Master Guitar In Days: Step-By-Step Guitar Lessons PDF For Beginners who can barely play air-guitar, and transform you into a Guitar God capable of. Check us out on the web at Look for more books from JW Productions coming soon .. Guitar Method Beginner Book 1 is a. Free beginner guitar video lessons link to youtube videos and my master the . Acoustic Guitar Lessons For Beginners Pdf Being able to play a guitar in front of.

Guitar Beginner Lessons Pdf Able

Language:English, German, Japanese
Genre:Business & Career
Published (Last):21.04.2016
ePub File Size:23.66 MB
PDF File Size:16.86 MB
Distribution:Free* [*Registration Required]
Uploaded by: MAXIMO

This pdf guide is a beginners book consisting of 20 Just before we start the course, it is important that you are able to read chord boxes, as we use them to. 5) Basic Open Chords. Open Chords & Chord Exercises Morning Has Broken (CD #2 Tr. 2,3,4). America The Beautiful (CD #2 Tr. 5,6,7). 6) Minor. Learn Acoustic Guitar: The Ultimate Beginner Acoustic Guitar Book PDF Learn Are you in love with music, but aren't able to play any instruments? guitar lessons #guitarlessons Easy Guitar Songs, Music Guitar, Guitar Tips, Acoustic.

Fretting fingers of fretting hand numbered 1 for index finger; 2 for middle finger; 3 for ring finger; 4 for pinky. You could also write in the actual notes in the Tab specification, although they aren't needed because the positioning of the fret number on one of the strings specifies what note is to be played:. Fretting fingers of fretting hand numbered 1, index finger; 2, middle finger; 3, ring finger; 4, pinky.

It might be fun to write a few Tab diagrams yourself by translating the charts that I present on the following pages using the above example.

It's easy to become proficient with Tab and it can be handy to know if you want to quickly learn bass parts from other musicians' works without learning how to read and write standard music notation.

Play this scale using the same fingering as with the C major scale, above, but start on the note, E, four half-steps higher on the A string, 7th fret. Play it backwards. Just for kicks and to expose you to the use of open strings which you really ought not get into the habit of using simply because you can't control an open string , play the E major scale from the lowest note, E, on the open E string going upwards using the following fingerings: E- no finger on E note, open E string, zero fret the nut, which the strings rest on ; F - first finger on F note, E string, 2nd fret; G - third finger on G note, E string, 4th fret; A- no finger on A note, open A string, zero fret; B- first finger on B note, A string, 2nd fret; C - third finger on C note, A string, 4th fret; Eb- first finger on Eb note, D string, 1st fret; E- 2nd finger on E octave note, D string, 2nd fret.

Try the same E major scale but now instead of using your first and third fingers to fret the fretted notes in the scale, use your second and fourth pinky fingers. What's most comfortable? Probably using the second and fourth fingers because, as you've seen, when you got to the Eb and E octave notes you were able to very naturally use your first and second fingers on those notes without having to move your entire hand and wrist down a half step to fret them.

This points towards a general rule of bass playing all rules have exceptions that you use the fingers on the frets in ways that enable you to reach all the notes that you will want to play with the least amount of vertical movement of the fretting hand on the fret board. Lateral movement of all sorts is okay, good! That's why you have multiple strings. Reread the general rule, three sentences ago.

Play the notes in each scale sequentially starting on the lowest C note, 3rd fret, A string and for the E major scale, starting on the E note, 7th fret, A string. These distances or numbers of half-steps remain the same for all major scales.

This is an important idea because it is what enables the bass player to be able to easily play in any key transpose merely by moving his or her basic fingering position up or down the fret board the neck of the bass , just starting the same patterns of fingering on a different fret!

Play these scales again. Try to play other scales using the same intervals and fingering patterns. Just start on different notes. You may wonder at this point where this is going. Bear with me for a little longer while I make statements about intervals and half-steps in one other very important scale: Similarly, half-steps can be counted between the notes of a minor scale and those spaces or distances will be the same for all minor scales in all other keys.

You learn one concept and consequently you then know many others. Note the underlined word, 'Positions', below. This idea of 'position' is very important and ought to be understood very clearly. Count the half-steps between the notes. You'll see a difference in the numbers of half-steps between some of the positions 1st through 8th in the major and minor scales.

This can be summed up by using the major scale as a basic reference point and defining the minor scale in terms of the major or simply saying that we get the natural minor scale from a major scale by flatting the third note, flatting the sixth note and flatting the seventh note of the major scale. This is an important concept! It is the concept that enables you to create all sorts of other scales and modes definition: You don't have to memorize this but just know about it because soon I'll discuss other scales and modes and you'll already have some knowledge of how they're constructed.

Do this: Play both the E natural minor scale and the E major scale several times to get the feel for the differences between the different fingers used for the different notes or the different positions on the fret board. Both scales start on the same note but their fingering patterns are a little different. These two basic patterns will be ones that you use over and over again. A natural minor - use the same fingering pattern as described above for the E natural m scale, just start the pattern on the A note, E string, 5th fret.

Play a G nat m scale. An F nat m scale. A question arises. Where should I start? On the bass, as in life, the word 'should' always brings with it certain expectations. My answer is you 'should' start the scale wherever you most would like to play it. I would make my decision dependent on how each scale would sound in context with other musicians. Since you're probably not playing with other musicians right now - play it starting off on both F notes, 1st fret, E string and 8th fret, A string.

These fingerings are good examples of 'positional' fingering patterns which you'll learn more about several pages in the future. Try them. They'll take you away from using open strings and develop a little extra strength in your wrist and fingers. The word 'position' is used to label with a number a unique placement in a structure or a sequence or to label a unique place occupied by a note in a scale.

The word 'positional' simply means placed, set in place or in a place as is a sequence of notes that is played in the same way regardless of where on the fret board the sequence is played.

Play other natural minor scales and some major scales. Move all over the fret board as you begin each scale on a new note. Name the scale in your mind as you play. This is a good basic warm up.

Play a bunch of minor scales with the unflatted 6th in them. Try to discover a new, comfortable, fingering sequence. Positions 1st 2nd 3rd 4th 5th 6th 7th 8th. The minor used in 1 2 b3 4 5 6 b7 8 much Rock music. These scales seem deceptively simple but, please, fiddle around with them for a while. Even though they vary by only a note or two these particular tiny variations are important.

Hear how different they sound? This is good ear training. Adding one or more parts to a given part. The art of combining melodies. These two scales, the Major and the Minor, are the most important for you to understand at this time.

They are the building blocks of 95 to 98 percent of all the rock music that you will play. I don't give you a million scales to practice because that can get boring. I try to show you some basic fingering patterns and also explain concepts. From these you may derive choices of notes to play.

Pentatonic Scales I guess this is as good a place as any to mention the Pentatonic scale. Penta meaning five. Tonic meaning tones. Five tones or notes. A five note scale. There are many pentatonic scales possible but the ones most often used in Rock are the major pentatonic and the minor pentatonic.

The major pentatonic is comprised of the 1st, 2nd, 3rd, 5th and 6th positions of the major scale. The minor pentatonic is comprised of the 1st, b3rd, 4th, 5th and b7th positions of the major scale, since, as I mentioned six pages ago, we are using the major scale as a basic reference point and defining the minor pentatonic scale in terms of the major. See the minor used in much Rock music, two pages ago. They are very often chosen on a practical, improve-the-fingering basis because they eliminate the half-step intervals of their respective full scales.

Makes it easier to work the strings and the fret board. Also, harmonically, each of the pentatonic notes is strongly individualistic and has little tendency to resolve to another note, ie.: They create a desire to hear another note, to feel a resolution of vague tension.

Why don't you play a few pentatonics using more or less the fingering patterns that you've already learned, that is, the fingering patterns minus a few fingers or positions. The major pentatonic can be used as a shortened version of a major scale and is therefore very useful for bass playing since you would rarely want to play all the notes in a scale and the minor pentatonic can similarly serve to replace any of the different minor scales.

This capability to replace any of the different minor scales is very interesting: This single five note scale is incredibly useful!

One fascinating use of pentatonics is the mixing of same root or tonic major and minor pentatonic scales! This is usually done while playing within a dominant 7th scheme more on 7th chords in about fifteen or sixteen pages. By switching back and forth between a major and a minor pentatonic - while playing in the same area of the neck - you can create highly unusual, unique, improvised note sequences which enhance the spirit of rock music!

This takes a lot of experimentation but is well worth the effort! Do try this. There are a lot of things you can do with pentatonic scales. Like using them as substitutes for other scales, chord-based bass note sequences and modes. However, many of these harmonic ideas lie well beyond the scope of this beginning bass booklet nice alliteration!

You can delve into them by reading more advanced music theory sometime in the future. As you can probably feel, pentatonics are an area that millions of Rock musicians are very fond of. This is definitely one topic you would do well to come back to after finishing this booklet. Make a note of this somewhere. End of day 7. Lesson III - Chord basics and connecting notes. So, again, where is this leading? To chords. Why chords? Because the rest of the music structures that you'll be playing within, played by guitar players and piano players, even horn players, but not drummers, will be made up of chords.

404 error!

Singers will be singing notes to fit into the chord structures. Lead players guitar, harmonica, flute players All this stuff in previous pages leads to the following ideas:. Chords are groups of three or more pitches.

Three notes, exactly, sounded together, are triads also, chords ; triads are chords. But not all chords are triads. Triad means three. Many chords have four or five notes or positions in them. Two note 'chords' are not defined as chords; they are called diads and sometimes, double stops. A Chord, as defined above, is created by grouping together three or more notes played at about the same time. But, what notes?

Well, basic major chords are made up of the 1st position and the 3rd position and the 5th position notes in the scale. This is the definition of a major chord. What notes are in a C major chord? C, E and G. Play them on your bass one after the other in sequence - a 'chord-based bass note sequence'.

I use this rather long but very explicit term to indicate that you are playing separate notes, not playing all the notes together as a guitar player might when playing a chord. This term also means that you will play the notes which, by definition of the specific chord mentioned, make up that chord.

Play them, the notes C, E and G, in two or more locations.

Guitar Lesson World The Book

Starting with the C note on the E string, 8th fret and with the C note on the A string, 3rd fret. How about the C note on the D string, l0th fret?

What notes are they in an E major chord? Play them on your bass as chord- based bass note sequences in several locations. Pick a few other chords, maybe D major and G major and Bb major. Name the positions of each scale in your mind as you play them, ie.: Basic minor chords are made up of the 1st position and the flatted 3rd position and the 5th position notes of the major scale or, more simply put, the 1st, 3rd which is the flatted 3rd of the major scale and 5th positions of the minor scale.

More on formulas which describe how to form chords several pages from now. What notes are in an A minor chord? A, C and E. Play them on your bass as a chord- based bass note sequence. Name them in your mind. What notes are in a C minor chord? Play them on your bass as a chord-based bass note sequence. Find a couple of different locations. Pick a few other minor chords, maybe F minor and Bb minor and D minor. We are just dropping mention that it's a major. When someone plays a chord or says that we're in the key of.

You won't be floundering. If someone plays a C chord, you'll know that the notes, C, E and G 1st position, 3rd position and 5th position are the basic notes that you can use in different combinations and sequences to play along with the C chord.

When the C chord is changed to an F chord, you'll know that to play along with the F chord you just have to find an F note on your bass and play the 1st, 3rd and 5th positions of the F scale, and follow the chord changes as they happen. For example if the chord changes to an Em E minor you'll just play the 1st, 3rd and 5th positions of the E minor scale, 1st, b3rd, 5th of the E major scale , etc. Often the 1st, 5th and the octave will be the most important positions notes for you to play.

As you play by following the chord changes you'll note that sometimes the same notes appear in different chords. This can make your note decisions easier and we will cover this idea in more depth later.

Connecting Notes You'll sometimes use 'connecting notes' to get from one chord-based bass note sequence to another. Much of the time the notes that are in the scale that you're using are the easiest to use as connecting notes.

You'll pick connecting notes up as you go along and learn to feel where they might be inserted in the sequences of notes you end up playing.

They add flair and style to your playing and take you a little beyond the basics. A notes which may be in the scale being used but do not appear in the particular chord structures or chords being played or. B notes which are not in the scale being used and, as such, do not appear to have any relation to the music structure. However, in the sense that connecting notes are useful for bridging different chord-based bass note sequences or even keys, they always serve a relational function.

Another term that you may hear which has the same meaning as 'connecting notes' is 'passing tones. Some people can even play a seemingly haphazard mixture of notes in the scale and notes out of the scale, only resolving see the next definition the overall sound or feeling of the notes with the chords being played the music structure at the last second or the last couple of notes in the melodic passage or the melodic-rhythmic passage in the case of most bass playing.

This is not explicitly related to the topic of connecting notes. Theoretically it is more advanced and complicated and is for your consideration a year from now.

Usually, 'concord' as contrasted with 'discord. These are a good examples of how you can further and sometimes more deeply understand musical ideas with the aid of a dictionary of musical terms see the Appendix - Carl Fischer publications.

How do you use connecting notes? Just about any way that sounds okay and not dissonant, unless dissonance is what you want at that moment. Just use them to make the bass line s flow smoothly.

The repetitious emphasis of one sound among several. Between two sequential short vertical lines crossing the five parallel lines the staff on which notes are written. Chromatic Scales 'Chromatic' scales: I mention this in tandem with ideas about connecting notes because 'chromatic' scales can be used to fill in the empty spaces between scales, within scales or between chord-based sequences of bass notes by just helping you to get around easier, to be 'connecting' one sequence of notes with another.

They're like connecting notes in a sense but, by definition, they are scales and therefore have a defined structure or sequence in contrast with connecting notes which do not.

Actually you can start almost anywhere in the twelve half-steps, depending on where in the music you're placing the chromatic section and what notes are nearby. Play two or three fully chromatic scales. Try some with the b2nd, 2nd, b3rd and b6th left out. You'll have to do a little sliding with one of your fretting fingers most likely your index finger here and there.

Try using a chromatic segment two or three chromatic notes to connect sequences of chord-based bass notes. F and F are the chromatic connecting notes between the C and Em chord-based bass note sequences. That last sentence was a tough one! Reread it slowly and play around on your bass and concoct a few more of these chromatically connected chord-based bass note patterns.

Then from the second chord structure back to the first. Not all chord-based bass note sequences connect easily using chromatic connecting notes. Find some that do. Try three and four chord-based bass note sequences and some chromatic connecting notes. Maybe from A natural minor to C natural minor to F back to A nat m with some chromatic connecting notes between each. Choose some others on your own. And try using minors with the unflatted 6th positions.

Chromatic scales are very cool sounding. Segments of chromatic scales are used a lot in Jazz and Funk. Syncopation Often chromatic notes are 'syncopated' or played on the upbeat, jumping a half-beat ahead of the count by suddenly switching the emphasis and timing of your notes from the downbeats to the upbeats.

Play some of your notes on the upbeats or between the downbeats using the ideas in the paragraphs above about 'chromatic scales.

Work at it repeatedly until you can do it fairly fluidly. If you need to, take an extra day. This skill will add excitement to your playing! For example, try playing these segments of a chromatic scale: Then repeat, starting with the C on the downbeat but play the rest of the notes on upbeats or between the downbeats.

Then alternate them. This exercise will help you get the hang of playing on upbeats. In Rock bass, playing the note on the upbeat rather than the downbeat. This causes the beat to sound 'quicker' and adds a little extra excitement! See 'Counting' on the third or fourth page. The half-beats between the beats that you count 1, 2, 3, 4. Try playing a few chromatic scale segments in several keys, say, C and Bb and A and Eb.

Play the positions 1, 3, 4, b5, 5, 6, b7, 7. Then syncopate the 3rd to the 7th position notes, 3, 4, b5, 5, 6, b7, 7, and repeat. Kind of a warm up. Then switch to playing notes in those keys that are chord-based. Say, first the notes in each chord in the sequence of this chord progression in the key of C - C, Em, Dm and G use a few connecting notes. For example, play the notes C, E, G the 1st, 3rd and 5th positions in a C major chord , then the notes E, G and B the 1st, minor 3rd and 5th positions in an Em chord , then the notes D, F and A the 1st , minor 3rd and 5th positions in a Dm chord and then the notes G, B and D the 1st , 3rd and 5th positions in a G major chord.

After you've played these four sets of three notes this would be an example of 'playing through the chord changes' play them again and this time add chromatic connecting notes between the 5th position of each chord-based three bass note sequence and the 1st position of the next three note sequence.

And connect the 5th position of the Dm chord, the note, A, to the 1st position of the G major chord by playing the note, G. Or play the two notes, A and G , repeating the note, A, in keeping with our convention of playing two chromatic connecting notes between the chord-based bass note sequences.

And then, play two chromatic connecting notes what notes would they be? This is a good example of what I mean by using connecting notes as well as using chromatic notes. Instead of dealing with notes' names you could also understand this by thinking in terms of positions.

If you really want to go nuts, you could try syncopating the chromatic notes. Of course to do this would require you to set up some kind of rhythm. See the earlier section on 'Counting. Another mix up: Then add some chromatic connecting notes to those chord-based bass note sequences.

What a trip! If you can learn to do this you're doing great! How are they related? By harmonic structure. That is, each of the chords has concordant what's the definition of 'concord'?

But simple. Try to figure out similar material in the keys of, say, D and F. I'm asking a little more of you here. I'm asking that you move your fingering patterns around to other places on the fret board. I'm also asking you to move groups of fingerings around to other places on the fret board. I'm asking you to transpose. This might be difficult the first time but persevere. It'll expand your musical mind.

Inversions Definition: Better reread this one slowly and multiple times. Mull it over. Instead of any music theory about inversions I'd just like to give an example and some numbers.

Play separately on your bass, for example, the three notes of a D chord: D, F and A. Play the D note with your middle finger on the fifth fret on the A string. Play the F note with your first finger on the fourth fret on the D string. And play the A note with your pinky on the seventh fret of the D string.

This is an extremely common fingering pattern which may easily be moved higher, lower or across the fret board. This is most desirable because you don't have to keep searching your mind for the correct notes to play in any given situation, you can just rely on fingering patterns which you've already learned and which are easily transposable all over the fingerboard.

It's possible simply because you're not using any open strings, which, in general, is a good idea. So, you've played the D, F and A notes as above, the 1st, 3rd and 5th positions of the D major scale.

Play them a half dozen times using the pattern above. Of course, forwards and backwards. Now, instead of playing the F and A notes where you've just played them, in your next sequence of three notes, play the D as above but now play the F note with your first finger on the second fret of the E string and then play the note, A, with your pinky finger on the fifth fret of the E string.

Repeat this pattern a few times switching the D note fingering to your pinky. This second pattern is, for bass players, an 'inversion' of the first pattern. You've inverted both notes, F and A, 3rd and 5th positions, having played "upper notes lower," see definition, last page. Play the two patterns back to back. Play this a half-dozen times. Play the variation D, F , A, F. Move these 'positional fingerings' to several other locations on your fret board.

Numbers In the first pattern, the notes D, F and A are the 1st, the 3rd and the 5th positions of the Dmaj scale. That is, usually we visualize the positions as going upwards to higher notes. In an 'inversion,' as bass players, we often but not always visualize the notes as lower than the 1st position or tonic note.

In going downwards, inversions, we count down: A third up F is a sixth down also F but an octave lower. To reach the inverted A note, how many down must you count since the usual A note, the 5th position, up, is counted up as 5? How is this inversions useful? Well, inversions extend your range and choices of notes that you can play and once you get the hang of regular upward moving fingering patterns and then inversions, you won't bother counting any more, you'll just know the 'positional fingerings'.

Very important idea!! Also, inversions help you to play lower notes.

It's your job as a bassist to generally play the lowest notes possible, to be the support of the music in the ranges above the bass. The bass holds up the band. Positional Fingering We must make a distinction between the musical use of the words, 'position' and 'positional'. The word, 'position', means to label with a number a unique placement in a structure or a sequence, a place occupied by a note in a scale ' and 'positional,' means 'placed, set in place or in a place' as with a sequence of notes that are played in the same way regardless of where on the fret board they are played.

By this latter term, 'positional,' I mean 'positional fingering'. Positional fingering is what bass playing is all about. I cannot emphasize this enough. Inversions are just other forms of positional fingering.

You'll notice that almost all positionally fingered patterns can be played within a fret 'box' of four to six frets and usually on only three strings at a time within that box.

Of course once you reach this point, it'll become clear to you that it's time to abandon using open strings for the most part. Why don't you review the previous information now. Play around on your bass with these ideas and fingering patterns.

There are some additional things: These are learned by feel. Or maybe, mechanically, by repetition. Also, you will become infected by the Rock musician's eternal Quest for Tone!

Tone in this context is how a note sounds. It's produced by combinations of all the techniques that you pick up by practicing as well as listening to songs as they're played on CDs or the radio, by trying suggestions that are given to you by other players, by trying different effects which can be obtained from both effects devices as well as by the manipulations of the strings by the fingers of both of your hands as you play see the techniques in the Appendix.

Of course tone is also created by turning the knobs on your amplifier. This is where you begin to improve your sounds and create your own style s. I won't go any further into music theory or technique because this stuff is up to you - what you like or dislike, who begins to influence you musically and what directions you want to go in.

All that I present in these basic lessons is designed to bring you to the point where you can know some basics and actually know what you're doing while conversing with and playing with other musicians. I might add that knowing this stuff will help you if you decide to switch instruments, too.

Guitar Lesson World

All this scale and chord stuff is used by everyone on all other musical instruments. Information that helps. When playing notes in an upward or ascending direction, when you get to the 7th, play the major 7th in major scales - in minor scales, of course, play the minor 7th and when playing notes in a downwards or descending direction, when you get to the 7th which will be more quickly than when playing in an upwards direction , play a minor 7th even when you are playing within a major scale or chord - it just sounds better!

Of course if you're playing within a minor chord framework, you'll also use the minor 7th position note when playing in a descending direction. Lesson V - more on chords. This information is a l i t t l e more advanced. While you're learning this next lesson please continue practicing things like:.

Use at least the first two fingers if plucking. Try alternating your thumb with your plucking fingers. Build up some speed. Use down and up strokes if you're using a pick. They are the same for bass. More on chords. Why do you need to learn more about chords when a bass player doesn't play chords?

At least not in the sense that a guitar or organ or piano player plays chords, by striking three or more notes simultaneously or very close to simultaneously. Well, what do you do when the organ player or guitar player says she's playing a minor 9th chord?

Bass Guitar Lesson - Rock Bass - Beginner to Pro in 4 Weeks

Or a diminished chord? Or a major 7th? Or a 7th flat 5th? Or an 11th? Or shock! The answer is: You can do that! With a bass! And by using one or another of the techniques in the Appendix and by choosing which bass notes to play to emphasize one feeling or another in the overall music structure you can create moods and emotion in the music! You can be gross or be very subtle. Bass has a lot more going for it than just thumping along with the drummer's kick drum which is, of course, always a very good idea no matter how cool your playing gets.

This is a very important Rock basic, this coordinating with the drummer's kick drum, one which you ought not ever forget. In the Rock musician's eternal 'Quest for Tone' it also means loosely the bass or treble sound, the texture or scratchiness or smoothness and roundness of the note, the 'punchy-ness'. So, if someone is playing, say, a C chord and changing to an F and a G, you have a pretty good idea what to do, right? Let's say that the guitar player says, "Let's put an A minor 9th in here.

Well, you know, the A tonic note can never be wrong. So you start with that. Then you know the 5th E sounds good most of the time so you throw that in. So far so good. Sounds good! But a little simple. So you question your knowledge base in your mind: So you know where the minor 3rd is because you know that you just flat the major third. Now you've got three good notes!

But what else can you do? Well you now have the chance to learn from reading the info below that 1 any minor 9th chord has a minor 7th a flatted major 7th in it. So you think - the major 7th, a G still talking about the A min 9th here and flat it to the G note, maybe higher than the tonic note or lower than the tonic an inversion , a lower G note two frets lower than the tonic. But what's this 9th???

Well, a 9th is the next whole-step beyond the octave, the 8th, in this case, the B note, one whole-step above the octave A note. Guitar Chord Progressions Guitar Chord Charts for Beginners Before diving into how you can play chords on your guitar, it might help if you understood what a chord is, no?

Feel free to skip ahead if you already have a basic understanding of how chords are defined. If not, though, keep reading. You probably already understand what a note is. A chord is any grouping of three or more notes.

You can play them melodically, one note at a time, or harmonically, with all the notes sounding together, but they're chords all the same.

The notes you group together will change the sound of a chord, obviously, and will also change the name of the chord you are playing. There are hundreds of combinations, and on the guitar, the most common method for learning these combinations is through chord diagrams, which are also referred to as chord charts.

How to Read Guitar Chords When you look at a chord chart, you'll see 6 horizontal lines and 6 vertical lines. This is no coincidence. Developing your reading of music notation and guitar tablature;. Counting beats and rhythms, including tied notes and developing musical awareness;. Developing the ability to play musically using legato smooth and connected playing , staccato short and detached notes , basic harmonics and develop your dynamic range soft to loud It has been said that the famous classical guitarist Julian Bream practices his whole repertoire for a particular concert in slow motion before he performs it even at his level!

I can attest to the veracity of the statement - it's a good idea! Playing slowly also helps to develop your confidence and really, speed should be the last thing on your mind when learning the guitar. Accuracy and quality of tone is of prime importance before anything else. You'll also notice in some of the videos that I rest my thumb of the right hand on the lower "E" string as I'm using my "i.

This provides more stability for the beginner when learning to use alternating rest stroke and is a good idea for an absolute beginner. As you get more experienced and start to play harder music you'll need to be more "fluid" with both of your hands. Also, you will have also noticed after watching the videos that I count the beats before playing. This helps you with counting and timing in terms of beat pulse and rhythm note lengths.

In fact, it is a good idea when you are a beginner to play the notes, tap your foot to the beat, say and even sing the notes of your piece if it's an easy piece of course.You've got new people to meet, places to go!

Another benefit of employing this method is that you are analysing the music on a much deeper level than just playing the "black notes" and this leads to a much deeper and quicker understanding of the music. Maybe there's a book in the local library about it.

Play them on your bass one after the other in sequence - a 'chord-based bass note sequence'. Of the Cmaj key.

CORINNE from Alexandria
I am fond of reading novels easily . Feel free to read my other articles. I have only one hobby: collecting swords.