1|School
of
American Music
Musical Foundations
Frets, Notes, Chromatic Scale
PARTS OF THE GUITAR
Fret board, Nut, Bridge, Sound hole, Frets
Strings
bottom = fattest
top = skinniest
E
A
D
B
G
E
Names of strings from top to bottom  e b g d a e
Skinny string = higher pitch, fatter string = lower pitch
Name of the string = the note
produced when you don’t hold
down the string = sound of the
open string
1
2
3
MAKING MUSICAL NOTES
e
1
d
a
g
b
e
c
f
When you hold down a string at a fret, the note changes because
the amount of string that is vibrating is shorter.
f
Shorter string = higher pitch.
b
e
c
f
a
2
3
g
Each fret reduces the string length by about 8% (logarithmic scale)
a
d
g
c
e
a
f
6
7 b
e
c
f
8
g
b
4
5
d
9
a
b
d
b
e
g
c
d
g
c
f
a
d
12 e
a
d
g
b
e
10
11
MUSICAL SCALE
The series of notes and intervals that we are used to for expressing pitch
changes in a song. We are used to scales with 7 notes (Do re mi fa sol la ti )
2|School
of
Musical Foundations
American Music
C MAJOR SCALE Called C major scale because it begins with the note C It’s called a
Major scale because it’s not a Minor scale (more on this later) C is called the ROOT NOTE of
the scale Root = the note that is the name of the scale. The distance between the low C and the
high C is called an OCTAVE because it counts out eight notes  c d e f g a b c
C Major Scale
R
C
do
2
D
re
3
E
mi
4
F
fa
5
G
sol
6
A
la
7
B
ti
C
do
Find the low C note on the fretboard -- on the 5th string
Find the C note an octave higher -- on the 2nd string
Find the C note an octave higher than that -- on the 1st string
Find the C major scale on the fret board
Start at the third fret of the 5th string
Find another C major scale starting at the 1st fret of the 2nd string – and stay on the 2nd string

For piano players: Middle C on the piano = the note c played at first fret of 2nd guitar
string . . . music for guitar is always scored one octave higher that it sounds on piano
SHARPS AND FLATS
The are 7 notes in the C Major scale . . . c d e f g a b = the WHITE KEYS on the piano
But there are 12 notes between low C and high C = 7 White Keys +
5 Black Keys
The five notes between c d e f g a b are the sharps and flats
Each of the in-between notes has two names, depending on whether you are thinking of it as
above the note to the left (sharp) or below the note to the right (flat).


The note between C and D = C sharp = C# (aka Db)
The note between G and A = A flat = Ab (aka G#)
3|School
of
Musical Foundations
American Music
THE CHROMATIC SCALE
The scale that uses all 12-tones in an octave is called the Chromatic Scale
It is comprised of 7 notes c d e f g a b + 5 sharps/flats = 12 note Chromatic Scale
Chromatic Scale
1
sharps
2
C#
C
flats
3
4
D#
D
Db
Eb
5
6
E
F
7
F#
8
9
G#
G
Gb
10
11
A#
A
Ab
12
B
C
Bb
It doesn’t make any difference whether
you call the in-between by its sharp
name or its flat name – they both refer
to the same tone.
Because of the key signatures that are most often used (more on this later), guitarists usually call
the notes C C# D Eb E F F# G Ab A Bb B C
COUNTING STEPS
 Each fret on the guitar goes up one note in the chromatic scale
 When you go up ONE NOTE in the chromatic scale, e.g. from c to c# or from e to f it is
called a HALF STEP
 Each fret on the guitar = ½ step
 Note: there is no sharp or flat between e and f and between b and c they are only a half
step apart
 When you go up TWO NOTES in the chromatic scale, e.g. from c to c# to d or from f to f# to
g it is called a WHOLE STEP
Start on the high e string, go up the chromatic scale one fret (1/2 step) at a time. Say the names
of the notes, stop when you get to e again at the 12th fret.
Start at open b on the 2nd string, play the chromatic scale going up to the next b
Start at c on the 2nd string, play the chromatic scale going up to the next c
Do that again, but this time cross over to the top string after e(b)
Start at c on the 5th string, play the chromatic scale on the 5th string going up to the next c
Do that again, but this time cross over to a higher string whenever you can
Do that again, but this time go up two octaves

The 12-tone chromatic scale is the basis for the music we are used to hearing. It establishes
the patterns of melody we find most enjoyable. It gives a framework, and names for, notes
that go outside the usual pattern and therefore “surprise” us – e.g., “blue” notes, chromatic
changes, etc. Some societies practice music that has more tones (microtonal), some
societies practice music with fewer tones (e.g., pentatonic)
4|School
of
Musical Foundations
American Music
CHORDS
When you look at a songbook and see a chord name that is the name of a note such as / C / G
/ Bb / C# / it is an instruction to play a major chord. There are other kinds of chords too -minors, sevenths – we’ll get to them later.
RECIPE FOR A MAJOR CHORD. Major chords are built from an underlying scale. The
underlying scale is the major scale with the same name as the name of the chord you want to
play. So, for a C major chord, the underlying scale is the C Major scale . . .
C Major Scale
R
c
2
d
3
e
4
f
5
g
6
a
7
b
c
The note c is called the root note of the C major scale. The major chord is made up of the root
3rd and 5th notes of the underlying scale for that key. The root 3rd and 5th notes are called the
major triad. The C MAJOR triad is . . . c e g
e
1
a
d
g
b
c
f
b
e
c
f
e
f
For a C major chord, each string has to be playing the note c, e,
or g, or the string is not played.
a
2
3
g
The rule for playing a major chord on guitar is that each string
has to be playing one of the notes in the major triad, or it has to
be silent (i.e., not played)
d
g
Find a way to play C major on the guitar. Find another way.
Other Major Scales, Other Major Chords The triad rule for building a major chord applies
to all keys . . . Start with the underlying scale, for every string on the guitar play the Root, third,
or fifth, or don’t play that string when you play the chord.
G Major Scale
D Major Scale
A Major Scale
F Major Scale
starts on G and has one sharp
R
g
2
a
3
b
4
c
5
d
6
e
7
f#
g
R
d
2
e
3
f#
4
g
5
a
6
b
7
c#
d
R
a
2
b
3
c#
4
d
5
e
6
f#
7
g#
a
R
f
2
g
3
a
4
b(b)
5
c
6
d
7
e
f
starts on D and has two sharps
starts on A and has three sharps
starts on F and has one flat
5|School
of
Musical Foundations
American Music
G MAJOR the triad is . . . g b d
Find two ways to play a G major chord
Play it in a rhythm 4 beats over and over
Play it alternating 4 beats C and 4 beats G 
C
G
C
G
also written / C / G / C / G /
A MAJOR the triad is . . . a c# e
Find one
Play it in a rhythm 4 beats over and over
Alternate 4 beats A and 4 beats G 
A
G
A
G
also written
D MAJOR triad is . . . d f# a
Find one
Play it in a rhythm 4 beats over and over
Strum out this song . . .
/ D / G / D
/ D / G / A
/ A /G /A / G /
/ A /
/ D /
RECIPE FOR MINOR CHORDS When you see a chord name that is the name of a note
with a lower case m (m) or a minus sign (-) after it, such as / Cm / G- / Bbm / C#- / it is
an instruction to play a minor chord. Each minor chord is also based on a triad from the major
scale with the same name as the name of the minor chord you want to play. The minor chord is
based on the minor triad from the underlying scale. The minor triad = Root flatted 3rd
and 5th notes of the major scale for that key
To make an A Minor chord . . . the underlying scale is the A Major scale.
The root note of the A major scale = a
A Major Scale
R
a
2
b
3
c#
4
d
5
e
6
f#
7
g#
a
The third of the A scale is c#. What note is the “flatted third”
You “flat” a note by lowering it ½ step. Think of it as going backwards in the chromatic scale…
Chromatic Scale
1
sharps
2
C#
C
flats
3
4
D#
D
Db
½ step below G is F#
Eb
5
6
E
F
7
F#
8
9
G#
G
Gb
½ step below B is Bb
10
11
A#
A
Ab
½ step below F
12
B
Bb
is E
C
6|School
of
Musical Foundations
American Music
½ step below C# is
C
= the note we need for the A minor triad
The flatted third of the A scale is the note c, so the A minor triad is a c e
A Minor is written Am or AFind Am … every string has to be playing a c or e or it has to be silent
Play this song, 2 beats per chord
/ C / G / A- / A/
/ A- / G / C / C ring /  last measure = a half note, strum once and let it ring
To make a D Minor chord, use the D major scale, Root = d, minor triad = d f a
D Major Scale
R
d
2
e
3
f#
4
g
5
a
6
b
7
c#
d
Find D- chord Play this song, 3 beats per chord . . .
/ D- / A- / G / D- /
/ D- / A- / G / C
/
For later: “sharping” a note means going up half a step from that note in the chromatic scale . . .
a half step above f is f#, a half step above c is c# , a half step above g is g#
RECIPE FOR DOMINANT 7TH CHORDS. When you see a chord name that is the name of a
note followed by the number 7 such as / C7 / G7 / Bb7 / C #7 / it is an instruction to
play a dominant 7th chord. There is also another type of 7th chord called the major 7th -- it’s
not the same thing, we’ll get to it later.
Every dominant 7th chord is built on the major scale with the same name as the name of the
chord you want to play. So, for a C7 chord, the underlying scale is the C Major scale . . .
C Major Scale
R
c
2
d
3
e
4
f
5
g
6
a
7
b
c
The note c is called the
root note of the C major
scale.
The dominant 7th chord is made up of the root 3rd 5th and flatted 7th notes of the underlying
scale for that key. The root 3rd and 5th notes are the major triad. The dominant 7th is an
“extended” chord – it takes the major triad and adds a note to the chord
C7
G7
D7
A7
F7
Root
c
g
d
a
f
3rd
e
b
f#
c#
a
5th
g
d
a
e
c
b7
b(b)
f
c
g
e(b)
7|School
of
Musical Foundations
American Music
RECIPE FOR ANY MAJOR SCALE
STEPS and INTERVALS Play a C major scale starting at the 1st fret of the b string, and going
up the b string until you hit the octave.
d
e
f
g
a
b
c
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
e
a
d
g
b
e
Notes c
Determine the interval between each pair of notes in the C major scale.
 When you go up ONE NOTE it’s called a HALF STEP INTERVAL (H)
 When you go up TWO NOTES it’s called a WHOLE STEP INTERVAL (W)
c
d
e
f
g
a
b
c
Intervals 
W
W H
W
W
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
e
a
d
g
b
e
Notes
W H
Some notes are a whole step apart and others are only a half step apart. The half steps occur
between notes 3 and 4, and between notes 7 and 8. The rest of the notes are a whole step
apart. This pattern of intervals is the recipe that defines any major scale:
WWHWWWH
8|School
of
Musical Foundations
American Music
Intervals 
W
W H
That’s why the G major scale has one sharp -- f#
f
g
W
a b(b)
15
14
13
12
11
10
9
8
W
W H
c
d
e f
Intervals 
W
W H
That’s why the F major scale has one flat -- b(b)
W
15
14
13
12
11
10
9
8
7
6
4
3
2
1
5
e
a
d
g
b
e
Notes
7
6
5
4
3
2
1
e
a
d
g
b
e
To figure out the notes in another major scale, start on the root note and follow the pattern.
Notes
g
a
b
c
d
e
f# g
W W H
The recipe for any major scale is: start with the root note, go up the chromatic scale in whole (W)
or half (H) steps as required by the pattern. Every letter (a b c d e f g) gets used once –
sometimes with a sharp or flat attached. No letter is used twice except for the root, which is also
the 8th note. (That’s why the note after a in the F major scale is called b(b) and not a#.
Chromatic Scale
1
sharps
2
C#
C
flats
3
4
D#
D
Db
D MAJOR scale =
Eb
d
5
6
E
F
7
F#
8
9
G#
G
Gb
e
f#
g a
b
W W H W W
E MAJOR scale = _e_ ___ ___ ___ ___ ___
Bb MAJOR scale = b(b) ___ ___ ___ ___ ___
11
A#
A
Ab
c#
W
___
___
10
d
H
___
___
12
B
Bb
C
9|School
of
Musical Foundations
American Music
Summary: Fretboard, Scales, Chords
Major Scales
1
e
f
a
d
g
b
c
e
f
a
b
1
Key
R
2
3
4
5
6
7
R
2
C
c
d
e
f
g
a
b
c
3
G
g
a
b
c
d
e
f#
g
4
D
d
e
f#
g
a
b
c#
d
5
A
a
b
c#
d
e
f#
g#
a
6
E
e
f#
g#
a
b
c#
d#
e
7
b
7
F
f
g
a
b(b)
c
d
e
f
8
c
8
g
c
f
2
d
g
b
a
d
4
a
g
9
d
10
Major
Minor
Dom7
R
3
5
R
b3
5
R
3
5
b7
11
12 e
5
6
9
Chord Construction
3
10
11
a
d
g
b
e
12
10 | S c h o o l
of
Musical Foundations
American Music
Chord charts
Sometimes you get sheet music with chords written
over each measure 
This is nice because it shows the melody line
Sometimes you get words with chord changes written over them
G
Am
C
G
Oooh whee ride me high tomorrow's the day my bride's gonna come
This shows how the chord changes match up with the words. The easiest to use for beginning
guitarists who are going to sing along because you can see the words and the chords without
having to shift your gaze, though you have to memorize the melody.
Sometimes you get chord charts, with the words on a different part of the page
Chord chart 
/ G
/ G
/ Am
/ Am
/ C
/ C
/ G
/ G
/
/
The chord chart is the easiest way to see the structure of the song – how many measures,
when/where chord patterns repeat
The easiest for beginners who are not going to sing along
Used a lot by performers, but you have memorize the melody and the pattern for strumming
11 | S c h o o l
of
Musical Foundations
American Music
Counting Time: Measures, Beats, Strumming
A song is divided into verses (or verses and a chorus)
Verses are divided into lines
Lines are divided into measures
Measures are little boxes of time that align the words with the tonal pattern of the notes.
Each “box” is a measure, each measure has a melody sequence and a chord (or set of chords) that
goes along with it. As you proceed through boxes, the melody rises and falls, the chords change.
Sometimes there are words being sung, sometimes there are no words, but the music continues
instrumentally. Example: Act Naturally . . .
G
G
C
C
They’re gonna
put me in the
G
…….
movies
G
D7
They’re gonna make a big star out of
D7
me
………….
Beats are the units by which we count out the passage of time in a measure. The beats are
represented by notes. In the next year you will encounter: whole notes, half notes, quarter, notes,
eighth notes, sixteenth notes, and triplets.
The time signature tells you how many beats there are to a measure and what kind of note gets
one beat. When a song is in 4/4 time it means there are 4 beats to a measure, and a quarter note
gets one beat -- each beat constitutes one-quarter of the measure.
QUARTER NOTE . . .
= a black dot with a stem
Here is a song in 4/4 time
1
2
3
4
RIDE ME HIGH
|
1
Clouds so swift the
2
3
4
|
rain won’t lift, the
1
2
3
4
|
1
gate won’t close the
2
3
4
railing’s froze
The other time signature you are likely to encounter pretty soon is 3 / 4 time – which means
there are three beats to a measure and a quarter note gets one beat. A waltz is in 3 / 4 time. . .
1
Hear
2
3
the
|
1
lone
2
3
some
|
1
2
whip
3
|
poor
1
2
3
will ……..
12 | S c h o o l
of
Musical Foundations
American Music
Strumming is the way a guitar player keeps time for the song. STRUM WITH THE INDEX
AND MIDDLE FINGERS of your right hand. Brush the two fingers lightly across the strings.
Do it so each string can be heard with the same amount of volume. The simplest pattern is one
down stroke ( ) bottom string to top for each quarter note. Play RIDE ME HIGH with four
quarter note strums per measure. The chords change on the first beat of each measure.
/ G
/ Am
Clouds
so swift the
won’t
rain
/ G
Get your mind off
/ C
lift the
/ Am
winter time ‘cause
gate
/ G
won’t close the
/ C
you ain’t going no-
/
railing’s froze
/ G
where
/
/ G
bride's gonna come
/
The chorus has the same chord changes as the verse . . .
/ G
Oooh whee
/ Am
Ride me high
/ G
Oh, no,
/ C
morrow's the day my
to-
/ Am
we gonna fly
/ C
down in that easy
/ G
chair
/
With 4 beats to a measure and the guitar strumming on every beat, the guitarist is like a
metronome – keeping a steady beat for the singer, the listener, and the other musicians. There’s
nothing wrong with a metronome, but guitar players usually vary the strum pattern to match up
better with the timing of the melody and the words of the song.
HALF NOTE . . .
= a circle with a stem.
A half note means two quarter notes have been combined. In 4/4 time, a half note takes up half
of the 4-beat measure
1
2
3
4
 beats 1 and 2 are QUARTER NOTES
the third and fourth beats are counted out with just one
sustained HALF NOTE being played
Jin -- gle
Bells
There are two distinct beats at the beginning of the measure; then the third and fourth beats are
linked together, strummed once and the sound sustained for two beats
 beats 3, 4 are linked, not strummed separately
Play RIDE ME HIGH with this strumming pattern -- quarter quarter half
Play KNOCKIN ON HEAVES DOOR with all half notes . . .
/ G
/ D
/
A-
/ A-
/
13 | S c h o o l
of
Musical Foundations
American Music
a circle
WHOLE NOTE . . .
A whole note means four quarter notes have been combined. In 4/4 time, a whole note takes up
all of the 4-beat measure. It is played with a single strong downstroke, and allowed to ring out
for all four beats of the measure.
/ C
/
/ G
/
1 2 3 4 / 1 2 3 4 /
Aaaa …
men …..
Play the chorus of RIDE ME HIGH with this strumming pattern -- one whole note per measure.
The strumming pattern of ONE WHOLE NOTE PER MEASURE is often used in the last verse
as a way of dramatizing the end of the song. To change the dramatic focus, and to keep it from
getting boring, guitarists often change the rhythm pattern for different verses, or use one pattern
for verses and another pattern for the chorus.
EIGHTH NOTE ...
= a black dot, with a stem that has a flag.
An eighth note means a quarter note has been cut in half.
You will encounter eighth notes pretty soon when we play songs written in 6/8 time. This means
there are six beats to a measure and an eighth note gets one beat.
1
I….
2
3
4
5
6
rene good
| 1
2
3
4
5
6
ni……………….ght
|
1
2
I….
3
4
5
6
|
rene good
1
2
3
4
5
6
ni……………….ght
In case you think this sounds like a waltz, you’re right. Mathematically, the difference between
3 / 4 time and 6/8 time boils down to how you want to notate the music and how you want to
count the beats. Stylistically, 6/8 songs have a little bit different feel. More on this later.
Another use of eighth notes that you will encounter pretty soon is to substitute two eighth notes
for one quarter note in a basic strum. For instance . . . The pattern “bump bump ba-da bump” is
counted: “one two three and four”. Written. . .
1
2
3 +
Bump bump ba da
Puffs puffs cocoa
4
bump
puffs
14 | S c h o o l
of
Musical Foundations
American Music
To play this in a steady rhythm you need develop a smooth pattern of
down strokes
(fat to skinny strings . . . away from you) and
up strokes
(skinny to fat strings . . . towards you) Upstrokes are played mostly with the
index finger of your right hand. Pull it toward you, lightly, across the strings. Your middle finger
can touch the strings too, a little bit. Do it so each string can be heard with the same amount of
volume.
Down down down up
down
Try this pattern on RIDE ME HIGH
TRIPLETS ...
= three notes tied together with the number three under/over them.
A triplet means three eighth notes are played during one beat (i.e., during the time you would
normally play two eighth notes).
1
2
3
4
Bump bump bump bump
1
2
Bump bump
3
4
bump
ba-da-da
To keep a steady beat with a triplet pattern, you’ll need to use
an up down up strumming pattern
Guitarists mostly use triplets to emphasize an impending chord change
Try putting a triplet at the end of each line in KNOCKING ON HEAVEN’S DOOR
12 34
12 34 12 34 1 2 3
/ G
/ D
/A
/ A-
/ G
/ D
/C
/ C
ba da da
/
/
15 | S c h o o l
of
Musical Foundations
American Music
Boom Chik (Johnny Cash) Rhythm
= one measure in 4/4 time
T
1
T
T
2
3
4
= Thumb plays a bass note on one of the bottom 3 strings
= Index + middle fingers brush down on top three strings (down stroke)
Simple Bass = find the lowest root (4th 5th 6th string) and play it on each bass beat
ACT NATURALLY / G
/ G
/ C
/ C
/
4/4
/ G
/ G
/ D7 / D7 /
/ G
/ G
/ C
/ C
/
/ D7 / D7 / G
/ G
/
G . . . bass note g is 6th string 3rd fret
C . . . bass note c is 5th string 3rd fret
D7 . . . bass note d is 4th string open

Anchor Pinky To keep a steady rhythm and to find the bass notes without looking at the
strings, keep your right hand steady by anchoring it with your pinky finger
Root – 5 Alternating Bass = play the lowest root bass note for beat 1, play an alternate bass
note on beat 3. The alternate bass note is usually the 5th
ACT NATURALLY / D7
/ D7
/ G
/ G
/
/ D7
/ D7 / G
/ G
/
/ D7
/ D7 / G
/ G g# /
/ A
/ A7 / D7 / D7
/
Chord
G
C
D7
A
g
c
d
a
Root
6 string
5th string
4th string
5th string
th
A7
Am
rd
th
3 fret
3rd fret
open
open
4
d
6th
g
5th
a
6th
e
4th
e
Same options as A major
Same options as A major
Fifth
string
string
string
string
string
open
3rd fret
open
open
2nd fret
For minor chords the root and fifth are the same as for the major chord in that key
/ G
/ G
/ A/ A-
/ C7
/ C7
/ G
/ G
/
/
RIDE ME HIGH
same boom chik rules
16 | S c h o o l
of
Musical Foundations
American Music
Boom Chik Chik (Waltz) Rhythm
= one measure in 3/4 time
T
boom
chik chik
= Thumb plays a bass note on one of the bottom 3 strings
= Index + middle fingers brush down on top three strings TWICE count to 3
PARADISE -- John Prine ( 3/4 )
/
/
/
/
D
D
D
D
/
/
/
/
D
D
D
D
/
/
/
/
G
A7
G
A7
/
/
/
/
D
D
D
D
/
/
/
/
There is one bass note per measure – Usually the lowest root
Root – 5 Alternating Bass is used when the same chord appears two measures in a row. The
first note of the first measure is the lowest root, the first note of the second measure is usually
the 5th
D . . . bass note
d is 4th string open -- lowest root
D . . . alternate bass note a is 5th string open -- 5th
T
= one measure in 6/8 time
= do the above boom chik chik twice, count to 6
T
MISTER BOJANGLES -- Jerry Jeff Walker
(Chorus)
/ Am
/ Am
/ G
/ G
6/8
/ Am
/ G
/
/ C Em / Am G /
Root – 5 Alternating Bass = the two bass notes in the measure are different, the first note is
the root, the second bass note is the 5th (sometimes can be the 3rd )
17 | S c h o o l
of
American Music
Musical Foundations
Not Taking the Root, Not Taking the 5th
I'M SO LONESOME I COULD CRY -- Hank Williams ( 3/4 )
/ C
/ Em /
Am / G
/
/ C
/ Em /
C7 / C7
/
/ F / F
/
C
/ Am /
/ C
/ G
/
C
/ G
/
There is one bass note per measure – Usually the lowest root
 BUT NOT ALWAYS THE LOWEST ROOT – in this song there is a beautiful descending
harmonic movement in the bass notes if you play the 5th for the Em instead of the root
C . . . bass note c is 5th string 3rd fret (root)
E- . . . bass note b is 5th string 2nd fret (5th )
A- . . . bass note a is 4th string open (root)
G . . . bass note g is 6th string 3rd fret (root)
Alternating Bass is used when the same chord appears two measures in a row. The first note
of the first measure is the lowest root, the first note of the second measure is usually the 5th
C7 . . . first bass note c is 5th string 3rd fret (root)
C7 . . . second bass note g 6th string 3rd fret (5th )
 BUT NOT ALWAYS – in this song there are two measures of F followed by one measure
of C. If you play root – 5 for the F and then root for the C you will play the notes f c c
which is is a beautiful descending harmonic movement in the bass notes if you play the
5th for the Em instead of the root . . .
18 | S c h o o l
of
American Music
Musical Foundations
Connecting Chords with Bass Walks
CONNECTING FOURTHS The walk usually starts with the root of the initial chord and ends
with the root of the second chord
 Connect A chord, root = a
to D chord, root = 4th note of A scale
 A scale = a b c# d e f# g# a
 To connect A to D, play the notes of the D scale that connect a and d
 D scale = d e f# g a b c# d

Four note walk UP of played on the 3 and 4 and







Connect G chord, root = g to C chord, root = 4th note of G scale
G scale = g a b c d e f# g
Play the notes of the C scale that connect g and c
C scale = c d e f g a b c
Four note walk UP played on the 3 and 4 and 1 beats
Five note walk DOWN played on the 3 and 4 and 1 beats
C scale = c d e f g a b c




Connect D chord, root = d to G chord , root = 4th note of D scale
D scale = d e f# g a b c# d
G scale = g a b c d e f# g
This takes you up to the 3rd string, which might sound too high, so guitarists have other
options . . .
o Start on the bottom string and play e f# g
o Three note walk UP played on the 4 and 1 beats
1 beats
o Start on the d string and walk down . . . d c b a g
o Five note walk DOWN of eighth notes played on the 3 and 4 and 1 beats
CONNECTING FIFTHS
 Connect C chord to F chord, root = 4th note of C scale
 F scale = f g a b(b) c d e f
 Play the notes of the F scale that connect c and f
 Connect C chord to G chord, root = 5th note of C scale
 G scale = g a b c d e f# g
 To connect C to G, play the notes of the G mixolydian scale that connect g and c
 G mixolydian scale = g a b c d e f g  G mix = G scale with flatted 7th
 Five note walk UP of eighth notes played on the 3 and 4 and 1 beats
19 | S c h o o l
of
Musical Foundations
American Music
Transposing
Transposing is changing the key of a song. Guitarists always need to transpose songs
 Maybe the singer can’t hit the high notes so it needs to be transposed to a lower key; or can’t
hit the low notes, so the song needs to be transposed higher
 Maybe you don’t know the chords in the original key, and want to change the song to a key
you are more comfortable with (C D E G A )
 Maybe there are instruments that play in another key … Most harmonicas only play in one
key – so if someone sitting around the campfire only has a G harmonica, then every song has
to be transposed to G. Horns – e.g., trumpet, sax, etc. – are built to play in F, Bb, Eb, Ab
How?
/ G
/ G
/ A/ A-
/ C7
/ C7
/ G
/ G
/
/
RIDE ME HIGH (in key of G)
transpose to key of D
Write down the 7 notes in the major scale for the key you are transposing FROM
and below that the 7 notes in the scale you are transposing TO
Transpose
FROM
TO
Key
G
D
I
g
d
II
a
e
III
b
f#
IV
c
g
V
d
a
VI
e
b
VII
f#
c#
Write the chords as numbers Keep the minors, 7th , etc. Use Roman Numerals for the numbers
In the key of G the G chord = I A- = II- C7 = IV7
/ I
/ I

/ II/ II-
/ IV7
/ IV7
/ I
/ I
/
/
RIDE ME HIGH (number notation)
For the curious . . . This is known as the Nashville Chord Numbering System.
To transpose the song, write the chords that correspond to the numbers in the NEW key
In the key of D . . . I = D II- = E- IV7 = G7
/ D
/ D
/ E/ E-
/ G7
/ G7
/ D
/ D
/
/
RIDE ME HIGH (transposed to D)
Left over chords? Sometimes a song has chords that are half way between two of the 7 steps of
the underlying scale . . . / G / A- / C7 / G G#- G / 
The rules stays the same, make a half-step roman numeral for the left over chord . . . G#- = I.5in the G scale. Figure out the corresponding chord for that half step roman numeral in the NEW
key . . . In the key of D I.5- = D#Called passing chords, approach chords Almost none of the songs you will be playing during
Introductory Guitar will have chords like this – i.e., not rooted in the 7 steps of the underlying
scale
20 | S c h o o l
of
American Music
Musical Foundations
The Dreaded Finger Exercise
Dreaded Finger Exercise
1
2
3
4

I
I
I
I
I
I
M M M M M M
R
R
R
P
P
P
R
R R
P
P
1)
Play the bottom string open, then with your
Index Finger hold down the bottom string at the first
fret; play the note.
2)
While holding down the Index Finger, play the
next note on the bottom string using the Middle Finger.
3)
While holding down the Index and Middle
Fingers, play the next note on the bottom string using
the Ring Finger.
4)
While holding down the Index, Middle, and Ring
Fingers, play the next note on the bottom string using
the Pinky.
Hold down each string so it rings for the same amount of time. It should sound like a slow,
steady walk up the Chromatic Scale.
5) Now follow steps 1-4 for each string going from bottom to top . . . i.e., playing the open
string, then the first four frets clearly, smoothly, and in time.
 Work on making the string transitions smooth – stay in the beat, play each note with
equal force and clarity.
6) Now follow steps 5 in reverse . . . i.e, start with your Pinky holding down the top string at
the 4th fret; then MOVE DOWN THE STRING, play the top string 3rd fret with your Ring
Finger; then top string 2nd fret with middle finger; then top string 1st fret with Index finger;
then top string open. THEN MOVE DOWN THE FRETBOARD – go to the 2nd string third fret
and play the descending notes with the appropriate fingers; then the 3 rd string; then the 4th
string, then 5th; then 6th until you are back to playing the bottom string open.
7) Repeat steps 5 and 6. Say the name of each note as you play it.
8) Repeat step 7.
 The goal of the DFE is to teach you the right way to hold your left hand, to get you used to
playing in position – i.e., one finger assigned to each fret, and to help you memorize the
notes of the fretboard.
 If you are having difficulty with the reach . . . Adjust your hand to make the Pinky reach –
this is the correct right hand position for guitar. If your muscles just won’t let you make the
reach, or, if your hand is too small and you can’t make the reach, then let up on the Index
Finger.
 If your hand gets too tired or your fingers are not strong enough . . . get a squooshy
rubber ball and squeeze it with your left hand for 15 minutes a day.
21 | S c h o o l
of
Musical Foundations
American Music
.
GUITAR TAB
1
2
3
4
5
6
7
8
22 | S c h o o l
of
Musical Foundations
American Music
MUSICAL STAFF
1
2
3
4
5
6
7
8
23 | S c h o o l
of
Musical Foundations
American Music
GUITAR FRETBOARD
1
1
1
1
2
2
2
2
3
3
3
3
4
4
4
4
5
5
5
5
6
6
6
6
7
7
7
7
8
8
8
8
9
9
9
9
10
10
10
10
11
11
11
11
12
12
12
12
1
1
1
1
2
2
2
2
3
3
3
3
4
4
4
4
5
5
5
5
6
6
6
6
7
7
7
7
8
8
8
8
9
9
9
9
10
10
10
10
11
11
11
11
12
12
12
12