Utah State University
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All Graduate Theses and Dissertations
Graduate Studies
1976
The Guitar as an Accompaniment Instrument
Michael Christiansen
Utah State University
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Christiansen, Michael, "The Guitar as an Accompaniment Instrument" (1976). All Graduate Theses and Dissertations. Paper 3436.
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Ti lE GUITAR AS AN ACC0\1PANI MEJ'IT L'JSTRU)\!EJ'IT
by
Hi chael Chris t iansen
A t hesis i n part ial f ulfillment of the
requirements for the degree
of
~ lASTER
OF MUSIC
Approved :
UTA! ! STATE UNI VERSITY
Logan , Ut al1
1976
.FORWARD
The following copyrighted methods booklet was developed and is
being sold commercial l y i n partial fulfillment for the requirements
of the degree of
~laster
of Music at Utah State University.
The
instruction book was designed to be used in teaching guitar classes
at the University because after a review of many teaching materials,
one was not found to be suitable for the purposes of t eac hing beginning
and i ntermediate group classes on a university level.
This is a beginning method for group or i ndividual guitar
instruction which will present several ways in which the guitar may
be used as an accompaniment i nstrument.
If the test is used for group
instruction the student may progress at his own rate of speed.
concept in the book is a "follow-up" of a previous skill.
Each
The book is
designed so one type of accompanimen t leads to a more difficult one.
The student should feel comfortab l e playing one accompaniment before
trying the next.
However, in a group situatio n al l of the s tudents may
be playing the same piece using different accompaniment styles.
In many music books and much sheet music the guitarist is provided
with the chords, but no indication of how th e song is to be strummed or
picked.
This book provides many types of accompaniment patterns which
can be used to pl ay not only the traditiona l songs contained in the book
itself, but a l so songs from music books and sheet music.
The book also contains a sec tion which enables the s tud ent to t rans-
pose or change the chords of a song.
Many chords are dra1m in the book
and one section enables the student to learn many chords from memorizing
only a few patterns.
There is also a portion of the book which aids
the s tudent in ear development and playing "by ear."
...................
® Copyri~t by Michael K. Chriltianren, 1976. All Ri~ts R _ .
:
~r t.
~
THE GUITAR AS AN A•~CUMPAN J MENT fNSTRUMENT
by
Michael Christiansen
{S)
Copyright by Michael K. Christiansen , 1975
TABLE OF CONTENTS
Definition of Terms .
Parts of the Gu i tar
Buying a Guitar . .
Strings . . . . . .
Care of the Gu i tar
Types of Guitars .
Hold i ng Position .
Left Hand Position
Right Hand Pos i tion .
Plectrums (Picks) .
Fingernails . . . .
Tuning the Guitar .
Chords . . . . . .
Str um Pattern s . .
Chord Refe r ence Sheet .
Altern at i ng Bas s
Fi nger Picking . .
Tr avis Pick . . . .
Travis Variat i ons
Chords With Added Bass Notes
Finger Picking - 3/4 Meter .
Straight Finger Picking Style .
Chord Cl ock .
Bar Chor ds .
Repeat Signs
Song Section
l
2
3
4
5
7
. 11
. 12
.13
.15
.15
-17
.19
.26
.28
. 29
. 32
. 33
-35
-37
-39
. 41
. 43
. 46
- 50
-51
DEFINITION OF TERMS
Chord . . . . .
Up the Neck . .
Down the Neck
Pick .
.
Plectrum
.More than two notes sounded at the same time ..
. Toward r_ he body.
. Away from your body .
.The act of stroking the string to produce a sound .
. The small instrument made of nylon or plastic which is
held between the thumb and first finger and is used to
strike the strings .
Open . .
Pick up.
It is also referred to as a "pick. "
.No fingers of the left hand pushing on the strings while
the right hand is stroking the strings .
. Stroking the strings in a straight up action , not into the
guitar or away frorr_ the guitar .
Strum . .
. Stroking more than two string s at the same time so the
strings vibrate simultaneously .
. The larger strings on the guitar
Lower strings .
.The smaller string ~ on the gu itar.
Higher strings
1st string . .
.The smallest string on the guitar.
.The largesT- string on the guitar .
6th string . .
Acoustic Guitar . . Any non- electric guitar .
Feed Back . . . . . The hum which results when the volume of an electric
guitar amplifier is turned loud enough f or the strings
to vibrate by themselves .
Amp or Amplifier .The device which electrically amplifies an electric
guitar .
Meter.
Tempo.
. The number of beats or counts per measure.
.The speed of counts per measur e .
1
PARTS OF THE GUI TAR
Head
Pick Guu'd
Waist
2
BUYING A GUITAR
A reliable music store should carry a wide select ion of guitars for
yo·1 to choose from .
Ask your teacher which brands he would suggest.
mi6ht also ask him to help select a guitar for you .
an expensive instrument in the beginning .
c onfortable to you .
You
You do not need
Choose a guitar that feels
Do not choose one that is too large for you to hold
correctly .
Strum across the strings and make sure they do not buzz .
If the
action (distance between the fingerboard and the string) is too high , the
str ings will be hard to push down .
will buzz.
If the action is too low, the string
The action may be adjusted, but the guitar should play fairly
easily when it is purchased .
Hold the guitar so you can look down the neck .
Make sure the neck
is straight , not warped.
Buy a case that suits the price of your guitar.
costs more than the guitar .
Do not buy a case that
The case you purchase should be able to
protect your guitar fr om bumps, SQueezes, and kicks.
The type of guitar you buy Sbould be influenced by the style of music
you wish to play .
Classical guitarists use classic gu it ars.
guitarists use electric guitars .
classic guitars , etc .
Jazz and "Rock"
Folk singers use 12- string , folk, and
However , any style music can be played to a certain
level of proficiency on any type guitar .
STRINGS
There are three basic kinds of strings :
nylon
strings , flat - vound
strings , and round - wound st rings.
Nylon strings have a mellow sound and are best suited for the class ic
guitar .
They can also be used on the folk gu itars, whereas the metal
strings should never be used on a classic guitar because the pressure of
the metal strings on the neck could warp the neck.
The nylon strin6S
feel softer when pushing on them than do the metal strings .
Flat - wound strings have a narrow flat piece of metal wrapped around
a metal core.
These strings should be used only on the electric guitar .
These strings feel smooth and will not have a scratching sound when your
fingers slide on the string .
It is a "dead" sounding string made of metal
and should never be used on acoustic guitars .
They do not resonate enough
to produce a good tone on an acoustic guitar.
Round-wound strings have a round wire wrapped around a metal core.
These strings sound louder and ring longer .
the folk and arch top guitars .
Some round-wound strings may be used on
acoustic as well as electric guitars.
The bronze round- wound strings
which are metal are a louder sounding string .
electric guitar .
They should be used only on
They may not be used on an
They are not treated magnetically and cannot be heard
through the amplifier.
All types of strings come in various gauges of diameter.
the gauge , the thicker the string.
medium or light gauges.
The heavier
The beginning student should use
The extra-light gauge is hard to keep in tune ,
but is preferred by rock guitarists because they are easy to bend .
heavy gauge is harder to push down but stay in tune longer.
The
CARE OF THE GUITAR
Be careful not to expose your guitar to rapid temperature or humidity
changes .
This could crack the wood or the fin i sh of the guit ar.
Do not
leave your guitar by a heater vent , open window , air c onditioning unit,
or in cars when the weather is very cold or hot .
Gu it ar humidifier s may
be purchased which help to keep the humidity inside the case of the guitar
relatively stabl e .
Waxing the guitar helps keep the moisture in the wood
of the in strument .
Most mus ic deal ers carry special guitar polishes ,
however, any good fUrniture pol i sh will do.
It is a mistake to loosen the
strings of the guitar when travelling very far distances.
More damage
can result by loosening the strings than by le aving them t ight.
TYPES OF GUITARS
CLASSIC GUITAR - This guitar is characterized by
its nylon strings and its wider neck . The
nylon strings give it a mellow sound. The neck
is wider so the strings can be farther apart .
With the strings farthe r apart , this guitar is
played more easily with the fingers of the right
hand than with a plectrum.
FOLK GUITAR - This guitar is an acoustic (not
electric) guitar and has a narrower neck than
the classic guitar . The narrow neck makes
some chords easier to play . It is a very
popular guitar because many styles of music
may be played on it . The strings on it are
made of steel. Its neck has a metal bar or
"truss rod " buried in the middle and running
the length of it. This bar reinforces the
enables it to withstand the pull
of metal strings.
7
JUMBO FOLK GUITAR - This guitar is sim i lar to the
folk guitar. Its body is larger than the standard
folk. 1'his larger body gives the guitar a fUller
sound. The jumbo folk, like the standard folk,
is a flat top guitar. This means the face or front
of the guitar is flat.
The beginning guitarist should use the Folk , Jumbo Folk , or the
Classic guitar. These guitars are inexpensive and will suit the needs
of the beginning student.
8
ARCH TOP GUITP~ - This guitac' is called ' arch top '
because the front and back are curved . Rather
than having the round sounding hole , its sounding
holes are in the shape of an "f. " The "f 11 holes
give the guitar a less resonant sound. It uses metal
strings. It was popular in the late ' 40 ' s and early
' 50 ' s and was used with the big bands . It gave a
percussive sound and was used primarily as a rhythm
instrument.
TWELVE STRING GUITAR - The body of
this guitar is similar in size to
the Jumbo Folk . It has twelve
metal strings . The str ings are
grouped into pairs, six sets o f
two . The chords are fingered
the same as they are on a standard
six string guitar, except two strings
instead of one string are pressed down
with one finger. The first and second
sets are tuned i n unison while the
third, fourth , fifth , and sixth sets are
tuned in octaves.
9
HOLLOW BODY ELECTRIC - This guitar is similar to the
arch top guitar. It has ' pickups ' (devices which
are magnetic and transfer the sound of a string to
an amplifier) in the center of the fro~t of t he
gui tar . The hollow body electric has a more mellow
sound than does the solid body electric . It is
usually preferred by Jazz guitarists .
SOLID BODY ELECTRIC - This guitar has
a wide variation of tonal color . The
' cut -a-ways' in the body of the guitar
enable the player to reach higher not
on the neck. I t is designed for speed.
" Rock " guitarists usually prefer this
guitar because the notes sustain
than they do on the hollow body guitar.
It does not 'feed back' as eas ily as
does the hollow body , so it is possi
to turn up the volume on the amp .
10
HOLDING PCSITION
The guitar should be held so
it feels comfortable to you.
The sitting posit i on is the
best and the most comfort able
position for the beginning
student . Both fe et should
be on the floor and the
waist of the guitar should
rest on the right leg . The
neck of the guitar should
extend to the left. The body of
of the guitar should be tilted
slightly toward your body. Be
careful not to let the neck of
the guitar t i lt downward . The
right arm should come ar ound the
body of the guitar so the right
hand is placed over the sounding
hole . This is the standard folk
sitting position.
When playing classical music ,
the hol ding position for the
gu itar is slightly different . The waist of the
guitar rests upon th e
l eft leg and the neck
is held higher than in
the folk sitting position .
11
LEFT
H~~D
POSITION
..........,_
The left hand should be placed on the neck
of the guitar with the thumb straight up
and down. The thumb should be placed
between the 1st and 2nd fingers on the
opposite side of the neck. The thumb
should never be held parallel to the neck.
Be carefUl not to bend the thumb or wrap it
around the neck of the guitar . The palm
of the hand should not touch the neck.
The tips of the fingers should be used
when pushing on the strings . Bend the
fingers so the knuckles form a square.
Place the 1st finger over the string
next to the fret . The fingers should
never be placed on top of the fret .
Plac ing the finger on top of the fret
deadens the sound. Placing the finger
too low in the fret will cause the string
to buzz .
12
RIG'lT Hf.l\i) P:JSITION
'
The right hand should be placed
over the sounding hole of the
guitar. The wrist should P~ve a
slight bend in it so the fingers are
slightly behind the thumb when the,y
are touching the strings. The second
and third finger s of the right hand
should be relaxed but should not be
curled into a fist-like position.
Pick the fir st string open (open means there will be no fingers on the
left hand pushing on any of the strings). With t he thumb, pick the
first string down (pick means the action of stroking a string). Now,
pick the se c or~ string open and t hen the third string open . ~epeat this
action on all six strings.
13
If the plectrum is used, it should be held
finger so its point is a imed towards the strings. The lst finger should
be bent forming a square. The 2nd and 3rd fingers should extend downwarl
and may r est upon the pickguard. Be careful not to hold the pick too
tightly.
When 'finger picking, ' a combination
of the tips of the fingers and the
nails should be used. Do not stroke
the string with just the tips of the
fingers or just the nails. When stroking,
the tip of the finger should strike the
string first, then the tip of the nail
should strike the string. These actions
should be so rapid that it sounds as if
they are striking the string at the same
time .
14
PLECTRUMS
( PICKS)
a
b
d
Picks come in many shapes and thicknesses. It is suggested that
beginning students use the medium size and medium thickness
pick (fig. 3) . Large and thick picks are hard to control.
They seem to grab when stroking the string rather than bend
with the stroke . The smaller and larger picks (fig . a , fig .
d) are also hard to control . The thick picks are becoming
more popular because you can not only pick softly with them ,
but they can be used to pick harder and produce more volume
than the thin picks. Finger and thumb picks produce a very
brillant tone . The beginning student will find them hard to
control . The thumb (fig . f) and finger (fig . g) picks are
used primarily in folk music and are not recommended for
beginning students. If you wish to finger pick let your
fingernails on your right hand grow about 1/16 of an inch
past the end of your finger . Use a combination of the skin
on the tip of your finger and your fingernail to stroke the
str i ng. The tip of the finger strikes the string first and
is quickly followed by the fingernail striking the string .
This action takes place so rapidly it should sound as if the
string is struck once.
e
FINGER NAILS
The fingernails on your left hand should be kept short. The
nail s of your right hand should grow to 1/16 of an inch past
the end of your finger. If your nails are soft or continually
breaking , you can use fingernail
hardener on them . The nails of the
right hand should not be jagged ,
but filed smoothly and rounded
slightly.
f
g
15
Try an exercise called "walking t he boards,"
Pic k the first stli.ng
open; then, pick the first string whil e the first finger o f the left 1and
is in the fir st fret; ne xt, pi ck the fir st string while
of the left ha nd is in the second fret; pick the first
~he
second
st~ i ng
while
fi~ger
~e
third finger of the left hand is in t he third fr et ; and finally, pick t he
first string while t he fourth f i nger of the left hand is in the
fret.
Repeat this exercise in reverse.
strings two and th ree,
fou r~
Now , repeat this exercis e or
!-lake sure your fin f( ers on t he left hand are <gainst
the fret so you do not get a buzzing or "fretting out" so und ,
Al so , be
careful not to place the f ingers of your left hand on top of the fret,
While doing this exercise be sue your thumb remains stra: s r.t up and down
on the back of the neck of the guitar,
When picking t he strings on the guitar, you should not stroke t he
strings away from the guitar or int o the hole of the guitar,
The pi cki ng
acti on should be a combination of the thumb, the plec trum (if used),
the wrist, the elbow, and the whole arm.
If clear tones do not re sult when picking the strings , several :hi ngs
could be wrong:
1,
2,
J,
You may not be pushing hard enough on the strings
Your fing er may not be against the f ret correctly.
Something may be wrong with the guit ~ r.
A. The bridge may need adjusting.
B. The neck may be warped,
c. The nut may be set too low.
TUNING THE GUITAR
There are several ways to tune the guitar.
One of the simplest and
most effective ways is to tune the guitar to itself .
By that I mean, if
you have a piano or a pitch pipe, tune the first string of the guitar to
E above middle C.
Then put a finger in the fifth fret on the second string
and pick the second and the first strings together;
same.
they should sound the
If they do not, adjust the string which has a finger on it until the
two strings match.
(See diagram below.)
ll!e~lttu
Piano Keyboard
E
B
G
0
A
E
1st
2nd
3rd 4th
":&=
string string string string 5th ~
stri ng 6th
string
TUNING PITCHES
This note should sound the same as the
first string open (without a finger on
it).
When the second string is in tune place a fi nger in the FOURTH fre t
on t he THIRD STRING .
Pick the third and the second strings toget her.
If they
do not sound the same, adjust the third string or the string with a finger
on it.
When these two strings sound the same match the fourth string to the
third by placing a finger in the FIFTH FRET on the FOURTH STRING and match
it to the third .
The process is then repeated in the fifth fret on the fifth
string and matching it to the fourth string.
Put a finger on the SIXTH string
on the FIFTH fret and match it to the fifth string.
lowing page)
17
(See diagram on the fol-
After all of this is done, strum several chords and see if the chords sound
in tune.
If they don't sound quit e ri ght, repeat the process and if it sti ll
does not help something may be wrong with the instrument itself .
The frets
may be misplaced or th e bridg e of t he guitar may need some adjusting.
If so
take the in strument t o a qualified repairman or to an instruct or and let him
adjust the instrument .
. You may also tun e the gui t ar t o a piano or to a pitch pipe or to a tuning
fork.
If this method i s used th en
tune the first string open (without any
fingers on the string) to E above mi ddle C.
just be low middle C.
to D.
The s econd string is tuned to B
The third s tring to G below that B.
The fourth string
The fifth string to A and the sixth string is tuned to E.
E tuning forks may be purchased .
the body of the guitar .
Tap the tuning fork and touch it on
Th e sound which resonates will be the pi t c h you
match to the first strin g.
18
One of the mo st popular varieties of guitar playing i s to strum chords.
Strumming chords can be used to accompany singing or to a c company another
instrument.
Chords (on the guitar) can be defined as three or more strings
strummed at the same time.
Strum all six strings down with the right thumb.
Be sure to do this
quickly so the strings are heard together . DO NOT strum with an outward
stroke.
Pull the thumb straigh t down across the strings.
pick, the same downward motion is used.
When using a
The strum should be a combination
of the movements of the wrist, elbow, and thumb.
!
H-+-+--+-1
2.1-+-t--t-+-t
3 1-+-t--t-+-t
This is a chord diagram. It is a drawing of the
guitar neck. The horizontal lines represent the
+'ref 5 • The vertical lines repre sent the Shi~Js.
3
The dots indicate where to place the fingers. The
ourved line underneath the diagram shows how many
of the strings should be strummed. All of the strings
may not be played on many of the chords. The numbers
indicate the fingers to be used.
19
Learn the se chords (simple versions of the same chords are on top}.
Practice stl"WIIII1illg each chord several times and changing from one
to another. Try the more difficult chords as soon as possible.
c.
QW\
4~1
4
.
,.._
......
-,;
~
-
t-3
-
~
...... I
F::z.3
"
20
I(
These two marks are called st~~m bars. They both indicate
that a chord is to be strummed one t i ·,e, down . They may be
used intercha ngeably,
Practice the following exereise,
6
C
G
Try not to pause between the chord changes .
E""
0
C
D
C:,
1111 1111 tl//1111 /Ill /Ill /Ill /Ill
The following pieces are called rhythm sheets, A rhythm sheet is
a song which has only the lyrics and the chords written above them . I f
the music is in 4/4 meter (time signature which a9pears at the beginning
of a piece ), each chord is to be strummed ~· our l imes down. If it is in
J/4 meter, ~ ach chord is to be strummed three times. If a chord name appears
twic e in a row, the strum pattern (four strums for 4/4, three strum s for
J/4) is to beo nop•ated,
Here are three examples:
DOWN IN THE VALLEY
J/4
II/
G
G
G G
1, Down in the valley
2, Build me a castle
), Write me a letter
D
D
o--ver
see him
care of
D
valley so low.
forty feet high.
send it by mall .
D
D
Hang your head
So I can
Send it in
G
hear the wind
as he rides
Birming ham
blow.
by.
jail,
HE 1 S GOT THE WHOLE WORLD IN HIS HANDS
4/4
DIll/
1, He's
got
D
the
II
2, "
J. "
~
D
whole
world
in His hands He 1 s got the
little bitty baby etc.
you and me brother etc,
D
~
whole world in His hands, He's got the whole
D
~
world
D
in His hands, He's got the whole world in His hands. He's got---
21
HOME ON THE RANGE
G
3/4
c
G
c
Oh give me a home where the buffalo roam ,
G
A7
D7
Where the deer ·and the antelope play ,
D7
G
G
C
C
Where seldom is heard, a discouraging word
G
D7
G
And the skies are not cloudy all day .
G
D7
G
Home, Home on the range
G
G
A7
D7
Where the deer and the antelope play ,
W
G
G
C
C
Where seldom is heard a discouraging word ,
G
D7
G
And the skies are not cloudy all day.
3/4
MY BONNIE
G
c
G
My Bonnie lies over the ocean ,
G G
c
D
My Bonnie lies over the sea
D G
c
G
My Bonnies lies over the ocean
G c
D
G G
Oh bring back my Bonnie to me.
G
G
c
c
Bring back , bring, back,
D
D
G
G
Oh bring back my Bonnie to me , to me .
G
G
c
c
Bring back, bring back,
D
D
G
G
Oh bring back my Bonnie to me.
Try to el iminate the pause which often occurs between chord changes.
Also practice singing while you strum .
if the melody is not fam iliar to you .
22
Practice the chord changes even
When strumming chords on the guitar , the guitari st is usually interested in the meter (number of counts or beats per measure) of the song and the
number of chords there are in a measure.
A measure i s the distance between
the vertical black l ines on the staff (a staff consists of the five horizontal lin es).
ME,t\51JBE
The number of count s per measure is indi cated by the time signature
(t he numbers at the beginning of the piece).
in music.
Beats are divisions of time
The top number shows how many beats a r e in a measure, the bottom
numb er indicates what kind of note gets one count.
In this examp l e , ther e are four counts
per measure.
In thi s example, there are three counts
per mea sure.
If you
are pl aying the chords to a song in 4/4 met er, you should strum
down four tim es in each measure .
above th e measures .
The chords to be strummed are written
If no chord appears above a measure , repeat strumming
the chord of the preceding measure.
23
If the song is in 3/4 meter, you shoul d strum t hree times down in each
measur e.
Try the following example:
I~
~
I
c; Ill/
t
e~ll/1
c. Ill/
I
D
I
///1
c:,
!Ill
This type of strumming can become boring, so other "strum pat terns" can
be used.
n
v
This sign indicates that a chord is to be strummed down.
This sign indicates a chord should be strummed up.
To strum up, one must bring the f i rst finger or pick, if used, up
quickly across the first three or four strings.
UP, NO MATTER WHAT THE CHORD IS .
NEVER STRUM ALL OF THE STRINGS
The 'up' strum is done with an upward and
outward motion (away from the body).
By combining these strums , several
interesting rhythms can be played.
Try the fo l lowing to get the feel of strumming down and up:
II:
El¥\
nvrwnv
:
c
D
1'\vnvnv nvnvnv
~ This is a repeat
sign .
and pl ay that portion again.
0
nvnvnv
~vnv n v :II
It means go back t o t he same s i gn
11:
J
This is a quarter note. It gets one count if the time signatur e
has a 4 as t he bottom number.
(
Jl
n
This is a strum bar which also gets one count.
chord is to be strummed one time down.
v
u
nvn
{ij
n
This is an eighth note. It gets 1/2 count.
equal one count.
It indicates a
Two of them together
This is the equivalent strum marking for the eighth note. It
indicates that the chord is to be strummed down on the first half
of the beat and up on the second half of the beat.*
This indicates three strums to a beat (strum down, up , down).
lf you are tapping your foot to keep the beats even , the down strum
occurs when your foot is down and the up strum comes when your foot is up.
Try the following :
E({J(J f
c;
6
D
C((((
( ( C(( ((((((
When counting eighth notes, you should count the first note as one,
two, three four, etc. and count the second note as 'and.'
*
~
,
I
l
( ( [
I
(
2 3 'i
I
r
~ ,
f(
((I
I 2.+ 3 'i
a
I +
See example :
l
( (f
;t
The following strum patterns are grouped according to meter.
provide interesting accompaniments for many pieces.
bars indicate which direction to strum.
rhythms .
CC
!+ l.f+
They will
The signs above the s trum
The dashes represent pauses in the
The strum patterns are li sted in order of difficult y.
~laster
one
strum pattern before moving on to the next pattern.
*These rhythms are very elementary, but for th e purposes of this book,
th ey are adequate.
25
Th1 ~
•
s
d
t
1 f-
When
:
~· onnect~
t wo s trum pat tern s, t he second
strum l S nnt tl h ~ r1"yed. The f irs t strum is he l d through the
time value of the second strum.
~dtterns
tor 4/4 meter:
(note that each strum pat t ern t akes one measu r e
t o complete)
n nvnnvl
l'lnvnvnv
([-( ([[ (~l(ff~
?& rr I ({((((((
Patterns for 3/4 met er·
n n
n
(((
I l3
n nv n
(C( (
tZ.-+3
n
n
n nv n n
v n v
(«
I :l.•
(CC( (
LY
3~
Try the fol l owing examp l es:
c ( ({ ( (
c (C{ (
n
1\Y
vnv
kt-t G((fl.((f
D
I
D(Cf(
c.
26
G-
[
The strum patterns for 4/4 meter may be used to play any song that
is in 4/4 meter.
The same is true for the 3/4 strum patterns and songs
that are in 3/ 4 meter.
Try the following tunes using strum patterns for 4/4 meter:
(See the Song Section of this book)
This Train , p. 3
She 'll Be Comin' Round the Mountain, p. 8
Worried Man Blues , p . 4
He ' s Got the Whole World, p. 12
Michael Row the Boat Ashore , p .
Jingle Bells , p . 16
Amazing Grace , p. 7
Shenandoah , p. 20
Oh , Sinner Man , p . 23
John Henry, p . 27
Try the following tunes using strum patterns fo r 3/4 meter:
(See the Song Section of this book . )
When Johnny Comes Marc hing Home , p. 1
Down in the Valley , p . 14
Silent Night, p . 2
My Bonnie , p . 18
Clementine, p. 10
A Poor Wayfaring Stranger, p . 19
On Top of Old Smokie, p . 13
Home on the Range, p. 26
If you do not know a chord in a particular piece , find it on the
following Chord Reference Sheet.
NOTE:
All of the pieces listed form the Song Section should be pr~cticed
with the simple strum patterns first.
If the book is used for group
instructi on , all of the students should play the same strum pattern with
the song.
doing.
Then they may use which ever strum pattern they are capable of
This allows each student to progress at his own rate of speed.
The
students may play the same song in class using different strum patterns as
long as the patterns fit the correc t meter .
27
CHORD Rli:FD\ENCE SHEET
SEVENTH CHORDS
When two chords appear in one measure the counts must be divided.
In
4/4 meter if there are two chords per measure, strtun each chord down 2 times.
In 3/4 meter find which chord gets the majority of the measure and strtun that
nv
n
Note that you are not concerned with the notes (
~
chord 2 times and the other one once, (
2 times down.
n )
or
instead of
See examples.
) on the music but
only the chords and the measures .
Practice the following from the song section:
(You may also wish to prac -
tice songs from sheet music or music books, to supplement the ones in this
text.)
You are My Sunshine, p.
Tom Dooley, p . 11
When the Saints, p. 9
Red River Valley, p. 17
Oh, Suzanna, p. 21
Aura Lee p . 22
Kum Be. Yah, p . 24
Cripple Creek, p. 25
Streets of Laredo , p.
It Came UpOn a Midnight Clear , p. 15
Scarborough Fair, p. 28
Later on if there are two chords per measure you may want to strum
nv n
each chord
((
(
A more ccmplicated method of strunnning two
chords per measure would be:
In 4/4 meter, strum the first chord ( (
and the second chord ( / (
You may also strtun the first chord ( ( (
and the second chord ( (.,(
In 3/4 meter, the first may be strwliii:ed (
and the second
C{ {f
Another type of accompaniment which is usually heard in folk music , but
will also apply to other styles, is the alternating pick- strum or alternating
bass.
ALTERNATING BASS
Perhaps you have noticed by now that there are 3 basic categories of
chords according to how many strings may be strummed.
29
Those (for example, G)
in which all
6 strings may be strummed . 5 string chord (Am) and 4 string
chords (D).
If a song is in 4/4 meter the lowest note of the chord is
picked
then the chord is strwnmed; then the next to the lowest st r ing is
picked (in that chord) ; the11 the chord is strummed.
counts.
The following
l.S
This completes the
known as the alternate bas s method.
Try the following example :
(Numbers indicate the strings to be picked)
D ~ c~
c
6 '(s(
D'i ( S"(
Try the following songs fr om the Song Section using the Alternating
Bass f or 4/4 meter :
This Train , p .
Worried Man Blues, p. 4
Michael , Row the Boat Ashore , p . 5
She ' 11 Be Com in' Round The Mountain, p . 8
He ' s Got the Whole World , p. 12
Jingle Bells , p. 16
Oh, Sinner t-1an , p. 23
John Henry, p. 27
The alternating bass may be divided when two chords are in a measu:-e .
G
For example :
jto
(
c
5 (
For 3/4 meter the lowest string i n the chor d i s p i cked fi r st then
chord is strummed twice' or pick
nvn
Try the follow i ng example:
G " ((
(continued on next page)
30
~hE:
E"'
"a
p .-•a c I
I ij I
nv n
o, IY (
t
Try the following songs fro:n the Song Section using the Alt ernating Bass for
4/4 am! 3/4 meters:
When Johnny Comes Marching Home , p. 1
Silent Night, p . 2
Clementine , p . 10
D~..-wn in the Valley , p. 14
Home on the Range , p. 26
When the Saints Come Marching In, p. 9
Tom Dooley , p . 11
Oh , Suzanna , p . 21
Kum Ba Yah , p . 24
Cripple Creek , p. 25
31
n
II'
More complicated alternating bass patterns for 4/4 meter include
n
v
P (( P C{
per measure .
P represents a single string picked, usuallr
the lowest followed by the next to the lowest strings in the chor d .
Try the same songs as you did for the alternating bass patterns for
4/4 meter.
Example :
FINGER PICKING
After you feel comfortable doing the alternate bass patterns you are
ready to move on to one of the most popular types of accompaniment in foL
and popular music , that of finger picking .
this style.
The flat pick is not used in
We will begin with what is corrunonly referred to as the Travi:
Style finger pick in which the thumb and first two fingers of the right hmd
are used .
The position of the right hand should be tilted slightly so vh •n
the fingers pick up and the thumb picks down they vill avoid running into each
other.
See pictures in the first of the book.
We will begin learning to
finger pick in 4/4 meter (four beats to the measure) .
Remember that on some chords you can strum
32
6 strings, some 5 and sam: 4 .
This is important because the pick patterns for each chord depend on how
many strings can be strummed.
The basic 4/4 pattern
goes :
52435243
1 41324132
4- string chord
5- string chord
6-string chord
Each pattern takes one ccxnplete measure of 4/4 to complete.
The numbers in the measure indicate which string is to be picked .
This
pattern should be practiced first alternating the thumb and the first finger,
then the proper fingering is thumb-2- tlrum.b- 1.
See examples.
KEEP THE RHYTHM IN A STEADY EIGHT NOTE PATTERN (one and two and three
and four and).
Rhytlun is indicated by stems on numbers; one stem means that
stroke gets one count ( 6); two numbers connected mean there are two strokes
or picks to a count (
that is in
4/4 meter.
1J).I
This accompaniment pattern can be used in any song
Try the following example :
D
Try the following songs using a simple Travis Pic k pattern:
Th i s Train , p. 3
Worried Man Blues , p. 4
Michael Row the Boat Ashore, p. 5
She 1 11 Be Com in 1 Round the Mountain, p. 8
He ' s Got the Whole World , p . 1 2
Jingle Bells , p. 16
John Henry , p. 27
Oh, S i nner Man , p. 23
Each pattern takes one complete measure.
sure the thumb alternates smoothly.
Keep the rhythm steady .
Be
Watch the position of the right hand.
If your wrist or hand or whole arm is bouncing when you pick, try mounting
33
the little finger of your right hand on the p i ck guard just below the first
string on the body of the guitar.
This will stabilize your hand .
The proper finger ing for the basic Travis Pick is indicated :
T 2 T ITt! n - fingering
62436243 - strings
Ti'TITZTI
41324132
T c TIT<'TI
52435243
Notice that the fingering remains the same even though the string
order might vary.
There are many variations of this style of picking.
!'or
example , the first variation consists of leaving the second string to be
picked out and where that pick would have occurred , pause .
rhythm -
{Notice the
l 2&3&4&).
I ll UU
Example :
T TlT2Tl - fingering
6-436243 - strings
<& 3& 4&- rhythm
5- 435243
l
The proper fingering is indicated.
4- 324132
The rl'.ythm is indicated on the
5- string example .
Try this style or variation of the following piece (notice this p i ck
style can be used for any song in 4/4 meter).
Try the following exampl e
c.
T"
TITtTI
Try the following songs from the Song Section using v ar iations of
Travis Pick :
Worried Man Blues, p . 4
Michael , Row the Boat Ashore , p .
He ' s Got the Whole World , p . 12
John Henry, p. 27
34
t
Other variations o:f the Travis (or three- finger style) picks are listed
below.
Each one should be mastered before moving on to the next.
Remember,
the numbers on the top indicate the order the string is to be picked; the
numbers on the bottom indicate the rhythm to be used .
If only two numbers
appear on top of each other once in the entire pick sequence, this indicates
that two strings are to be played at the same time, and usually with the
thumb
picking the lower note and the second finger picking the upper note.
6- String
j_
~
5-String
4- String
6-436243
5- 435243
4- 324132
1
6-436243
1 2&3&4&
1
5- 435243
T T1T2T1
1
4- 324132
1
6-43624
1 2&3&4
1
5-43524
T T1T2T
1
4- 32413
1
6-435243
1 2( 3( 4
I \.1 Ul
1
6-43524
1 2&3&4
1
5- 436243
T T1T2T1
1
4- 325132
1
5- 43624
T T1T2'Jl
1
4- 32513
1
646243
123&4&
1
545243
'l'I'J'1T2
1
434132
1
645243
123&4&
1
546243
TTT1T2
1
435132
I U UU
"u u
See example below:
G
D
C
D,
R 't!\f&l \' '\t?J I *t ij~t&l ~~
35
~
USUY I~·~ tr111
Try these pick patterns on some of the songs in the Song Section in
4/4 meter.
This Train, po 3
Michael , Ro"W" the Boat Ashore , p. 5
She 1 11 Be Com in 1 Round the Mountain, p o 8
Jingle Bells , p. 16
Oh , Sinner Man, p . 23
John Henry, p . 27
Do the basic 4/4 Travis Pick and then try the same pieces working you·
way up to the more complex patterns.
If two chords appear in a measure , split their individua:!.. patterns in
half o
Divide the rhythm so there are 2 counts per chord, such as
tl
t-1
tl
t 1 6~
G
c
6243
5243
I
6-43
l 2&
5243
3&4&
I
l
6-43
5243
\
5243
I
Do the first half of the finger pick pattern and the second half of t1e
finger pick pattern.
eac h chord .
You may also do the second half of each finger pick m
See the follow ing example:
G
.JL
~
_j_
'1
l
\
6243
1&2&
D
4132
Try the following example:
c
5243
3&4&
c
5243
I
I
Try the following songs from the Song Section using the Travis Pick
with 2 chords per measure :
You Are My Sunshine , p. 8
'Vlhen the Saints Come Marching In, p . 9
Tom Dooley , p . 11
Red River Valley, p . 17
Oh, Suzanna, p. 21
Aura Lee, p. 22
Kwn Ba Yah , p . 2 4
Cripple Creek, p . 25
Z.
Occasionally chords such as D/C will appear.
a C note in the bass ,
name .
D/C means a D chord with
the lowest note to be played 1s C.
It is fingered thus :
~
It is ONE
chord
These chords have an
unusual sound when strummed , but if the proper f1.nger p1ck is used they add
a very interesting effect.
Try the following.
The special finger pick patter n for the chords with
diff erent notes in the bass are indicated by the chord name .
or
(tt· t1lf~ •
3/4 picks may be used.
""""(j~
The Travis
These are the most popular chords with added bass
l
B""
'\ \f'tl3JI
37
2.
D
I
6
c.
Try tue following examples :
D/c
G
D
G
c..
I
!3""
I
c
C/!3
c
I
It m
38
G
FINGER PICKING - THREE/FOUR METER
There are al s o many ways to do the finger picking style in 3/4 meter.
One cf the most com.'llon fi:1gcr--picks for 3/4 is outlined below :
6-String Chord
5- String Chord
4- String Chord
643243
432132
This is done with a steady rhythm , sounding " one and two and three and."
This i s the proper fingering.
643243
543243
432132
TT12Tl
TT12Tl
TT12Tl
Notice here again the fingering remains u nchanged .
following p iec es .
Try picking the
(For revi ew also try using the s trums for 3/4 on the
followi ng ex ampl e : )
Di
l'trlt1F I
Try t he following songs frCIIl the Song Sect i on :
When Johnny Come s Marching Home , p. 1
Silent Night , p 2
Clementine, p. 10
On Top of Old Smokie , p o 13
Down in the Valley, p o 14
A Poor Wayfaring Stranger, p. 19
0
39
G
Variations of the 3/4 pick ar e also possible ; some are below.
1
643243
1& 2&3&
1
543243
1
432132
2 2 (second finger)
643434
'I'l'lTlT
2 2
543434
1&2&3&
1 1
432323
Try the follo wing pieces in 3/4 .
(If two or more chords exist in a
measure together the rhythm of the finger pick may be divided equally
between the chords, or the finger p i ck may be stopped alt oget her and the
chords may simply be strummed).
Try the following example :
II
~*41@~u I
D
'I 3
) %~
E""
3
c;
I
E""
C:>A
lij~gq
Try the f ollowing songs fran the Song Section using 3/4 pick style
variations:
Silent Night, p. 2
My Bonnie , p. 18
Home on the Range , p . 26
Streets of Laredo, p. 6
It Came Upon A Midnight Clear , p. 15
Scarborough Fair, p. 28
40
I:"'
I
STRAIGHT FINGERPICKING STYLE
Still another form of acc ompaniment in the finger picking style for
4/4 meter is the straight pick style .
two reasons;
It is called the straight pick for
the rhythm is an even eight note pattern and the fingers move
straight across the strings:
Thumb, Thumb, first finger, second finger.
See example (note fingering).
6-Str ing Chords
~
64326432
1&2&3&4&
~
4- Striruz Chords
5 String Chords
1
54325432
TT12TT12
43214321
This style of finger picking is adapted to any slow piece in 4/4 meter .
It does not work well on fast, 1 bouncy 1 songs.
If two or more chords appear
in a measure the pattern may be split in half .
54~2
\
If more than two chords appear in the measure , el iminate one or more of
them leaving no more than two chords in each measure .
The same rule applies
if one is strumming 4/4 or 3/4 .
Try the following example:
c.
u
u
u u
D
u u
u u
Try the following songs from the Song Sect i on :
Michael, Row the Boat Ashore , p. 5
Amazing Grace, p. 7
Shenandoah, p. 20
Aura Lee, p. 22
41
uu
1
One variation of thi s pattern is to pick two str ings together at the
first of each pattern:
~
1
~4326432
1 ~4325432 1
Remember, the rhythm should remain steady and the chord changes
m~ooth
and even.
Try the following example:
A""
I
Try the following songs from the Song Section using straight pier
variations :
Kum Ba Yah , p . 24
Aura Lee , p. 22
Oh, Sinner Man , p. 23
Shenandoah , p. 20
Michael , Row the Boat Ashore, p. 5
42
CHORD CLOCK
This is a chord clock.
It can be used in three ways :
1.
It can be used to determine the number of sharps or flats in a given key.
2.
It can be used to determine the basic chords in a key.
3.
It can be helpful in transpo sing .
43
You can determine the key of a particular piece by looking at the ke y
signatur e. The numb e r of sharps or flats in th e key sig nature determines
the key the piece is written in.
If a piece has one or more sharps in its
key signature, it will be in one of the keys on the right half of the chorl
clock . If a piece ha s one or more flats in its signature , it will be in 01e
of the keys on the left half of the clock. For examp l e , the key of C wil l
have no sharps or flats in its ke y signature. The key of G or Em wil l hav~
one sharp sign in its signature , the key of D or Bm will have two sharps
in its signature, the key of A or Fltm will have three s harps in its s ignat1re,
etc . The key of F or Om will have one flat in the signature, the key of
Bb or Gm will have two flats in the signature, the key of Eb or Cm wil l
have thr ee flats, etc.
You can determine the s.ix basic chords in a given key by also using tle
chord c l ock. To find the ba sic chords in a key, take the chord having the
name of the key (key chord) and th e first chords to the right and to the
left of it. Those three chord s and their related chord s (c hords on the
inside of the c l ock will correspond with the outside chords) ma ke up the
six basic chords in an y g i ven key . For example, to find the chords i n
the key of G, find G on the chord clock. Use the cho rds to the right and
left of it (C and D) and their re l ated chords (a minor, b minor, e minor)
to give you th e six basic chords in the key of G. The chords would be
G, C, D, Am, Em, and Bm.
This process can be very he l pfu l to the person who wants to p la y a
piece by ear . If you want to play "Down in the Valley" without the use
of music, choose the key you want to use . For instance, use the key of G.
Yo u know that the six basic chords for that key are G, C, D, Am, Em, Bm.
Start by singing the melody and strumming a G chord (mo st simple folk songs
begin with the key chord); then, when it sounds 1 ike the melody you are singing
co nflict s with the chord you are playing, change to one of the other c hord s
in the key. If you change to a chord that st i 11 conflicts, change to
another chord i n the key until you find the one that sounds correct .
This chord clock can also be helpful in transposing. The easiest
keys for the guitar are G, C, and 0 and Em, Am, and Bm. If you want to nake
the c hords in a piece simple, play the song in one of these keys. Suppo se
a piece is written in a different key and the c hords l ook like the ones i n
the example below :
F1
These chords can be made simple by :
1.
Changing th e first chord in the piece to one of the simp l e key chords
(G, C, D, etc.)
2.
Fi nd i ng on the chord clock the original first chord in the piece .
44
3.
f.'ind in g the new chord on th e clock that yo u are chang in g the
orig inal chord to.
4.
See ing whic h direction and the number of steps you went to change
the old cho rd to the new chord .
5.
Changin g the rest of the chords in the p i ece the same number of
steps and in the same directions as the fir s t chord \Vas chang ed.
EXA/>1P LE:
Change the firs t Bb chord to a G cho r d . Then, find Bb on th e clock
and notcie that we had to go four steps (counting the Bb chord as #1)
to the right to ge t to a G chord. No w, we change the rest of the chords
i n the piece four s tep s to the right. Notice that the number of s t eps and
th e di recti on you change the first chord in the piece will determine the
number of s teps and th e direction yo u can ge the rest of th e chord s . Shown
below ar e t he original chords an d the new chords to the e xamp le.
0'1
E7
G
gl:.
The minor chords will chan ge the same dir ec tion and numbe r of steps
but will r ema in on the inside of the clock . To transpose 7th chords such
a s the F7 in the examp l e , find F on the clock, change it to the new chord
(D), then, a dd the 7th to the chord name. The F7 is changed to a 07. The
same principle applies to m7 , 9, 13, and other variou s chord s .
Assig nments using the chord clock:
1.
2.
3.
Transpose
Write one
Write out
above the
two songs from sheet music or music book to easy keys for the guitar .
original song (just the chords).
the l yrics to one familiar song putting the correc t chord changes
words (rhythm sheet).
BAR CHORDS
Bar chor ds are so called because the first fing er (bar finger) lays
acr oss all of the strings.
These , when mastered , make it possible to play
vir tually hundreds of chords with very little hand mov ement .
By s i mply
hold i ng the hand in one position and moving it up and down the neck one ::an
play 12 differ ent chords with one hand and f i nger formation or pattern .
Following is a chart enabling one to determine where and how a chorl
wi ll b e finger ed i n its bar position:
3
G
G
5
A
IG
B
C
D
BAR FINGER
:tl\• iilll\i 'liF·tif'":li~
13th
7su s.
dim.
m9
6th
SECOND OR BOTTOM CATEGORY
MAJOR
minor
0
2
3
5
7
8
10
12
A
B
C
D
E
F
G
A
7th
m7
46
maj . 7
categor~ continued)
?JWJ>·
C,~
,.....,
-~·~~-~.,
There are still many chords possible on the guitar that cannot be played
in open position or in the bar chord form.
Hovever , the pat t erns on page
sheet vil l enable you to play most of the chords in popular music .
To use the " bar chord chart" follow the procedure outlined belov :
There are two categories or groupings of bar chords: those
that the 6th string names (on top) and those that the 5th
string names (on bottom).
The numbers above the letter names indicate the fret that the bar finger
of a particular letter name chord can be found in and the various patterns
illustrate how the different types of chords should be fingered after the
correct fret for the bar finger is determined.
For example , suppose you wanted to find a G7 chord .
With the top cate-
gory the G is played with the bar finger in the third fret and the formation
for the 7th should be used.
patter n up one fret.
:'ret.
To sharp a bar chord move the complete c hord
To flat a bar chord move the ccmplete pattern down one
C#m7 would be played in the ninth fret with the top grouping since
~ he C chords are found in the 8th fret .
C#m7 may also be played in the fourth
:'ret using the bottom category and playing the
m7 pattern (
-
).
m )
Bb9 may be played with the bar finger in the 6th fret and the 9th pattern
with the top category, because B chords are played in the
seventh fret and you move a chord down one fret lower to flat it.
Itay also be played in the first fret and the other ninth pattern (
using the bottom category.
to play the same bar chord.
It (Bb9)
•
There are two different fingerings and positions
This nakes changing chords more convenient.
47
For examp le, if you are playing a piece with changes from a G to a
C very rapidly , one wou ld not play a G in the third fret and a C in the e i ght h
fret using the same pattern.
This would be too awkward .
It vould be better
to play G in the third fret and C in the third fret using the other category.
This wou ld make it possible to change much faster from G to C.
So you see it is possible to figu re out a possible 252 different
chords using this bar chord sheet correctly.
Try playing the following
piece with a few bar chords :
A
A
I
Notice how full and rich the bar chords sound compared to some of the
open chords , because of the fact that all of the strings are being stn.m:ned .
Try this example:
(One wouldn't go from G in the thi rd fret to Bm in the 7th, but ra1her
G in the third fret to Bm in the second fret . )
c.
c
48
D
G
Finger pick or strum the fol l owing example playing some of the
chords as bar chords :
~ '*
II
rqi*
D
B""
i 4'i*§
E
rff""7
C-ll'""
A
C"*'""7
E7
6"'
D
D
A
A
C4f...,
E
:t
A7
G
II
f#M
*''
A'
G
:111
D
I
p#-1>'1
E""
f".#M
67
B7
E
II
G.#""7
(:,4t7
~4t"'7
f~l¥\7
Try some of the songs from the Song Section using bar chords in place
of some of the open chords in first position.
Any chor d may be played as
a bar chord, but it is best to learn the open chords first.
g
READING REPEAT SIGNS
This notation {
.·II
is called a repeat sign.
When it appears
in the music one should go back to where that sign appeared previously in the
piece and play that much of the song again.
After repeating one should end
the piece or continue on.
12.
These are first and second endings.
The
~~~~~~~~~:§I~~~~~~~~~~~JII
first time one plays through the piece he
:
should play the first ending
then repeat to the repeat sign.
skip the first ending
The second time through th e piece one should
IL
The following notation
:II
and play the second ending
~
is also a repeat sign.
12.
When one
plays the piece to this sign he should repeat to the same sign earlier in the
piece.
Then one should play to the following sign:
TheM one should skip from this sign (
E& c.ooA
).
50
$
)
to the coda or ending of the song
SONG SECTION
TABLE OF CONTENTS
When Johnny Comes Marching Home.
Silent Night . . . . . . .
This Train . . , . . . . .
Worried Man Blues.
Michael, Row the Boat Ashore
Streets of Laredo. . .
Amazing Grace. . . . .
She' 11 Be Comin • Round the ~1ountain .
You Are ~ly Sunshine.
When the Saints .
Clementine . . . .
Tom Dooley . . . .
He's Got the \;hole World
On Top of Old Smokie . .
Down in the Valley . . .
It Came Upon a mdnight Clear.
Jingle Bells . . . . . . . .
Red River Valley . . . . . . .
My Bonnie Lies Over the Ocean
The Wayfaring Stranger
Shenandoah .
Oh, Suzanna
Aura Lee . .
Oh, Sinner Man
Kum Ba Yah . .
Cripple Creek .
Home on the Range.
John Henry . . .
Scarborough Fair .
.1
.2
.3
•4
.5
.6
.7
.8
.8
.9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
When Johnny Comes Marching Home
John-ny comes
When
home
march-ing
a
- gain ,
Hur-
E""
J222f J
J
r
marct
J
J
rah,
!'
a
home
- ing
men
I f r
rf
d"'
t hey
- dies
E7
will
r
gay
be
r
f
r
wil l
E7
I
w1
e
/)'>1
r
F
s ing and
f
boys
the
out
all turn
..1
and we'll
.I .I I cJ
march
comes
John-ny
comes
£7
rSJ
- rah ,
rIr r
will
r rr I
r r
!'/""
rl
Hur
- rah
Hur
gain,
1
•
John-ny
c
E7
J
4""
r
J
When
['
-
r r
I
The
la
r
If"'
T?r r r
J
rah
Hur
shout , the
4'"1
r
all
- ing
home.
~ ~u,.•~,;. I20•1V •n•.,.•l:!lo 0.
g~•••
161·06" tole.
1'>11,~....0.
Cell i.
600- A
Silent Night
n4jfg II:
G
f
Si
D
2
vrIr
r
r r
r
lent
(:,
t
I
All
00
is
r
r
gin
in
r
hea- ven - ly
and
c
r
f
r t r
ten
G
f'
- der
It
peace
II
peace.
ADDITIONAL VERSE:
Shephe1 ds quake, at the sight
Glor ies s tream from heave afar
Heavenly hosts sing Alleluia
Chr is t the Say ior is born
and
r
Round
yon
c
r
f
.td .
ch1l
Ho-
D
G
JQjJ
night
bright ,
G
- fant so
f I
p r
mother
r v r
D7
is
f
ly
(:a
v r
vir
All
calm
r
'
Ho
night,
r
t
f
mild.
Sleep
•
'
I
Sleep
ly
in
D
r fI
in
j'
;
J
hea-ven-ly
This Train
4\*l
3
Spiritua l
/1
OR c
~.l§J~±~===!~:: " E;-..:
II~~~~~J
This train
r r
This
/1
r
This
train
i'
train
r
r
is
bound
r
r
is
bound
is
bound
for
this train
E7
r r - I-s
r r
for
E.L;>t. 3?'
j
glo- ry ,
g lo - ry,
train
this
I
•I
for
g l o-ry ,
1
Don t
ride
J .IJ
none
but the
E7
This train
II
ts
F
bo1md
-I'
for
J
:J
gl o
- ry
j
Worried Man Blues
[)
r
It
J.
~
takes
a
T
song,
It
..D
d.
It
song .
r v
takes
!
ried
(41)
wor
J· J r I r
takes
a
wor - ried
II'
f
ADDITIONAL VERSES:
- ried man to
to
man
sing
lay do•.m
sing a wor-ried
yr r
a
wor - ried
D
won't be
tn 5 ! eep
my feet
3.
Twenty-nine link s of chain around my leg,
And on each link, an initial of my name.
4.
I asked that judge. tell me. what's gouna be mt fi ne ?
Tnent) e!'le ) eai 3 efl: the Reel~) Hetmtaifl bifle.
5.
Twenty-one years to pay my awful crime,
Twenty-one years - but I got ninety-nine.
!b e traJP arri,ed sdxteep coaches; long,
lhe g1r l I l ove IS on that tra1n and go ne.
7.
rr
wor - ri ed
r r r r Ie
(3 times)
op
sin g a
to
r Ir
But I
I went across tlte Tiwel", aRd
p
r r r r lr r r rI
wor
JJ
now
I'm
man
r
- ried
J.
r r
song,
war-
b
r
r I r r f1' I
J
I looked down th e track as far as I could see,
Little bitty hand was waving after me.
If 2nyone &honld 2&k yon, 11ho composed tb, s sang
t e ll h1m was I, and I s1ng 1f al l day long.
wor-ried long.
I
Michael, Row the Boat Ashore
u4;h
b
J r
row
Mich - ae l
(:,
i a.
r v r r-
r r r
Mich - ael
the
8""'
f
row
~
the
boat
r
boat
a
r
a -
r
s hore
r- r I
Al
le-
c
tj
lu
01
A""
J £)
shore
Al
-
le
-
r
lu
cJ
-
G
i a.
c§:l
~~..-~:it.
P~on o 1~1·061)
1)1)48 Vono.,.o fll•d.
N o. >1oii,~-. C ohl .
60 2- A
Streets of Laredo
~
4 r
"4
As
c.
(!.
~7
r v rI r r r
walked
r r r
r
walked
in
out
r r r
COW -
boy
(.
r
cold
all
(:,7
r r
as
the
~ ~..•,1 , 110•1v ........ wl l• d.
Pho" • I01·06U H • .
11 •11,~.....,.
Coli!
r
the
La -
do
one
J
..1
(:,7
v
r
dressed in white
r
All
~
day . I
C!..
lin- e n
r IrJ J
st re ets of La - ra--d o
(;,7
ra -
(:,7
(' y
r vr r
c.
67
on
c.
(:,7
f
out
C!.
c
I f'
y
spied a
~s
l
'
yomg
I
(:,7
•
r
r
I
r
I
r
r
dressed in white li nen md
(.
r
7
II
clay.
100- A
Amazing Grace
/1
0
A
-
E
I
that
-
J
Grace ,
ing
IJ
I j
J_ t
sound
maz
J
HoY
J
I
J
B7
1
sweet
the
s
r
I
saved
£
I
once
I
J
b lind
was
l]
but
I
B?
J
lost ,
but
J I
no~
E
e
I ~
------
see
I am
J_ l
fou nd ,
Was
8
She ' 11 Be Comin' Round the Mou nt a in
G
J
She ' ll be
LJ
I
Js
j
j
com-in ' round
the
JJ J J
moun - tain when she
comes
D
j J I
com - in '
0
rr
round the
r
I1 r
She ' ll be
r r J J I
rr r v
She ' ll be
moun - tain '"'hen
the
j
j
@tl
J
6
f J
com-in ' round the
moun - tain
J
J I
j
1
I
com - in ' round th·
o-r
IJJJ.JX
She ' 11 be
c
moun - tain , She ' 11 be
G
moun - tain
o,2±J
comes
; J :J J l11
v
com- in ' round
she
when
she
B,£1
comes
You Are My Sunshine
J
You
r r
J I
J
ar c.my
sun
It J J r I F E
You
ma ke me
hap
C
I
r
know
dear
r I
take
my
how
J
sun
J
When ski es are
egray
You ' 11 1e - ver
G
r J2f J
love
6
r
- shine a
J f I J J
sun - shine
l r FF r I
much I
D
Ii
shine
rFf
IF
I'
- py
-
G
D
-
you
o.J3 J
way .
:II
J J
Please
don ' t
I
When the Saints Come Marching In
~
:If
II+
6
tl
~
J -r
Oh
when the
r
e "'
Saints
.I
come
r rI
march- i ng
I FJ r r I
e
in
oh when the
1)7
H
Saints
bi
r
in
come
march - ing
"h~•
r r
C!.
!)7
J
,J
::.._u,.•~i. lXl~a ~.-. ....
c
ing
0
r I" l
t hat
march--
@
r
r
J
num -
her
6
l .. d
......
in
J
r r r
WRen t he
J
want
6
j
IJ
to be
r
saints
there
r
come
6
I s,2£J
II
in.
!JI.d,
161·061! No. Holl,wood, Colli
600-A
I
10
Clementine
Gl
A 1:
I
•l
ca-vern
In the
;I}J
mine,
6
J
tine.
min-er
.D
)
can
J cr
Oh my
J .J j
- yon
dar
J ..[!I
J
f"J
- ling
<:,
J:l
tin e ,
11.
I
(:I
J
tine.
You are
n
r r
lo st
IZ:
:I
Light she
and
£]
gone for -
f J
ever
C:t
(J
l
ADDITIONAL VERSE:
Light s he was and like a fairy
And her shoes were numtj¢7 m ne
lfeit i'ug boxes wi thoat Lapses.
I
-
r
nin- er
r
rr
Ex- ca
C':t
for - ty
dar-lin g
my
I r
:Ej
r r
Dwelt a
Oh
E1
in a
D'
And hi s
Oh my
u
va t-ing :or a
I J .I
f1 I
-~
daugh-:er Cl em- in-
r r tt I
dar - ling .:: I em-in-
D7
rJ
~
dread-ful
J
J
sor- ry
(J
•:!em-en-
11
Tom Dooley
c
fa
(:,
J J J
•1:)
Hang down your head Tom
?
£
$
cr y
(:a
c
Gl
J J
••I •f 3
Hang down your head Tom
".I
1
.I
met
di e .
her
J
on the
! f
J
J.
Doo -
ley
Hang down your head and
JJ
J •I J
Met
l ife
her
on
~
r r
moun-tain
;l
t he
.I J] J
Poor boy, you 1 re bound to
D.,
e
a
.FJ J
Doo-ley
d.
moun-tain
J J J J
There
-r
I
There I
took
her
iJJ
took
her
<:a
l ife.
ADDITIONAL VERSES:
This time tomorrow, reckon where I 'll be
If it hada' t Jeca fez St&)36I, I'd beer ifl: TeJu1essee
'J:hj E t.
Reckon where I'll be
Down in some lone seam vall ey,
Hangin' from a white oak tree.
\§Y ~!'..·~~p~.., .
11UI Yo~t.,o !l l od
161 ·061, No Holl,w<>O<I .C o lo l .
602 - A
He' s Got the Whole World
~
114~ :I
G I r r
f
whole
got the
He's
D""~
~
r
whole
J
t
world
in
t r r 8 !'
his
hands, he's got the
He's got the whole world in his hands.
He's got the wind and the rain in His hands;
SJID and
the moon rjght jn His hands·
He's got the Wl!ld and the xatu tn HiS hands
lie's got the whole wotld Ill His ltauds
He's got th e little bitsy baby in His hands;
He 's got the tiny little baby right in His hands;
<le' • got tllo littlo bitsy baby iR lhs !laRds
He 1 s
go£
f be wha l e world
jn Rjs
bands
he'~
got the
G
~
u r r
whole world in
ADDITIONAL VERSES:
the
his hands
Qi
He ' s got you and me brother jn his bands
lie's got you aud me brotliet. ill his hand
lie' • got fOU a lid me bt othez , in his hands
He' 5 got
r r tr tr
in
his hands, he ' s got th e whole
r r rr G
in
J
world
12
~
v
world
(:,
J
J
his
hands.
II
13
On Top of Old Smokie
II~
g
c.
jj
On
-
;I
=!
J
c ov
- ered
F
r· k j f
I :;t J J
of
old
top
c
with
EJ
;
er
Come
I
Ml
A
Al l
(:,
J_
j
J
J
lost
my
true
l ov
c
~'7
J
ie
Smok
:!
snow,
i
~
•'
court - in'
J I J.
too
slow
1.):
II
-------
ADDITIONAL VERSE:
He sends you to your grave.
(§)
~",.·~~. !XI~I v • • ,.,..
Phe~e/61·061'
No.H oll 1 ..
a1.o1
-.c.nt.
602 - A
14
DOWN IN THE VALLEY
D
II ~~ ij
R,
J
Down
r r Ill) r·
in
the
F' >?I f'
I
r r
E'
-
val
J
l ow
Hang
1t
your
ley
head
II
hear
the
wind
ADDITIONAL VERSE:
Hang your head over
Hear the wind blow.
blow.
1}_
r
0
r r E4
va l - ley
I E'
- ver
so
I t Came Upon a Midnight Clear
c_
G
r
I
It
c...
J
I
/17.
J
J
-
so ng
J
ing
of
G
c.
d
t he
JJ1J
J
o ld
G
I J I
sol
-
J
lj
to
IJlJ
touc h
t heir
J
J J
cio us
c
harps
I
sti ll - ness
J
II
sing .
D
J
eJ
I
D~
wi 11
IJ J
Kin~
c
J J
l ay.
To
of
E""
I d.
(;,
D
gel s
good
gra
j
emn
an - ge l s
D7
r ! I l ii ~J
a ll
hcav 'n s
in
J
J
From
earth
(!
r J
[J
I
~
earth ,
r
G
wo r l d
I
Pea c e
Fr om
I
J
G
iF
go ld
I
J
I
G
IJ
near
G
I
C
j
J
g l or -i-ous
bend
G
came
I l J
c
J ] j..
15
I
J
h ear
th e
The
16
Jingle Bells
(:,
J r
Dash-ing
;1 ;!
JO I J r J
J.
In a
snow
through the
D,
r
;
J
way
Bells
r
on
r r r
0
the fields we
O'er
slei gh
J
r
J
Laugh-ing
go
bob
bright
fun
What
r r
•
is
it
J
a ll
Mak -
ring
D
J I
J
- pen
the
J
tails
(.
I
o
one-horse
J
to
ing
spir-i1s
rr rr1rrrr
laugh, and sing a
s l eig h -ing :ong t o -
r r e lrrrlrr.IJ
Jin- g l e
night
way
Oh,
D
Jin-gle
bells
c
sleigh.
Irrrr
Oh ,
jin-g l e a l l the
what fun it
D
is
to
ride in a
one- hor se, opel
rrr lriJ
r r r
f
be l ls
r rruirJJ
I
what fun i t
G
s l eig h
way
Jingle
G
rrr
0
I J
bells
c.
jin-gle
6
bells
J
jin-gle a l l t he
Q"7
r rrulrr r J
is
to ride in a
one- hor se o- pen
J
17
Red River Valley
11$ ¥§
j
=l
I
•
From
f
will
r r
val - ley they
this
J
J
R
.. II:
II
your bright
r r
1'
you are
R
J
bright -
k
.. r
I
en s
our
you
!
" g
go-in
arc·
r I e I 'f I J I
and swc:! t
smil P.
D
J
tak-
ing
r
r r
the
sun-shine
{;7
e r r
path- way
a-
R
ADDITIONAL VERSE:
But remember the Red R1ver Valley
And the girl ~;ho has loved you so true.
L
d.
(37
eyes
R
say
say
r
rr
('
miss
D
J
J
/1
while.
r
~
For
thev
01
That
D fl.. R
[J
J
:II
18
My Bonnie Lies Over the Ocean
I J
I r J J
bonnie
lies
C
G
:lver
L I
j
bonnie
J J I ,~6£ J .1 I r J J I
over
to
I(!)
d.
J J J
c
J
IJ
bring
back
I El2£J.
me.
2
j J
•
Bring
bring back my
II
I
J
bonnie
J
back,
bonnie
My
lies
C
me
back, Oh
Br~g
sea
J 1~
D
J
the
J J
G
I J
me,
to
back,
J
bring
J I r·
to
i
me.
D
J I~JJJ IJJJI
oh
bring back my
bonnie
t•
19
A Poor Wayfaring Stranger
E""
I
o
l(l J lr=fTR
l'm just a
poor
way -
stran~
faring
! 1 J
~,~!
B 7through
E""
t __ nJJ
A travlin '
~ ::J
lr-==-j~
:) =II
cJ~
this world of
r l ___ fl
dan - ger
In that
bright
r r
there
to
!:""
ou
go
1.ng over
to which I
rJ
FJ I
I'm
F
a
going
J
home.
go .
I ' m going
11":--..
Father __.... .......__...,.
meet my
I'm just
world
going
Dl
t« r Ff I
ther e
no more to
ll l l
Jordan
I3
I'm jus t a
I
Shen andoah
20
D
d
1 I rJ
Shen-an-doah ,
Oh,
G
r=J:l JJ
I@')ft..>~
riv-er.
you roll-ing
way,
long to
D
hear
J
Oh
you ,
A -
8""
u
I l ong to
Shen-an-doah
])
d.
J d
hear
you,
we ' re bound a-
way ,
A-
8,.,
way,
•Cross the
.D
J
J.
wide
Mis
J J
sou
II
- ri.
ADDITIONAL VERSES:
2 . The white fiiB:H leu eel tRe h teliaR maielen,
With notions h1 s canoe was l aden ,
Away, we ' re bound away ,
' Cross th e wide Missouri.
3.
0. Slieuaudoali, I lov e roa r daughter,
I'll take her ' cross the rol l ing water,
Away, we' r e bound away
' Cross the wid e Missouri.
II
Sh en andoah
I 1 m bound tO
leave YOU
0, Shenandoah, I' 11 not deceive you ,
Away, we ' re bound away,
'Cross the wide Missouri.
~1'1 :"~",.·~~ .
P~•~•
!2048 v . ~ ..... 11!..1,
/6Hl615 >lo, lo1oiT,. •M , Colli,
602 - A
21
Oh, Suzanna
D
:111:
11 I J
Well, I
117
I
J
JJ
I'm
to
go in'
r
.
knee.
Cause I
an - a,
Jj
ban-jo
J
on
my
Suz
rl
e
an - a
- a
IJJJJ
true love for to
Oh,
a
JJ J J
don ' t you
cry
for
J J~IJJJJ
.I
J J J r
Al
My
IF
D
come from
•j
D
r
Oh,
lj
J J I
Louis- i
J
0
see.
D
with my
1'17
al,
G
me.
bam- a
-
D
knee.
A'
.
) J I J
.J ..I
come from Al- a
-
ba
- rna
with my
ban-jo
on my
22
Aura Lee
Ba l bd
II ~"c •• ~
As
I
07
f\1
J J eJ
J
J J
the
Black-bird
..1
D.,
R.,
G
o
tre e
IJ
Sat
heard him sing in 1
and piped, I
r
Lee .
r e
Au - ra
f
£'
hair.
air.
r r r r
Sun -
shine came
r
Au - ra
Lee,
a
J J J .t
praise of Au - ra
€.WI
e"~
6
I
I
J J d
J J J
J JJ
'neath the wil-low
in the spring,
e
Lee,
r
Maid
J
go ld- en
D7
117
J J J JI
long
J J
of
with thee a nd
j
J
r
swa !-lows in
J
the
Oh , Sinner
~1an
23
Spiritual
E.v.
II
(~-w ~ r
J
sin-ne r
Oh
D
,I
Oh
J
9
man,
where you
0
sinner
man,
where you gon-na
E""'
r
J
r
where
8
man,
Oh,
D
All
on
you gon
E '"'
that
da~
Run to the sea, the sea was a-boiling,
(3 times)
All on that day.
6.
Run to the Devil, Devil was a-waiting,
All on that day.
(3 times)
I
- na
r
F
to
J
ay.
3.
,l
J ,I J
J
gon
r r
to,
j
to;
24
Kum Ba Yah
II~ ~
{!
J
J
Kum
bah
3 J
El.Jt j
F
J J
Kum ba
yah my Lord,
c.
I; ......1J
0,
Kum Ja
yah .
/)""'
J J J.£L)
J j
Lord.
Kum ba
yah , my
(!.
J J
yah,
my
EJ.2f J
Lord.
.I
Lord
Kum
j
ba
•I J
Kum ba
IJ J J
J:. ,____......
Kum ba
ADDITIONAL VERSES:
2.
3.
f
....L
F
(:,?
C!.
yah . ...__.-
Someone ' s c rying Lord, Kum ba ya h.
Someone's singing Lord, Kum ba yah.
Oh
yah.
c.
-&
yah .
II
I
25
Crippl c Creek
D
rr
G
;I
J
Just put on
A7
a
r r
J J
shine to boot .
- mond
Dia
0
.D
JJ
J
folks , good -bye .
new
J
r:'
Crip-ple
tl ~
•
Crip-;l e
J'
,I ..1
J
--
some wo-men
th e ap-ple
my
rr
.,I J I
See you la-ter
tie ,
E.
by
11'
J
shave and
swim-mi "J"''""-
..1 ..J
Down
of
A I
J J
J ..I =t
for
.D
J
J J rg
me t
j
No t
reek,
h ere ' s why,
Creek
r
in
IT'
f J
D
J
(:,
4F
Ilair-cut,
suit,
stic k-pin
j)
mong
brand
r r
"
J J
£'
Go-ing to
r
(:,
Go-ing to
D
.JJ )
D
;
(:,
D
A'
Traditional
~
FJ J1
Crip-ple !:reek a-
D
j
J
my
eye.
II
AQDITIONAL VERSES:
8 c as fat a1 d:
One was somewhere 1n between,
Took one l ook a nd I got weak,
By th e banks of Cripple Creek.
Gonna meet her, cheek to cheek,
In the church by Cripple Creek.
V~ ;!'~..·.o::.
!:xJ OIVofto.,.o8! •d•
"~"" " 161-~!) No. ~.~~, ~ •""·
c.t.t.
602 - A
26
Home on th e Ra nge
e
J
Oh
horne
give me a
r
;s J
deer
a nd the
r
-
- te - l ope
\VOrd
cour - ag - ing
a dis-
E"'~
1?7
\ .I .l
£1•
heard
a
di s -
P~ono161 · ~1i
;t
-
te
c
\
I
cour -
Where the
J.
j<>l J \)
p l ay
\'(h ere
f
wor d
c loud- y all
~
J
rr
IJ JJ I
r= I r JJ
r a nge
the
- lope
ag -ing
is
u
And the
sel
~
.
j J
- dam
,,
; ies are not
is
J
C:a
.I J
cloud-y a ll
tYAi7l) :,_u,l~~.
l
on
])1
J
an
deer a nd th e
s ki es are not
And th e
r r
home
- dam
)' 2
D1
Jlomc,
scl
D7
rJ.
I.J II
..1
u
f
roam , Where t he
\Vh c r c
play ,
r r
day.
1)1
r
buf - fa -1 o
A.
an
c.
j
f
J r
JJ
wh e re the
D1
~
heard
c.
J
f
day .
I:Ki oe v .~ , ... !11.4,
No, t1eii, . .... ,C.Io l ,
602-A
27
John Henry
A
13
Sit-tin' on his
rr r r
little p i ece of
-
r 0
r r J ] JJ
JD
hammer
steele, Said this
11
r
be the
:II
J
me.
death of
ham -mer
He
knee
E7
Ffr
II. :l
I l
I
- my's
tBBITISNA
Gonna bring my steam drill round
Watch that smoke roll out its stack
While it drives that cold steel down Lord
3.
Lord
NOw JUhti Henry Sa1d eo the captain
A man ain't no thin' but a man
Before I let that steam hammer beat me down
I 11 d i e with a liaJtUUEl i ii my hand LUlU
.
4.
.
.
LOid
John Henry went on the mountain
He looked on the other side
h¢ dlPd I Clrd
5.
j'£
boy
£:7
11
J
1
lit-tle
Henry
John
r rr
n n
I: J' J
Now they buried John in the g r ave yard
Six feet under the sand
I ri r d
:J
J'
picked up a
death of
me
hammer and a
Oh
Lord, This
2P.
Scarborough Fair
l~"g II:
E""
D
e r
J
j
Are
you
G
-
r
Re
goi ng
sage,
r r
mem
-
ber
(::t
r r
#:
ro se
r
J
once
Sh e
ry
- rna
E""
r
J
a nd
r r
me
to
1
J J
who
lives
a
was
I
D
J.
I
ther ~
E....._
j
a
ADDITIONAL VERSES:
Parsley sage, rosemary and thyme
Without no seams nor needl e work
Then s h e ' 11 be a true love of mine .
rosemary
I'F
thyme
G
Tell lit: I co make me a crunox ic shlt c
Par s I ey sage
Fair?
R
D
E""'
I J.
..__..
J2Q .....___ d
ll'
Scar -bor-oug h
to
e r
- s l ey ,
E""
<.\ .
E""
1 r r
Par
arr. by Mike Chr is ti ansen
and fhyme
ee t ween the sat c water and the sea st rand s
Then she ' 11 be a true love of mine.
Te l 1 her to rea p j t w j th a s i ck J e afJeathei:.-
Pa t sley sage. r osema r y and thyme
Aud ga th e r it a ll iu a baucl 1 of heather
Then she ' 11 be a true love of mine.
;t
I
J J
tTue love
of
J
I
mine:--------'