at-who

note Count Ql 2 rest T a p -a t -04 A l t

1 0i f

0. note C ou nt 1 2 3Tap . .a l t -04 -a t -e t c-a t-04

dJ noterest

411,note

7 rest

Count diTap - d i t t.Count 1

Tap

NOTE: A dot adds one-halfthe value of the noteONEWHOLENOTETWOHALFNOTES

ccount 1

count

2

2

3 4

3 4FOURQUARTERNOTES c o u n t 1 2 3 4EIGHT M M M MEIGHTHNOTES CO Unt 1 a n 2 a n 3 a n 4 a n

, 4 BEATS, 4 BEATS

, 4 BEATS

, 4 BEATS

Tap -a t-g oo-

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Three OctavesChromatic Scale # # # # # # # # # # # # # # # ## 0 1 2 3 4 0 1 2 3 4 0 1 2 3 4 05 # # # # # # # # # # # # # # # #

# 1 2 3 0 1 2 3 4 0 1 2 3 4 5 6 79 # # # # # # # # # # # # # # # ##

8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2

13 # # # # # # # # # # # # # # # ##

1 04 3 2 1 0

3 2 1 04 3 2 1 0

17 # # # # # # # # # & $# 4 3 2 1 0

4 3 2 1 0

9

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17/146

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3

5

7

4 Diatonic scaleE minor Scale on the First String

Arpeggiated E minor Scale on the First String

a m i a m i a m i a m i

0 2 3 5 7 8 10 12

10 8 7 5 3 2 0

0

0

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a

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3

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3

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3

18


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E, B, & G

Notes on the First Three Open Strings

2

4

6

8

10

13

16

Open Open Open

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E, A, & DNotes on the Open Bass Strings

2

4

6

8

10

12

14

16

44

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D 6

E7 4 E7

A E7

E7 A

Ex. 2A7 4 E7 4

A71

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2

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D A

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E7o 0 00 ME

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4

8

11

Ex. 1 E, G, B, Ep - i - m - a

Ascending Arpeggio

Ex. 2

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Ex. 1

Ex.

Ascending Arpeggiop - i - m - a

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4

8

11

Ex. 1p - a - m - i

E, E, B, G

Descending Arpeggio

Ex. 2

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Ex. 2

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4

7

10

13

16

Ex. 1 E, G, B, E, B, GAscending and Descending, p - i - m - a - m - i

Combination Arpeggio, #1

Ex. 2

7

10

13

16

Ex. 1

Ex. 2

Combination Arpeggio, #1Ascending and Descending, p - i - m - a- m - i

E, G, B, E, B, G

dp d pdp d p

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23


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4

8

11

Ex. 1 E, A, D, G, B, E

Combination Arpeggio #2

Ex. 2

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arm'''''.......

a llmmo

4

--I T W

d irm. .. .. .m. .. .. .. .

--I F

d ir' '''. .. .

18

11

Ex. 1

Ex. 2

Combination Arpeggio #2E, A, D, G, B, E

I T

I:w aa a aa a 4P a a a a a a a aa aa a a a a aa a a a 1

24


25/146

E, F, & GNotes on the 1st string

2

4

6

8

10

12

14

16

Ex. 1

Open 1st fret 3rd fret

Ex. 2

w w w

w

w

2

4

6 7 7 8

10

Ex. 1

E,F/

G

Notes on the 1st stringCio

7 7 7 7

7 7 7 7 CloEx. 2

Open 1 s t fret 3 r d fret

1 7 l 7 12 7 7 r to to t o14 7 7 7 7 /6 7 7 7 4.1

25


26/146

4

7

10

13

16

Ex. 3

Ex. 4

w

w

4 r r7 r 7 7 0 7 7 4.1 1

10

13

16

Ex. 3

Ex. 4

1 7 7 7 e ; e ;

7 dr 7 7 0

7 l 7 4.1 126


27/146

5

9

13

17

21

25

29

2i m i

m i m i m i

A SoalinAmerican Traditional

m

etc.

5

9

13

17

21

25

29

M etc.

A SoalinAmerican Traditional

TP 7 7 r.r

if

7 7 7 7

s

7 0

7 7 r.7

s

7 7 r.r

if

s 7 7 7

127


28/146

5

9

13

4Prelude

E minor arpeggio study

Fine

D.C. al Fine

String:

Fret: open 2nd 3rd 5th 7th 8th 10th 12th

w w

w w

w w w ww

w

w

w

w

w w w ww

J C I-cr

-CF

: I-

Prelude

-cr

-CF

1:7I-

J-CY

-C3-

Fret: o p e n 2 n d 3 r d 5 t h 7 t h 8 t h l O t h 1 2 t h 7 1

String:

-cr

-CY


-4E10-

-Cr

Fine

D.C. a l Fine

28


29/146

Oh,Oh,

whenwhen

1

3

2

D

thethe

saintsair

gois

- marchpure

2

1

3

G

ingand

- in.clean

- Oh,Oh,-

whenwhen

thethe

1 2

saintsair

gois

marchpure

ingand

- in.clean.

HowHow-

II

wantwant

toto

bebe

inin

thatthat

numnum

berber

--

--

7

WhenWhen thethe saintssaints gogo marchmarch ing- in.- -

13

4 D

Primary Chords in the Key of D

(D, G, and A7)

When the Saints Go Marching In

A7 D G

D A7 D

w w 0 4

0 2 2

0 4

0 2 2

0 4

0 2

4

w 0 4 2 2 4 2 0 0 4

2 2 2 0

w w0

40 2

4 2 2 0 0

A

4

A o

r-,

r-

-liolw-imt_

: I

1 . -

tr

m-

r ,

r i . -

,When the saintsWhen the saints

m-

0march -march

0ing -

C I oLlin. -

v o s t a = 1. -

. . . . . 1 1 1 1 1 1-

j r-, Co

A . . . .1 1 1 11 1 1-

al diJ

T

r-,

Oh, when theOh, when thesaints -air go march-ing i n . -is pure and c le a n - Oh, when the saintsOh, when the a i r gois

- ingand, - - - HowHow

0 I w a n tI w a n t to b eto b e inin that n u m- ber -that n u m- ber -inclean. -

B 4

T

4 2 2 0 0 . .

A 0 2 2 0 2 2 0 2B 0 4 0 4 0 4 4

2 2 2 0B 0 4

4 r-, : I

tr

r ,,When the saintsWhen the saints gogo

0march -march

0ing -

C I oLlin. -

j r-, Co al diJ

T

r-, 0marchpure - ingand

, - - - HowHow0 I w a n tI w a n t to b eto b e inin that n u m- ber -that n u m- ber -inclean. -

B 4 4 2 2 0 0 . .

TA 2 2 2 0B 0 4 2 2 4 2 0 0 4

4 r-, : I. r ,,When the saintsWhen the saints gogo

0march -march

0ing -

C I oLlin. -

T .A 0 0 2B 4 4 2 2 0 0 . .

7

/ 3

Primary Chords in the Key of D

A7

G, and A7

0 0 0

When the Saints Go Marching In

A7

A7 0 0 0

29


30/146

1

3

2

D

SheHe

sattold

thereher

behe

sideloved

- himher

2

1

3

G

andbut

playedoh,

herhow

guihe

tar,lied,

-

1 2

PlayedOh,

herhow

guihe

-

tar:lied:

playedoh,

herhow

guihe

tar.lied.

- SheHe

sattold

thereher

behe

sideloved

- himher

andbut

playedoh,

herhow

guihe

-

7

tar,lied, Played,Oh, herhow guihe tl- ai-- e-- r.d.-

13

3 D A7

Primary Chords in the Key of D(D, G, and A7)

Oh How He Lied

D

A7 D

J J2 2

4

3

2

4

0 2

2

3

2 0

0

2

J J0 2

23

2 2 2

4

0 2

4

0 2

23

j 2

0

0 2 3

24 0

13

;,..

a.

a

e. a : I

a .

r,

a

1 t i P C) tar, P l a y e d , h e r g u i - t - a - r .lied, O h , h o w h e 1 - i - e - d .0

r-,

T

3

a

A 2

B

0

She s a t there be -He t o l d h er h e side him and played herloved her but o h , how gui - tar,he lied, Played herOh, how gui -he

2

played heroh, how1 ,)- -, ,

gui - tar. S h e s a t therehe l ied . H e t o l d he r be - side h im and played herhe l o v e d her b u t o h , h ow

0T 3 3

2

2A 2 2

3

2 0 2 2 0

A

B 4 4

2 0 2 0 2B 4 4

a.

e. a : I, r,

a.

1 t i P C) tar, P l a y e d , h e r g u i - t - a - r .lied, O h , h o w h e 1 - i - e - d .0

a

T

0 2 3

A 2

B

0

tar:lied: played heroh, how

1 ,)- -, ,

gui - tar. S h e s a t therehe l ied . H e t o l d he r be - side h im and played herhe l o v e d her b u t o h , h owI)ui -he

2 2T 3 3A 0 2 2 2 2 0 2 0 2B 4 4

e. a : I, r, r r P 1 t i P C)

tar, P l a y e d , h e r g u i - t - a - r .lied, O h , h o w h e 1 - i - e - d .0T 0 2 3 A 2 2B 4 0

1

Primary Chords in the Key of DD, G, and A7)

0 0 0

A7

Oh How He Lied

A7 0 0 0

A7

30


31/146

Notes on the 2nd String

B C and D

2

4

6

8

10

12

14

16

Ex. 1

Open 1st fret 3rd fret

Ex. 2

w w w

w w

w w

2

6

8

0777 7 7

7 7 7

10 112

r

14

7 7 716

Ex I

Ex 2

B C and DNotes on the 2nd String

Open 1 s t f ret 3 r d f ret

31


32/146

4

7

9

11

13

15

Ex. 3

Ex. 4

w

w

w

4 7 r r

7

9

11

43

13

15

Ex. 3

Ex. 4

I o o

7 7 7 40

7 7 7 7 7 7

7 7 7 r32


33/146

Andante

4

7

10

13

15

r l r

4

7 7 7

7 r l 7

1

13

15

Andante

r 7 r r

7 7 7 7 7

r33


34/146


35/146

English and American TraditionalFor He's a Jolly Good Fellow

5

9

13 Fine

21 D.C. al Fine

For he's

G

a Jo ly- good fell

ow,

G

- For

he's

D

a jo ly- good fell

G

ow,- - For

he's a jol ly- good fell

o- ow- that

noG

bod y- can

D

de ny.

G

-

That no

G

bod y- can

de ny

G

- That

no bod y- can

de ny

G

- - - - - -

35


36/146

Guitar 1Guitar 2

Gtr. 1

Gtr. 2

4

Gtr. 1

Gtr. 2

7

Gtr. 1

Gtr. 2

10

Gtr. 1

Gtr. 2

13

Gtr. 1

Gtr. 2

15

Ode to Joy

Ludwig Van Beethoven

(1770-1827)

(from Symphony No. 9)

J j J j J j

Guitar 1

Guitar 2

Gtr. 1 [Gtr. 2

Gtr. 1 [Gtr. 2

Gtr. 1 [Gtr. 2

10

/3

Gtr. 1 [Gtr. 215

Gtr. 1 [Gtr. 2

Ode to Joy(from Symphony No. 9)

Ludwig Van Beethoven(1770-1827)

r

7 J

0 7 L 2

36


37/146

G & ANotes on the 3rd string

2

5

8

11

14

18

20

23

44

Ex. 1

Open 2nd fret

Ex. 2

w w

w

2

5

8

11

14

20

23

Ex. 1

18 E x . 2

G ANotes on the 3rd string

Open 2nd fret

R.1 . 1 JJ

i l l Itl l

1,1 i iJ,J J . 1 CI, 1

37


38/146

4

7

Ex. 410

Ex. 513

Ex. 617

4

3

3 3

3 3

3

Ex. 3

w

j j j

i J

4 ,J

7a a 8

10

1o 7 a a a g13 1 a a a l a 4

17

Ex. 3

Ex. 4

Ex. 5

Ex. 6.3*2 ,J - 0 ,J - I

38


39/146

5

9

13

17

21

25

29

3English Traditional

(16th Century)

Greensleeves

J j

j J j J J j j J j J

4415

9P

13

17

21

25PT

29

t

to

r i

GreensleevesEnglish Traditional

16th Century)

39


40/146

4

8

12

16

20

4Song of the Wind

Traditional Folk Song

w

w

w

w w

w40


41/146

4

8

12

16

20

24

3French Folk Song

French Traditional

41


42/146

Shortnin' Bread

African American Plantation Song

3

5

7

Fetch

G

the dough in/the kitch en- sh ed,-

Ra ke- the coals- till/their hot

and .red.

G

Put

G

on- the ov en- and put in/the bre ad-

Ma ma's- cookin some short

nen'- bread.

G

42


43/146

Sur le pont d'Avignon

5

9

13

17

21

4 French Traditional(15th Century)

5 7 7 r 7 7 7 7 r9

7 r13

dr 1. 7 1. r17

Sur le pont d AvignonFrench Traditional

(15th Century)

a 0 ) o l i . a il l

21rprip

l o w lm

oa a A P 143


44/146

8

16

24

D E FD, E, & F

Notes on the 4th String

Ex. 1Open 2nd fret 3rd fret

Ex. 2

w w w

8

24

Ex. 216

Ex. 1

D, E, FNotes on the 4th String

D E F

42 3 2Open 2nd fret 3rd fret

ao ao J J

a a a a a a a a *1

I a a a a a a a d i a a a a

a a a a a a a a a a I44


45/146

5

13

18

22

4

Ex. 3

Ex. 4

w

5

13

18

22

Ex. 3

o a

a a a a Jo li

Ex. 4 1

a

i J 145


46/146

John Newton(1725-1807)Amazing Grace

# $ % & % % & %3# $ & % & % & % %6# $ & % & & %9

# $ % % % % & % % %( % %12# $ & % & % % & %15 $ & % & &

46


47/146

This

G

train is bound for glo ry- this train! This

E

- train is bound

for glo ry-

this

1

3

2

D

train! This

G

- - train is bound for glo ry- I'm

not tell ing-

7

you a sto ry,- This

G

train is bound

D

for glo ry,- This

G

train! - -

12

-

17

4arranged by Larry Ferrara African American Traditional

This Train

Strumming pattern

arranged by Larry Ferrara

7

12

This train is bound for glo - ry t h i s tr ai n

r, i Pthis train

17

000

you a s t o - ry, T h i s train

This Train

coo

This train

Strumming pattern

A m i m w m wmw m wmw mw m

r a i m i k l i r m i k v t r m m i n i r m m i n t r lN a t m u m n i

Em0 0 0 0

This train

is bou nd for g lo - ry

coo

is bound for g lo - ry , T h is t ra in

African American TraditionalX 0 0

is bound for glo-ry

C7 0

I m no t t e l l - ing

b l dir 0 o

47


48/146

Robert Johnson(1911-1938)Crossroads

Arranged by Larry Ferrara # $ $ $ $ $ $ $ $ % $ $ & $' $ $ & $' $ $ & $' $ $ & $' $ $ $ $ $ $ $ $# 3 0 3 0 2 0 2 0 2

022100

022100

022100

022100

022100

022100

022100

022100

022100

022100

022100

022100 3 0

3 02 0

2 0

6 # % $ $ & $' $ $ & $' $ $ & $' $ $ & $' $ $ $ $ $ $ $ $ %# 2 022100 022100 022100 022100 022100 022100 022100 022100 022100 022100 022100 022100 3 0 3 0 2 0 2 0 211 # $ $ & $' $ $ & $' $ $ & $' $ $ & $' $ $ $ $ $ $ $ $ % $ $ & $' $ $ & $'

# 02020

02020

02020

02020

02020

02020

02020

02020

02020

02020

02020

02020 3 0

3 02 0

2 0 2

022100

022100

022100

022100

022100

022100

16 # $ $ & $' $ $ & $' $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ ) *# 0221

00

0

22100

0

22100

0

22100

0

22100

0

22100

24

24

24

24

24

24

24

24

02

02

02

02

02

02

02

02

24

24

24

24

24

24

24

24

02

21 # $ $ $ $ $ $ $ $ % $ $ & $' $ $ & $' $ $ & $' $ $ & $'# 3 0 3 0 2 0 2 0 2022100

022100

022100

022100

022100

022100

022100

022100

022100

022100

022100

022100

Arranged by Larry Ferrara

rm:E)mAmx.r,

1 4ME,

' ' = W W W = 1 1 . W W W W.W = M I N W

, ,

, K W-,AMM

h Em -

W A M I M I CI raLw.drErEwmr.,mr.pEr.,wmrEmr.:krEr...wmrEm:.ErEwmrEmE LE 4

I n r n n a n a = 1

401-44=1:7M,-44:-44=IM

3 0 2 0 2

,ffmE l o , =, w m, =, =

Ea, m- 4 m - 4m-

E N = E I M E16p

. m m, m , , =m -.mm.

A , I r I r I r I r i p I r I r IT 7r r 7 F-

A d r e t 1 1 1 1 1 1 1 1 1 E n n =

21

Crossroads

0 0 0 0 0

Robert Johnson1911-1938)

48


49/146

# # # # $ #% $ #% $ #% $ #% # # # # $ #% # # $ #% # # $ #% # # $ #% # # # # $ #% $ #%# 2 2 0 2 2 1 0 0 3 0 022100 022100 022100 022100 022100 022100 022100 022100 022100 022100 022100 022100 2 2 0 2 2 1

6 $ #% $ #% # # # # $ #% # # $ #% # # $ #% # # $ #% # # # # $ #% $ #% $ #% $ #% # ## 0 0 3 0 0221

00

02

2100

02

2100

02

2100

02

2100

02

2100

02

2100

02

2100

02

2100

02

2100

02

2100

02

2100

2 2 0 2

2 1 0 0 3 0

11 # # $ #% # # $ #% # # $ #% # # $ #% # # # # $ #% $ #% $ #% $ #% # # # # $ #% # # $ #%# 02020 02020 02020 02020 02020 02020 02020 02020 02020 02020 02020 02020 2 2 0 2 2 1 0

0 30

022100

022100

022100

022100

022100

022100

16 # # $ #% # # $ #% # # # # # # # # # # # # # # # # # # # # # # # # # ) *#

022100

022100

022100

022100

022100

022100

24

24

24

24

24

24

24

24

02

02

02

02

02

02

02

02

24

24

24

24

24

24

24

24

02

21 # # # # $ #% $ #% $ #% $ #% # # + +'# 2 2 0 2 2 1 0

0 3 0 0 020103

1r a L w

I M1l l + 1

11.1 4.111

E R R =bur m i m m m m m r,m m r,m

burW W W W W W W

[ick

i p- - 0 - _ 0 _ _ 0 _ _ 0 _ w w w w w w w w-

2 2 2 2 2 2 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4222

0 0 0 0 0 0

I . I w wNow mm

11 P u r

-A I F W W W , m nor Aw- ra.m:drE:pwm:pm:rr:pwm:rm 1:dr r:. ww:rm:.nowm:r 1

: r : ; M i M M T M T,M W E W E M M El l

I NM ,c:a1 1 6, =W M 1, =W =

, 4= W -4W4=W-4=

, -4M. -,,-4=

M W, W,- -M

R m m m =

21

aW ' WW A W ZI r a u-W f==WW

= 1 3,M ZW,.=k=kM

I N I N, , B EE r w m w m, m w mE r mm m w mmwm

w mm . 1

m m W M M W M MIA M W M M M WM M M

A

2 2 0 2 2 0 0 3 0

4t()8

-Cr301020

1149


50/146

1 2 3

1

3

2

D

2

1

E

7

13

4 A

Primary Chords in the Key of A

(I, IV, and V7)

A7 D

A

A E7 D A

. .A

0 4

2 4

2

4 24 0 4

2 4

0

4 24

0 4

2 43

4 2

4

0 4

2 4

2

4 2

4

0 4

2 4

0 4

2 4

0 4

2 4

2

4 2

4

w 0 0 0 0

Blues Traveler

50


51/146

Guitar 1Guitar 1

Guitar 2

All day, all night Mar i- anne- down by the sea shore-

Gtr. 1

Gtr. 1

Gtr. 2

7

sift ting- sand All- - - of the peo ple- love Mar i- ann- -

Gtr. 1

Gtr. 1

Gtr. 2

12

e down- by the sea shore- sifting sa nd.


C G7

Caribbean Air (Marianne), Duet

Calypso Traditional

C G7

C

w

w

w

w51


52/146

5

9

13

A B C

A, B, & CNotes on the 5th String

Ex. 1 open 2nd fret 3rd fret

Ex. 2

w w w

w

52


53/146

3

6

9

12

15

Ex. 3

j j

j

j

53


54/146

Guitar

C

Gtr.

F4

Gtr.

C G7

Gtr.

F C10

Gtr.

G C12


American Traditional

Walkin Blues

ww

54


55/146

1

3

2

D F

E

5

1

3

2

D F

9

E

13

E

1. 2.

16

3House of the Rising Sun


55


56/146

Merle TravisTravis Pick

Kerry Livgren (Kansas)

Dust in the Wind

5

10

15

arranged by Larry Ferraram p i p m p m p i p m p m p i p m p m p i p m p

m p i p m p m p i p m p m p i p m p m p i p m p

Introduction

Cm p i p m p Cmaj7m p i p m p Csusm p i p m p Cm p i p m p Asusm p i p m p

m p i p m p m p i p m p m p i p m p m p i p m p m p i p m p

Asusm p i p m p Amm p i p m p Asusm p i p m p Csusm p i p m p Cm p i p m p m p i p m p m p i p m p m p i p m p m p i p m p m p i p m p

Cmaj7m p i p m p Csusm p i p m p Amm p i p m p Asusm p i p m p Asusm p i p m p Amm p i p mGp m p i p m p m p i p m p m p i p m p m p i p m p m p i p m p m p i p mp

0

0

00

00

00

0

0

0

00

00

00

0

0

0

00

00

00

0

0

0

00

00

00

0

3

1

23

20

23

1

23

0

23

20

23

0

23

3

23

20

23

3

23

1

23

20

23

1

20

0

20

22

20

0

2

0

3

20

22

20

3

20

1

20

22

20

1

20

0

20

22

20

22

3

3

23

20

23

3

23

1

23

20

23

1

2

3

0

23

20

23

0

23

3

23

20

23

3

20

1

20

22

20

1

20

0

20

22

20

0

20

3

20

22

20

3

20

1

20

22

03

000

56


57/146

6

12

16

E F GE, F, & G


Ex. 1Open 1st fret 3rd fret

Ex. 2

w w w

w

w w w

w57


58/146

5

9

14

20

4

Ex. 3

Ex. 4

w

58


59/146

Leyenda

4

7

10

13

16

6

w 59


60/146

Leyenda Isaac Albeniz(1860-1909)

4

7

10

13

16

6

w 60


61/146

LeyendaIsaac Albeniz(1860-1909)

5

9

13

17

20

23

6m

pi

0

a

0

w 61


62/146

Vals

Bartolome Calatyud

10

18

23

33

39

3

Arm 12

O O O 62


63/146

m

5

m9

13

17

21

25

29

37

3Arranged by Larry FerraraMalaguena

Spanish Traditional

63


64/146

E, B, & GNotes on the First Three Open Strings

2

6

10

14

Ex. 1i m i m i m i m i m i m i m i m i m

i m i m i m i m i m i m i m i m i m Ex. 2i m i m i m i m i m i m i m i m i m

w w w0

00

0 0

0 00 0

00

00 0

0 00 0

00

0

0 0

0 00 0

00

00 0

0 00 0

0 00

0 0

00 0 0

00

0 0

00 0

0 0 00

0

2

0 0

in i in i t

0 0 0 0

in

il l

drin

6

14

Ex. 1

Ex. 2

in j i n i i n

in

fl i

fl i

E, 131G

Notes on the First Three Open Strings

in j i n j i n j i n j i n

IJ t

0 0 0 0A 0 0

dr

0 00 0

IJ

d J d P

0 0 0 0

[ TA 0 0

0 0

0 0

in i i n i i n

11[ TA

in

fl i

[ TA

64


65/146

Gtr.

Gtr.

D6 D6 E7 4 E72

Gtr.

Gtr.

A E7 E7 A6

Gtr.

Gtr.

A7 4 E7 4 A71

3

2

D10

Gtr.

Gtr.

D A E7 A14

4

E, A, & DNotes on the Open Bass Strings

Ex. 1

Ex. 2

w w w0

0

0

0

0

0

0

0

0

0

0

0

0

0 0

w0

0

0

0

0

0 0 0 0 0

0

0

0

0 0

0

0

0 0

0

0

0

0 0 0 0 0

0

Ex.1,


66/146

4

8

11

Ex. 1 E, G, B, Ep - i - m - aAscending Arpeggio

p i m a p i m a

Ex. 2

p i m a p i m a

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

w0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

0

00

0

0

00

0

00

00

0

00

0

0

00

0

0

00

0

w0

00

0

0

00

0

0

00

0

0

00

0

00

00

0

00

0

0

LB

11

Ex. 1

Ex.

0 o

Ascending Arpeggiop - i - m - a

0 0

I D-

E G B E

66


67/146

4

8

11

Ex. 1p - a - m - i

E, E, B, G

Descending Arpeggio

p a m i p a m i

Ex. 2

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

w0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

0

00

0

0

00

0

00

00

0

00

0

0

00

0

0

00

0

w0

00

0

0

00

0

0

00

0

0

00

0

00

00

0

00

0

0

A

11

A

Ex. 1

a i n i

Ex. 2

a m

Descending Arpeggiop - a - m - i

4

: 7 7 7.

[

o o o o oAB 1 r-dr

o o o o w r d ro o o w r wo o o o - c 3 -

7--7--

-cr

E E B. G

67


68/146

4

7

10

13

16

Ex. 1 E, G, B, E, B, GAscending and Descending, p - i - m - a - m - iCombination Arpeggio, #1

p i m a m i

Ex. 2

0

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

0

00

00

0

0

00

00

00

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

00

00

0

0

Ex. 1Combination Arpeggio, 1

Ascending and Descending, p - i - m - a - m - i E, G, B, E, B, G

in a

0 0 0 0

4

0

[ TA

00

0

0

00

11Ex. 2

7

[ 1-

A

o

[ TABI3

A 016

00 0 0

0 00

0 0 0 0

00

0 0A 0 0

d

0

1168


69/146

4

8

11

Ex. 1 E, A, D, G, B, ECombination Arpeggio #2

p i m i a i m i

Ex. 2

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

w0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

0

00

0

0

00

0

0

00

0

0

00

00

00

0

0

00

0

w0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

00

0

0

11

Ex. 1

Ex. 2

Combination Arpeggio 2E, A, D, G, B, E

[ M E I I I M M E

:,..- w -W w i-wP i m i a i m i

T 0 o 0 oA o 0 0 o o o o oB o 0 00 00 o 0 0

[ 0 U . M O M U . M O M

, - . 1 . : 1 11 1 1 1

-CY

It4-1.0.jodE, 11AB 0 o o0

0

00 o0 0 0 0AB 0

W

00 00 o 0 o0

I I

0

-CY

069


70/146

E, F, & GNotes on the First String

2

6

10

14

Ex. 1

Ex. 2

w w w0 1 3

0 0 0 1 3 3 0 0 1 1 1 1 3 3 0 0

w0 0 0 1 3 3 0 0 1 1 3 1 0

0 0 1 3 1 1 0 0 3 3 1 0 1 1 0 0

w3 3 1 1 1 1 0 0 3 3 1 0 0

Ex. 12

[ ' ,12

ATB

0 0 1

0 0

aA I P P

6

14

Ex. 2

E/F/G

Notes on the First String

to t o

0 o o 1 3 3 1 1 1

to

3 3 0 0

7TAB

3 3

7 71 1 3 1

C I

0

1

[ TAB

A i l P a

0 0 1 3 1 1 0 0

a a

3 3 1 0 1 1 0 0

3 3 1 1TAB

1 1 0 0

IP73 3 1 0 0

70


71/146

5

10

14

Ex. 3

Ex. 4

3 0 0 1 3 1 3 0 1 3 1

w1 3 1 0 0 1 3 1 0 3 1 0

0 1 3 1 3 3 1 0 0 3 1 0 3

w1 0 3 1 0 0 3 1 0 1 0

14

Ex. 3r dr d r3

[t

TAB

r r3

r3 0

r3

rL 0-0- r 7 0- 7o U10oEx. 4

1I

m

TAB

7 70 1 3 1

73 3 1

73 1 0 3

r0 3 1TAB

o 7 73 1 0 1

C I

o

71


72/146


73/146

5

9

13

4Prelude


Fine

D.C. al Fine

Fret: open 2nd 3rd 5th 7th 8th 10th 12th

String:

w w w w

0

00

00

0

70

00

0

00

00

0

120

00

w w w ww0

00

0

0

0

70

0

0

0

30

0

0

0

0

w w w w 0

30

00

0

20

00

0

00

00

0

70

00

w w w ww

0

30

00

0

20

00

0

70

00

0

12

0 2 3 5 7 8 10 12

5


e

-cr

[ T

7:75-

a

o o o 7 oA o

a a a a a a

[ T

7 3--cr

o

-4:3-

o

-cr7o o o o o o o oA o o o oB o o o o

-cr

[ T

7:75-

o o o 7 oA oB o o

oo

J-cr3 o o

oo

C I

-cr

Fineoo

9

Prelude

- .1e7:75-

3

[1

TAB13

o ooo

-CV2 o ooo

J7:75-o o o oo

J-CV

7 o ooo

-e-cr

3 o o[ T

ABo

o

J J-cr2 o ooo

J J-cr7 o ooo

D.C. al Fine12

o

Fret: o p e n 2 n d 3 r d 5 t h 7 t h 8 t h 1 Oth 1 2 t h

String:

0 1 2

r i41

0 2 3 7AB

1

Et

73


74/146


2

6

10

14

2 4

4

Ex. 1

Ex. 2

w w w0 1 3

3 0 3 0 1 1 1 1 3 0 1 3 0 0 0 0

w1 1 1 3 0 3 1 1 0 1 3 1 0

w w0 3 1 3 0 0 3 1 0 1

w1 0 1 3 3 0 3 1 3 0 1 3 0

2

14

Ex 1

Ex 2


3 0 3

[t

A

3 0 1 3

1 1 1 3 0 3 1 1 0 1 3 1

11 3 1 3 Co 0 3 1 0 17 7 71 0 1 3A 3 0 3 1 3 0 1 3

1174


75/146

5

9

13

Ex. 3

Ex. 4

w0 1 0 3 3 1 0 1 0

w3 3 1 3 0 1 1 3 0

w0 1 1 3 0 0 1 3 3 1 0

3 1 1 3 3 0 0 3 1 1 1 3 0

5

Ex. 3

7 71 o

[t

T 0B r 3 3r 71

C3

0

73 3 1TB

r r3 0

7 71 1 3

(3

0

Ex. 49 11B

77 70 1 1 3

7 71 3 3 1

(3

0

13

3 1 1 3B

7 73 0 0 3 1 1 1 3

r0

75


76/146

Andante

4

7

10

13

15

3 1 3 0 3

1 1 1 1 3

0 3 3 3

3 1 0 3

1 1 1 3 1 3

0

Andante

o

3

r R

TAB

r1 3

r 3

r4

rA

B

7 7 71

71 3

o

[B

r 7 7 73 3 3

r 73 1

/0

ri

AB

r 3

r

13

7 7 71 I I

[ TAB

7 7 73 1 3

15 ro

[ TAB

r76


77/146

Guitar 1Guitar 2

Gtr. 1

Gtr. 2

7

Gtr. 1

Gtr. 2

12

Ode to Joy

Ludwig Van Beethoven

(1770-1827)

(from Symphony No. 9)

J 0 0 1 3 3 1 0

3 1 1 30 0

3 30 0 1 3 3 1 0

3

j 1 1 3

0 0

3 1

0

2 2

0

1 1

0 0

1 1 3

0 0

3 1

0

J 1 1 3

0

3 1 1 3 3

0

1 3

0 1 0

1 3

0 1 0

3

j 2 2

0

1

0

2 2

3

0

3

0 0 1

J 1 3

0

0 0 1 3 3 1 0

3 1 1 3

0

3 1 1

j 2

4

0

1 1 30 0

3 1

0

2 2

0

1

0

2 2

Guitar 1

Guitar 2

Gtr.

Gtr. 2

12veGtr.

Gtr. 2

7

Ode to Joyfrom Symphony No. 9s)

Ludwig Van Beethoven1770-1827)

0 0 3A

1 1 3 0

A

0 3

AP

0 3 1 0

1 1 3 0

0

02 2

0 3 3

a 0

1 0 0

0 0 1 3

1 1 3 0

3 1 0 3

AP

0 3 1 0

a : ?

1 1 3A

0A 2 2

3 1 1

0 2 2

:

3 3 1

03

3

03

0 1 03 3

1

1 30A

A 2 4 0

0 0 1 3

1 1 3 0

3 1 0 3

0 3 1 0

1 1 3 0

0

02 2

3 I I

0 2 2

77


78/146


79/146

4

7

Ex. 410

Ex. 513

Ex. 617

4

33 3

3 3

3

Ex. 3

Ex. 3

0 0 0 2 2 2 2 2

0 0 0 0 0 2 2

w 2 0 0 2 0 2 0

j j j 2 2 0 0 2

0 0 2 2 2 0

0 0 2 2 0 2


80/146

Greensleeves5

9

13

17

21

25

29

3 G English Traditional(16th Century)

E

G

E

G

E

G

E

j 2

1 30 1 0

3 00 2

0

j 12 2 1 2

01

22

j 0 1 0

3 00 2

0

1 0

2 1 1 2 2 2 J j 3 3 2 0

3 00 2

0

j 1

2 2 1 20

12 J j

3 3 2 03 0

0 20

1 0

2 1 1 2

21

1A 2 2B Arn

N E

o

[ 3

0 1A AmB nal Elliii

29

Amxo 0Greensleeves

English Traditional16th Century)

1 3to

3 0 00 2

1 2 0 1 22

0 3 0AmX0 0

00 2

1 0A

17

20 0

100 0

2 2 2

og

3 2 0 3 0 00 2

1 2 2 1 2 0 1 2

3A

3 2 0 3 0 00 2A l i t

1 0 2 1 1

r-2

1180


81/146

4

8

12

16

20

4Song of the Wind

Traditional Folk Song

w0 2

0 1 3 3 3 30

13 0

3

w 0

13 0

3 3 1 1 1 1 0 0 0

0

2 2 2 00 3 3 3 1 1 1 1 0 0 0

w 0

2 2 2 0 0 20 1 3 3 3 3

w w0

13 0

30

13 0

3

w3 1 1 1 1 0 0 0 0

2 2 2 0

81


82/146

4

8

12

16

20

24

3French Folk Song

French Traditional

3 2 0

3 1 02 0 2 0

3 3 3 2 2 2 0 2 3

3

1 1 1 0 0 0

2 2 2 0

0 2

00 2

00 2

0 1

2

0 12

0 12

0 1 3

3 3 3 2 2 2 0 2 3

3

1 1 1 0 0 0

2 2 2 0

82


83/146

Shortnin' Bread

African American Plantation Song

3

5

7

Fetch

G

the dough in/the kitch en- sh ed,-

Ra ke- the coals- till/their hot

and .red.

G

Put

G

on- the ov en- and put in/the bre ad-

Ma ma's- cookin some short

nen'- bread.

G

0 0

0 03 3

0

0

03

0

0 0

0 03 3

00

2 0

0 0

0 03 3

0

0

03

0

3 3 0 0

3 30

02 0

83


84/146

Sur le pont d'Avignon

5

9

13

17

21

4 French Traditional(15th Century)

1 1 1 3 3 3

0 1 31 0 1 3

0

1 1 1 3 3 3

0 1 31 3 0 1

3 3 3 3

03 1 3

01 3 3 3 3

03 1 3 1

3 3 3 3

03 1 3

01 3 3 3 3

03 1 3 1

1 1

01 3 3

03

0 1 3 31 0 1 3

0 20

1 3 1 0 1 3

03 2 3

0 1 31 3 0 1

5

9

13

17

21

Sur le pont d AvignonFrench Traditional

(15th Century)

7 7 I1 I ItAB 7 7 r3 3 3 7 70 1 3 1 70 1 3 07 7 F1 1 1r

r

AB

7 7 r3 3 3

dr 7 70 1 3 1

7 7 r3 0 1

3 3 3 3r . . 0 0 73 1 3 1 3 3 3 3 . 0 r3 1 3 13 3 3 3

t o

0 07

3 1 3 1

7 7 73 3 3 3

0I

3 1 3 1

a. I1

l z ,3 3 30 0 1 3 3 1

a do,

0 1 3 00 2

a r p 1. = 1 = 1 1

,

r

1 3 1 0 1AB

03 3 2 3

a a

0 1 3 1 3 0 184


85/146

8

16

24

D E FD, E, & F


Ex. 1 Ex. 2

w w w0 2 3

2 3 0 2 2 2 3 3 2 0 0

0 3 2 0 2 2 3 3 2 3 0 0 2

0 2 3 0 2 3 2 2 3 0 2 3 0 0

0 2 3 0 2 3 2 2 3 0 2 3 0

8

16

24

Ex. 2

Ex. 1

D, E, FNotes on the 4th String

D E F

i I02 IrB a3 0 02 02 a a2 3 - -0 3 2 0 0

0 3 2 0 2 2 3 3 2 3 0 0 2

[

I

a a a a a a a

a a

3 0

a

2 3 2 2

a

3 0

a

2 3

o

0

II85


86/146

5

14

20

4

Ex. 3

Ex. 4

0 3 0 2 2 2 3 3 2 0 0

w0 3 0 2 2 2 3 3 2 0

0

00

20

3 2 00

00

2

03

0 2

00

02

03 2

0

00

02

30 0

a

[t

TAB o 3 0 2 2

a a

2 3 3 2

Ex. 3

5

TAB o lo 3 J 0 2 2

J a a2 3 3 2

ILI

0

li

1Ex. 411ABi

0 0 0 2 0

a

3 2 0 0 0 0

14

TAB 2 0

a

03 2 0 0 0 2 0

a

3 2

20

TAB1

o 0 0 0 2 3

J.... . . . -

0 0

1186


87/146

Amazing Grace

John Newton(1725-1807)# $ % &

G

% % & %# 0 0 0 0 0 23# $

C

& % &G

% & % %# 0 2 0 0 0 0 06# $ & % & $ & %# 0 2 3 3 09#

$ % $G % % % & %C

% $ %( % %# 3 0 3 0 0 0 2 0 0 212# $ &

G

% & % % &

%# 0G 0 0 G 0 0 0 215 $

$$# $ &

C

% & $ 0 2 0 0

87


88/146

This

G

train is bound for glo ry- this train! This

E

- train is bound

for glo ry-

this

1

3

2

D

train! This

G

- - train is bound for glo ry- I'm

not tell ing-

7

you a sto ry,- ThisG

train is bound

D

for glo ry,- This

G

train! - -

12

-

17

4arranged by Larry Ferrara African American Traditional

This Train

Strumming pattern

0 0

0

2 0

2 0

0 0

3 3 3

0

3 0 3

3

2

3 3 3

0

3 0

0 3 2 0 2

3 2 0

2

0 0

0

2 0

2 0

0 0

0

0

0 0

0

0

0

0


ro

; 0

0 0 0

6 4 s,.

r, r,

0

0 0

.

,

This train i s bound for glo - ry t h i s- - - - - _ - - - - -

train T h i s train i s bound for glo - ry

o oyou a

doJsto - ry, T h i s train is

this train - - T h i s train i s bound for glo - ry I m not tell - ing

A

oI 3 3 3 3 3 0A 2

ro

; 0 0

6 4 s,.

r, r,

.

, --

o oyou a

doJsto - ry, T h i s train is

this train - - T h i s train i s bound for glo - ry I m not tell - ingoI 3 3 3 3 3 0A 2 0 3 2 0 2B

6 4 s,.

. o o oyou a

doJsto - ry, T h i s train is bound for

doJglo - ry, T h i s train - -

A

12

17

000

000

Strumming pattern

This Train

D7XO

=Pr M:A I = W M W-F M W M WM W M W MI

r , . .-m i nr mm mi n ir m in t ri

o w r m

N1WWWWWW

E n i E l S i M i a t a M n i M I M M E M I N M I

Em0000

000

African American Traditional

C70

X 0 0I

1 0 0 0

88


89/146

Guitar 1Guitar 1

Guitar 2

Guitar 2

All day, all night Mar i- anne- down by the sea shore-

Gtr. 1

Gtr. 1

Gtr. 2

Gtr. 2

7

sift ting- sand All- - - of the peo ple- love Mar i- ann- -

Gtr. 1

Gtr. 1

Gtr. 2

Gtr. 2

12

e down- by the sea shore- sifting sa nd.


C G7

Caribbean Air (Marianne), Duet

Calypso Traditional

C G7

C

w 0 3

10 0

31 1

31 1

0 3

1

0

2 0 0

3

2 0

3

0

3 2

0

2 2 0

3

w 3 1

0 0 0 0 3 3

1 1

0 0 0

3

1 0

3 2

0

3

1

0

3 2

0

1

2 0 0

3

2 0

w3 1 0

23 3

1 1

0 0 3 3 3 1

0

3 1

w3 2 0

3

00

0 3 3 2

0

3 2

89


90/146

5

9

13

A B CA, B, & C


Ex. 1 Ex. 2

w w w0 2 3

3 0 3 2 2 2 2 3 0 0

3 0 3 2 2 2 0 2 3 0 0

3 0 3 0 3 3 2 0 0

w2 2 3 2 2 3 2 0

90


91/146

3

6

9

12

15

Ex. 3

j j 0 2 3 2 0 3 2 0

j 2 2 2 0 2 3 2 0

2 3 2 0 0 0 3

2 2 2 3 0 0

j 0 3 2 2 2 3 2

0

91


92/146

GuitarGuitar

C

Gtr.

Gtr.

F4

Gtr.

Gtr.

C G7

Gtr.

Gtr.

F C10

Gtr.

Gtr.

G C12


Walkin Blues


3 3

2 2

0 0 2 2 3 3 2 2 0 0

2 23 3

2 2

0 0 2 2

3 3 2 2 0 0

2 2 3 3

2 21 1 3 3 4 4 3 3 1 1

2 2

3 3

2 2

0 0 2 2 3 3 2 2 0 0

2 2

0 0

0 0 3 3

0 0

3 3

2 2

1 1 3 3

3 3

2 20 0 2 2

ww1

3 3 3 3

3

2

3

10

92


93/146

1

3

2

D F

E

5

1

3

2

D F

9

E

13

E

1. 2.

16

3House of the Rising Sun


2

0 2 3

2 0

0 0

2

2 2 0

0 2 2

1

2 2 0

2 03 0 0

0 0

4 4

0 0

0

0 0

93


94/146


95/146

5

9

14

20

4

Ex. 3

Ex. 4

0 1 1 0 1 0 0 3 1 1 0

w3 3 3 1 0 1 1 0 1 0

0 3 1 0 1 1 3

3 1 0 0 0 3 1 0 1

1 1 3 1 0

95


96/146

Leyenda

4

7

10

13

16

6

0

2 3 0 23 0

2 3 0 23 0

2 3 0 23

0

2 30

2 3 02 3 0 2

3 02 3 0 2

3

0

2 3 0 23

02 3 0

3 1 0

2 3 0 22

0

2 3 0 22

02

0 2 30

2 3 0 23 2

0

2 3 0 2 20

2 3 0 2 20

2 0 2 3

0

w 2 3 0 2

30

2 0 0

96


97/146

Leyenda Isaac Albeniz(1860-1909)

4

7

10

13

16

6

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

0

0

2

0

3

0

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98/146

Leyenda

Isaac Albeniz(1860-1909)

5

9

13

17

20

23

6m

pmp

pia pi 0a 0

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98


99/146

10

18

23

33

39

3Vals

Bartolome Calatyud

Arm. 12 - - - - - -

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99


100/146

m

m8

15

22

29

36

3Arranged by Larry Ferrara Malaguena Spanish Traditional

0 1 3 1 0

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100


101/146

MAJOR SCALE - 5 POSITIONS

1

1

1

1

1

2

2

2

2

3

3 4

4

4

4

4

4

1

1

1

1

2

1

1

2

3

3

3

3

4

4

4

4

4

1

1

1

1

1

1 2

2

2

3

3

3

4

4

4

4

4

1

1

1

2

2

Documents

Study Guide Music 6A