Table Of ContentRhythm Guitar
Thee Cottyplete Gtttile
_2_Luxaeterna
be on
T3By 0-7 728-833)
i tavseonarn
Introduction
Chapter One
Osjecives.
Tne Baga
a Gens
Ger Postia Mor Chur
Mire "Basse Veen
Shourieg ard Mhylirke Cen
Fiyecs aoe
Chapter Two
objects
Gor Fosiian Grerds
Dom ent 3+ Chords
Pesitrord Strum ng
Practice Tips
Fegarsive vs. Flap king
vee Sime
Chapter Three
Ob ect vs
are
Bare cha
avo Chav
Hanes ot §
asie ¥
Fea
salt Sain Sig
sin Filta Svirg
vem of Pallas
Chapter Four
Object vas
Dominant 7h Bae Chards wt Sick Suing “ious, 2
Moveable Shaaoe
ina Ah Carte Choe va Fh Sg: e's
Haves
vein''g and Aaermiy Corie
Progressions
e
Chapter Five
Odjecives
Ampesarce Halla
Apogee Salen 2
Pages ene
Chapter Six
Objcoives
Powcr Chiod Shaws
Power Crocs witha
Shuct Hage rg wit hae
Ghapter Seven
ovale Maja
Morb i
Contents
Chapter Eight
Sth Cords
Bomninare ata Chaves
Blies Chat
Chapter Nine
Otjeatives
More 6th Shores
More Barner aim Grave
chase
Chapter Ten
Objectives
Hermari7ed Wajor Seale
‘Sesis Mowe?
Fowa Numeral sa in Hesmeniod Seskes
Chapter Eleven
Oryacte
Brayeing Por
Crd earls
area Chord Peng
Chapter Twelve
Saectves
Sitsanit Nelo
Suspension 1 Grks
Baringel Foust
Chaptor Thirteen
Objectwes
‘You Sisaenth Vote Figvies
Gane Mlensure Pattarns
Chapter Fourteen
Dhwalines
jos sre Mina’ th Cord
chavs
Chaptor Fifteen
Chapter Sixteen
Saselies
use Ghords
Chapter Eightoon
peers
Tih snd 5 Cords eth Fact Slney Peas
Wade
Chapter Nineteen
On.scives
The va Patera
‘Datave Jump" Sxercise
Pragressions
CGyele 0 Fourtys Exorgo
Chapter Twenty
Valeng
‘Basie Novae!
Pragressiorss
Chapter Twenty-One
Ojectives
Formals fh Cher
Xjor 7lu Chord Shapes
Dem agrt th Shore Stapos
Xinor 71h Chere Shapes
"asic Mave"
Proruceene
Chapter Twenty-two
Onjectives
aj Zin Cnard Shapes
Baninent 7th herd Shapes
nor 7ia Chord Shapes
“Basie Mave"
Ganrating #16 Peters
Progressions
Chapter Twenty-Three
evasion
Major Tats
rainor Tied,
‘ALgmentod tags
Trinket Tacs
Penis a Romember
Chapter Twenty-Four
ore Thad versions
‘Rerase” the Noe
Poirts ts Slememser
Chapter Twenty-Five
nyt and interprotation
Asien
Practice Tps
tythmie Interpretation
Progressions .
Chapter Twenty-six
Fiagering Pattor 4
Tho ratrmonized Scale
Freres
Chapter Twenty Seven
Cojootives
Chapter Twenty-eight
Dbjesties
ager Paltorn 5.
“The Hermarizec Soa, i
i Pastein & Srepes
Chapter Twenty-Nine
Combined Steng-Sets for Harmonzed Seales
Pragioss.o1s
Chapter Thirty
Sheecrtt Nore Strumming
Ose-tar “aboens
Base hove!
Progrossions
Chapter Thirty-one
\Wetirg Rhyias
ere Gnowle
reagan
Chapter Thirty-two
Flash Contral Exercises
ove tered Dom nant Chon
Acs9 Chords
Chapter Thirty-Three
Objectives
Tre i Pragiessior
Yor ending
Commo’ Tare and Gicses: Tore
Gortary et 24 H
Chremstte Viewer
Gnat
cr
apter Thirty-Four
ipl: tearm g
Ore and Tua Ber Paterns
chart
Yoru iets
snr i
Chapter Thirty-Five
Crating Parle
Dowole Stoas a Thids
"Ensia Maven!
chapter Thirty-six
ore Dautia Steps
Douala Steas in Fourins
Dousle Store in Sisths
Chapter Thirty-Seven
ingle Notw Hy Pans
Apolearsns
Introduction
fg art and erat of good Faythm guitar slaying is tot slays taught or practiced correctly by
| al guitersts, [tis the aim of this Rhysim Guitar cutriculum to give You the tools andl
nspirstion fo study and play “rhyinm’ wilh knowledge and corsetion,
Findatrentals are always important fo technique arc tha reviewing of material is mandatory. This
1s simply and prograsses lo kevanzou topics, but it must ba stracsed that tne earning of
the marerial nas te go hand in hand with tho “slaying” of ne materal. This fs achioved through
Ciscipined practize and c-eatve application in performance.
"You reed to practice the material well enough so you can perform all examples and playing
techniques. Repetition in practise and performance rakes solid myth guitar. Regardless of your level
cof chord knowledge experience ir playirg ryin gue, his Book will serve as an "idee source” from
You ean invent your own sounds. Remambs thal anything can go arywaere using the right
exproach ar your ears
We recormer¢ shat you also velo’ ta other Musician's ‘nsute books, Single Sing Technique (oy
Dan Gilbert and Beth Maris} anc iMusic Reaaing for Citar by Dal Caxast; wish pul foth ana actine
many ofthe fingerhoaid and rishi appicatons used in this book, [ce a'80 a good idea :0 Seok the
duce of locel teacher hat gan check your progress ar teip you evar ery couga spol.
Finally, word about erscticing: Use a merronare anor erum machine wnen leaining oxarmplos
and practica all progressions ala variety of tempos, Ase, be creative n tre use ofall your learning tools
(Tapes, books, videos, sequancer, CDs. Try and build a repertcira of progressions and gongs. Wirito
our owe progresses and songs, The more oreatve you become in your approach; to choras, the
‘easier he shapes will become,
Chapter One
Objectives
+ Toundo-a chord sha
nd clagrarns uses
lear proper raltng hand placement
+ Tear major are minor open posits chords forthe coven unis" {4-B-C-C-E-F-G)
+ Tolear besic Summ re technique ane! hy:himie 2ortol exevelees
+ Toplay "basic
The Diagram
This vertical stagram is the ast commons uses dageamn sor
fuitay tis used to show Pre “rs “OUT oF Ive fee staring a 290 rut
The frets ero actual y he metal wros, Howover the tret ee ithe |
Soace Detween the rl andl fret, 0° ror ans Inst I exe aeK}
senavally ‘ofoctad le as ths “re.” Fre aro umbared toe #1 28 the
Towa, allthe way uo bia we to the gest,
ies a numeral wil be used a: sho lowes! fret che
ting fret other than the 3h, Tis
‘say, you can use this diagram to show any “our of fo sorsecitive
fretsen
Tho stings are also numbered. The higneet-ptc
‘The note pictured! tothe right isthe “thud at
fn tho neck deserted n this manne
diagram to indicate @cifarant
wo
Open Posi
Tro Fist s2uen chon we wn
jon Major Chords
oro rar ads, bull teen he eovoninalural les: A-B-C-D-E-T-6.
These are termed natsral because thay have np stars () ef Lats f kv combination vit the leter
ame, The lever is aso called tha /901. “ha t00! «ses sme chs iis ame wn i also he “st note in te
Fajr scale of bia ct
SoMa
+ Place the fingers of he trating nand just ein tye metal fat was,
front "alto the fet area.
+ Use the a fingers tlingertip
+ Place thumia bohind neck atthe second frot
+ Practice all sven shapes ere mamorize them,
ha finger isn the
“Basic Moves”
steno
Bop ¢ “ives” are shit canis eatin 9 shor thas cr bree) lal ore tyo'sel movement
shapes fours inside longer choz: proyreseens ant songs. 'N
us to rick the srenstticr fom ene chon 0 austen ar aursruate vesporse. Mep
patience, a7d observation ofthe fraviag asre amare
fe ave "wasnt te 99 paotiond oa wy
lary 1a ake eonry Weve 28s
14 29a" the proces section, Generally, a repest sig indizales to
08, Hoswver, a eirector sucn a6 ‘play 4 tmes! can alle” the rte" of
18, lay 4 tines as a minie-Lm, and eventually work Up your
The repeat sign (f} ea
Fay al sector a ota Uo &
repeats to te played, For thase aver
rd. 0 8 ews oF we
+ Practice ase pregress'ons sialy aid cleanly solaiw spear us
+ lay wth coy astokos of 8 pink na each net, ec al, “on, de. UE
+ Each "hash mark” reavesenis one be
de fob Pt | ot ra
Mirra ses errr lrer ei
cnapter
Open Position Minor Chords
Hore 20 the seven “raturl
Fg. 2: minor chords
cm
Bam
T
i
ul - LL Ut
More “Basic Moves”
Ply the folowing "buses oves” or minor sieds
ET am pe sins
(Ce eee r 4
Aw b yess
Remamber
+ ogatiton and -laxation,
+ Eventually, play ely: tmres through each set of chords,
Strumming and Rhythmic Control
| earing to strum relaxes
Chapter 1
Now, try applying these raythns te cho-ds, ear the quarter note gulse and the aightn rote
subdivision ofthe beat
D
Ext
En22 Ea
annnon
dal ididi TT TD 1) lett 1 1
Ex.23 Am
Reevavey ow
EA 1 LA
>
711) 1 |td
Progressions
Progressions are combination
that defines their coun
sonters" by ear while playing
“The following progressions each have a certela key cenlor. an you name the | chord? (Answers
coven on page +0.)
hords repented ina patern, They usuelyy cortaln a Koy enter
to be abs ta play cornon progressions ane recageizs thal "x0y
+ Prartioe untl he chores flow are the sythi,
(2 up your axr progressions
ay cet 26,284 27. Be A EE GE OES SL
