Key: F
Capo 5 – Play C
凭什么要失望 藏眼泪到心脏
往事不会说谎 别跟它为难
我们两人之间 不需要这样 我想
* 修炼爱情的心酸
学会放好以前的渴望
我们那些信仰 要忘记多难
远距离的欣赏 近距离的迷惘
谁说太阳会找到月亮
别人有的爱 我们不可能模仿
修炼爱情的悲欢
我们这些努力不简单
快乐炼成泪水 是一种勇敢
几年前的幻想 几年后的原谅
为一张脸去养一身伤
别讲想念我 我会受不了这样
记忆它真嚣张 路灯把痛点亮
情人一起看过多少次月亮
它在天空看过多少次遗忘 多少心慌
Key: F#
Capo 6 – Play C
笑着说爱让人疯狂 哭着说爱让人紧张
忘不了那个人就投降 *
Play last * in C#
|
| Lesson 1 Hello Guitar! | Lesson 7 Strumming |
| Lesson 8 Re: Strumming | |
| Lesson 3 Chord Switching | |
| Lesson 4 Let's Play! | Lesson 10 Re: Plucking |
| Lesson 6 Re: Le Barre |
Dedication
For my lovely wife and baby Coven - successor to Chords Haven.
Download Learn to Play Contemporary Guitar - Instructional Package [PDF] [Mediafire]
In this final lesson, we will go through some guitar theory that will add meaning to your playing.
| 11.1 Chord Theory |
Chords are constructed by applying a particular chord pattern to the major scale.
They can be constructed using a 3-step process.
1. Find the notes in a major scale.
The notes in any major scale can be derived from this pattern:
W W H W W W H
W : whole step (tone)
H : half step (semitone)
Example: G major scale
2. Number the notes (also known as scale tones)
| G | A | B | C | D | E | F | G | A |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
3. Apply chord pattern.
| Chord Type | Pattern | Example |
| Major | 1 3 5 | G: G B D |
| Minor | 1 b3 5 | Gm: G Bb D |
| Dominant 7 | 1 3 5 b7 | G7: G B D F |
| Major 7 | 1 3 5 7 | Gmaj7: G B D F# |
| Minor 7 | 1 b3 5 b7 | Gm7: G Bb D F |
| Add 9 | 1 3 5 9 | Gadd9: G B D A |
| Suspended 4 | 1 4 5 | Gsus4: G C D |
| Exercise 11A |
Using the steps listed above, try constructing the following chords:
Cm, Cmaj7, Csus4, Cadd9
Cm : C Eb G (1 b3 5)
Cmaj7 : C E G B (1 3 5 7)
Csus4 : C F G (1 4 5)
Cadd9 : C E G D (1 3 5 9)
11.2 Slash Chords |
Recall in Section 9.3, we learnt that the bass note of a chord is its root note.
In some instances, in order to add colour to the music, the bass note played is not the root note.
In this case, the bass note is indicated after the chord separated by a slash.
Example:
| Chord | Bass Note | Fingering |
| C/E | E |  |
| D/F# | F# |  |
| G/B | B |  |
Slash chords are often used in progressions where the bass forms ascending or descending scale.
Example:
C → G/B → Am7 → Am7/G
Bass descends from C → B → A → G
Dm7 → C/E → F → G
Bass ascends from D → E → F → G
| 11.3 Capo – Power Tool |
A capo is a device that clamps down an entire fret.
Clamping the capo at fret x raises the pitch by x half steps.
Example: Placing the capo at the 2nd fret (Capo 2) raises the pitch of strings by 2 half steps.
Similarly, clamping the capo at fret x raises a particular chord by x half steps.
Example: With the capo placed at the 2nd fret (Capo 2), a C chord is transformed into a D chord (C→C#→D).
In contemporary guitar playing, the capo is the most powerful accessory around.
It allows many songs to be played with relatively simpler chords.
Example:
A song played to E Key will involve chords like E, B, C#m, F#m G#m.
By placing the capo on the 4th fret (C→C#→D→D#→E: 4 half-steps), the song can now be played in the C Key and will involve chords like C, G, Am, Dm, Em.
| 11.4 Complex Chords |
Many guitarists are intimidated when they see complex chords e.g. Caug9, F7b5 etc.
There is really no need to be. Some may even have simpler fingerings than those chords that you can already play!
Just look up the fingering for the chord and treat it as just another chord with its own set of fingerings.
One excellent website that I use is http://chordbook.com/guitar-chords
| 11.5 Sustaining Motivation |
Many aspiring guitarists fail because they give up when the going gets tough or after the initial enthusiasm fades off.
One strategy that I use to motivate and sustain the interest of my students is to get them to practise using their favourite songs.
You may wish to search for the chords to your favourite songs on my music blog: chords-haven.blogspot.com.
Do join me on facebook www.facebook.com/chords.haven to request for your favourite songs and receive chord updates!
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In this lesson, we will learn more fingerstyle plucking patterns.
| Exercise 10A |
Let’s try the plucking pattern using the C chord:
p i m i a i m i
| Exercise 10B |
Let’s use the plucking pattern in Exercise 10A to play Leaving on a Jet Plane:
Leaving on a Jet Plane
Exercise 10C |
Let’s try the plucking pattern using the C chord:
p – m a i m
| Exercise 10D |
Let’s use the plucking pattern in Exercise 10C to play The Only Exception:
The Only Exception
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In this lesson, we will learn the basics of fingerstyle playing.
| 9.1 Fingerstyle? |
Fingerstyle playing, in simple terms, means to pluck the strings in a repeated pattern while holding a chord.
For fingerstyle playing, it is recommended that you leave the nails on your right hand slightly longer than usual for a cleaner/ brighter sound.
Plucking with the tips of your fingers causes undue friction and also produces a softer, muted sound.
| 9.2 Re: Finger Notations |
The fingers on the right-hand are represented as:
| p | thumb |
| i | index |
| m | middle |
| a | ring |
The little finger is not conventionally used in fingerstyle playing.
9.3 Positioning |
Rest your fingers on the respective strings near the soundhole as follows:
| p | 4th, 5th or 6th string |
| i | 3rd string |
| m | 2nd string |
| a | 1st string |
Notice that the thumb (p) is responsible for plucking the 4th, 5th and 6th strings (i.e. the bass strings).
A common question then is: ‘How do I know which bass string to pluck?’
In most cases, the bass note of a chord is its root note.
By locating the root note in the chord fingering, you can determine which bass string to pluck.
| Chords | Bass Note | Fingering |
| C, C7, Cm, Cm7 | C | 5th string, 3rd fret |
| D, D7, Dm, Dm7 | D | 4th string, open |
| E, E7, Em, Em7 | E | 6th string, open |
| F, F7, Fm, Fm7 | F | 6th string, 1st fret |
| G, G7, Gm, Gm7 | G | 6th string, 3rd fret |
| A, A7, Am, Am7 | A | 5th string, open |
| B, B7, Bm, Bm7 | B | 5th string, 2nd fret |
| 9.4 Tablature |
Tablatures (or tabs) are a simple alternative to traditional music scores and are widely used to showcase plucking patterns.
Let’s take a look at section of a typical tablature:
How to read Tablatures:
In the next few exercises, we will look at some common plucking patterns for songs with 4/4 time signature.
| Exercise 9A |
Let’s try the plucking pattern using the G chord:
p i m a m i a m
| Exercise 9B |
Let’s use the plucking pattern in Exercise 9A to play Just the Way You Are:
Just the Way You Are
| Exercise 9C |
Let’s try the plucking pattern using the G chord:
p i m a – i m i
| Exercise 9D |
Let’s use the plucking pattern in Exercise 9C to play Firework:
Firework
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In this lesson, we will learn more elaborate strumming patterns involving upstrokes.
| 8.1 Down & Up (3/4) |
The next strumming pattern that we will learn is:
This is a 3/4 strumming pattern i.e. 3 beats per bar.
The symbol (Π) indicates a down stroke (strum downwards) and the symbol (V) indicates an up stroke (strum upwards).
The 2nd & 3rd beats consist of 2 strums each – down & up – with each strum taking up half a beat.
The accent (>) is on the 2nd beat which indicates that that stroke needs to be accentuated/ emphasized.
The rhythm will sound like one… TWO and three and, one… TWO and three and;
sim. (short for simile) means to continue playing in the same manner.
As before, instead of emphasizing the 2nd stroke, we will de-emphasize the others as shown:
| Exercise 8A |
Now we will practice the strumming pattern using The Only Exception.
The Only Exception
8.1 Down & Up (4/4) |
The next strumming pattern that we will learn is:
This is a 4/4 strumming pattern i.e. 4 beats per bar.
The symbol (Π) indicates a down stroke (strum downwards) and the symbol (V) indicates an up stroke (strum upwards).
The 2nd, 3rd and 4th beats consist of 2 strums each – down & up – with each strum taking up half a beat.
The accent (>) is on the 2nd and 4th beat which indicates that the 2 strokes need to be accentuated/ emphasized.
The rhythm will sound like one… TWO and three and FOUR and, one… TWO and three and FOUR and;
sim. (short for simile) means to continue playing in the same manner.
As before, instead of emphasizing the 2nd and 4th beats, we will de-emphasize the others as shown:
| Exercise 8B |
Now we will practice the strumming pattern using Leaving on a Jet Plane.
Leaving on a Jet Plane
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In this lesson, we will learn some basic strumming patterns.
| 7.1 Down & Down |
The first strumming pattern that we will learn is:
Instead of doing 4 downward strums per bar as in previous Exercises, we will do 8 this time.
This means that you must play each strum beat twice as fast.
The symbol (>) is known as an accent. It is used to indicate that that stroke needs to be accentuated/ emphasized by playing slightly louder (harder).
sim. (short for simile) means to continue playing in the same manner.
For the above pattern, the emphasis is on the 1st, 4th and 7th strokes.
The rhythm will sound like ONE and two AND three and FOUR and, ONE and two AND three and FOUR and…
Very often, instead of emphasizing the 1st, 4th and 7th strokes, we de-emphasize the others instead as shown.
| Exercise 7A |
Now we will practice the strumming pattern using Just the Way You Are.
It may be easier to try this exercise by counting the beats in your head rather than using the metronome as the accents do not generally correspond to each beat sounded by the metronome.
Just the Way You Are
Exercise 7B |
Now we will practice the strumming pattern using Firework.
It may be easier to try this exercise by counting the beats in your head rather than using the metronome as the accents do not generally correspond to each beat sounded by the metronome.
Firework (A Key)
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In this lesson, we will continue our conquest of barre chords with Bm & F#m.
 | x-2-4-4-3-2
The Bm chord is formed by barring the 2nd fret and forming the Am chord.
|
| Exercise 6A |
 | 2-4-4-2-2-2
The F#m chord is formed by barring the 2nd fret and forming the Em chord.
|
| Exercise 6B |
Exercise 6C |
Now we will practice switching between Bm and F#m chords using the song Firework in A major key.
The song also uses the A chord:
A: x-0-2-2-2-0
Firework (A Key)
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In this lesson, we will learn to hold a barre chord.
| 5.1 Barre Chords |
Barre chords are chords that involve using your 1st finger to press all the strings across a single fret.
An example is the F chord.
F: 1-3-3-2-1-1
Barre chords are the nemesis of beginning guitarists.
It is very common to have difficulty in using a finger to hold down the entire fret across all strings.
But by now, I hope you are able to appreciate that to play a chord cleanly, it is more of pressing the strings in the correct manner than pressing it down with a lot of strength.
It is the same to barre a fret.
To build up the ability to barre a fret in the correct manner, it is advisable to start with the less common Fm chord.
F: 1-3-3-1-1-1
In holding the Fm chord, you can rest your 2nd finger on top of the 1st which helps to make the barring firmer.
Once again, make sure your fingers are as naturally rounded as possible.
Do not let your fingers collapse or joints to lock.
| Exercise 5A |
Move on to Exercise 5B when you are able to hold the Fm chord for a clean sound.
Exercise 5B |
| Exercise 5C |
Now we will practice switching to and from the F chord using the song Leaving on a Jet Plane in C major key.
Leaving on a Jet Plane (C Key)
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In this lesson, we will work on 3 songs using the chords we have learned so far.
| Exercise 4A |
We will use the song The Only Exception to practice switching between G, C & Dm7 chords.
The Only Exception
| Exercise 4B |
We will use the song Just the Way You Are to practice switching between G, C & Em chords.
Just The Way You Are
Exercise 4C |
We will use the song Firework to practice switching between G, Am, Em & C chords.
Firework
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