I major thriad chord progression on key C. This is not essential, you can use different, but there is same idea on every chord progression that hope you figure out soon.

--------------------------------

--------------------------------

------------------------5-5-5-5-

2-2-2-2-5-5-5-5-7-7-7-7-5-5-5-5-

2-2-2-2-5-5-5-5-7-7-7-7-3-3-3-3-

0-0-0-0-3-3-3-3-5-5-5-5---------

now this is like an verse of our rhytm guitar from that long haired heavy metal freak on the back. and its E5, E5, E5, G5, G5, G5, G5, A5, A5, A5, A5 and C5, C5, C5, C5 So lets get to the business and start to think our beginner riff for it? Oh yeah.

Thing is, that you can use all those notes that you see on tab above on current chord to riffs. Also we have other choice, you can use scales to make more complex riffs. But lets check first what we get when use those notes above.

-------------------------------

--------------------------------

--------------------------------

----------------------------5---

----2-------5-------7---3-3---3-

0-0---0-3-3---3-5-5---5--------

Use alternate picking if you want to play fast, its the only way, start slow improve accuracy and speed over time. Playing fast riffs, require very systematic and patient training.

I think you can find out that those notes should be played along the rhythm? Hehe just kidding, but keep that in mind and use your improvisation and you will make many different sounding riffs even from above one.

Alright, lets take something more and we take pentatonic scale to help our mission to make uber cool riff. Now you can use little trick, and check using guitar chord tool and check how each chord from chord progression tool show up. And now we talk about minor and major things here. 

We use trick that we do same as above, but add a little. Look first tab and check those power chords there. When we add one more note to those power chords as you can see on chord name tool, they change to minor, major, sus, dim, aug depends what note we add. For example E5 we add open G string it turns E minor.

Allright, now we use those notes to conform the chord progression we see on chord progression tool. It says,

C Dm Em F G Am Bdim 

as we used chord progression iii, V, vi, I its Em, G, Am, C we add the first G note to our E5 riff part. I used 1th string 3rd fret instead of open G. Next our chord progression turn to G5 and we start to get on flying. Again experiment with chord name tool and make there G major adding one note to G5 shown on first tab. Go ahead and let that B note vibrato a bit :D. 

Next part we are goin to A5 part of the riff. Experiment with chord name tool again ^_^. Oh well, we added even one note for it make it scream eh? :D.

And now we are in our last part of our riff and lets do something to get athmosphere up in the crowd and lets take just that note to make it C major and let it scream with vibrato to give us some kicks. But lets take that note little higher octave.

-------------------------------

----------------------5--13~~~~~

--------------4-------5---------

------------5-------------------

----2---5-5---------7-----------

0-0---3---------5-5------------

Music theory is the study of the practices and possibilities of music. It generally derives from observation of how musicians and composers make music, but includes hypothetical speculation. Most commonly, the term describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, but also refers to descriptions, concepts, or beliefs related to music. Because of the ever-expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music.

Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle.[1] As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonace, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production. A person working in music theory is a music theorist. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used.

The development, preservation, and transmission of music theory may be found in oral and practical music-making traditions, musical instruments, and other artifacts. For example, ancient instruments from Mesopotamia, China, and prehistoric sites around the world reveal details about the music they produced and, potentially, something of the musical theory that might have been used by their makers (see History of music and Musical instrument). In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia, Pharoanic Egypt, and ancient China have also considered music theory in more formal ways such as written treatises and music notation.Pitch is the lowness or highness of a tone, for example the difference between middle C and a higher C. The frequency of the sound waves producing a pitch can be measured precisely, but the perception of pitch is more complex because we rarely hear a single frequency or pure pitch. In music, tones, even those sounded by solo instruments or voices, are usually a complex combination of frequencies, and therefore a mix of pitches. Accordingly, theorists often describe pitch as a subjective sensation.

Most people appear to possess relative pitch, which means they perceive each note relative to some reference pitch, or as some interval from the previous pitch. Significantly fewer people demonstrate absolute pitch (or perfect pitch), the ability to identify pitches without comparison to another pitch. Human perception of pitch can be comprehensively fooled to create auditory illusions. Despite these perceptual oddities, perceived pitch is nearly always closely connected with the fundamental frequency of a note, with a lesser connection to sound pressure level, harmonic content (complexity) of the sound, and to the immediately preceding history of notes heard. In general, the higher the frequency of vibration, the higher the perceived pitch. The lower the frequency, the lower the pitch. However, even for tones of equal intensity, perceived pitch and measured frequency do not stand in a simple linear relationship.

Intensity (loudness) can change perception of pitch. Below about 1000 Hz, perceived pitch gets lower as intensity increases. Between 1000 and 2000 Hz, pitch remains fairly constant. Above 2000 Hz, pitch rises with intensity. This is due to the ear's natural sensitivity to higher pitched sound, as well as the ear's particular sensitivity to sound around the 2000–5000 Hz interval, the frequency range most of the human voice occupies.

The difference in frequency between two pitches is called an interval. The most basic interval is the unison, which is simply two notes of the same pitch, followed by the slightly more complex octave: pitches that are either double or half the frequency of the other. The unique characteristics of octaves gave rise to the concept of what is called pitch class, an important aspect of music theory. Pitches of the same letter name that occur in different octaves may be grouped into a single "class" by ignoring the difference in octave. For example, a high C and a low C are members of the same pitch class—the class that contains all C's. The concept of pitch class greatly aids aspects of analysis and composition.

Although pitch can be identified by specific frequency, the letter names assigned to pitches are somewhat arbitrary. For example, today most orchestras assign Concert A (the A above middle C on the piano) to the specific frequency of 440 Hz, rather than, for instance, 435HZ as it was in France in 1859. In England, that A varied between 439 and 452. These differences can have a noticeable effect on the timbre of instruments and other phenomena. Many cultures do not attempt to standardize pitch, often considering that it should be allowed to vary depending on genre, style, mood, etc. In historically informed performance of older music, tuning is often set to match the tuning used in the period when it was written. A frequency of 440 Hz was recommended as the standard pitch for Concert A in 1939, and in 1955 the International Organization for Standardization affirmed the choice. A440 is now widely, though not exclusively, the standard for music around the world.

Pitch is also an important consideration in tuning systems, or temperament, used to determine the intervallic distance between tones, as within a scale. Tuning systems vary widely within and between world cultures. In Western culture, there have long been several competing tuning systems, all with different qualities. Internationally, the system known as equal temperament is most commonly used today because it is considered the most satisfactory compromise that allows instruments of fixed tuning (e.g. the piano) to sound acceptably in tune in all keys.

The Harmonic Minor Scale

Good guitarists have a vast repetoire of harmonic material to draw from. Even in the pop, rock, and blues genres, where pentatonic and blues scales make up the bulk of scales used in improvising, there are times when those scales don't provide the correct color for particular situations. Nor does a 'typical' minor scale, like the natural minor (also known as aeolian). These are times when a guitarist might look to a more exotic sounding scale, like the harmonic minor.

THE NOTES:

The above example illustrates a C harmonic minor scale, constrasted against both the major and natural minor scales. Notice the harmonic minor scale differs from the natural minor scale in just one note; the raised seventh. This note contains the strongest color in the scale, in that it carries a certain degree of tension, and should be used with this knowledge in mind. Hanging onto the seventh degree of the scale, then resolving it up a semi-tone to the root is a nice way to create a tension-release scenario when improvising. The flattened third and sixth note of the harmonic minor scale would generally prevent it from being used against major chords with the same root note in an improvising situation (for example, a C harmonic minor scale would not normally be used against a C major chord).

THE SCALE:

When playing the scale, make sure to do all stretching with the pinky (4th) finger in your left hand. Notes normally played with the pinky should still be played with the pinky (do not stretch with your 3rd finger on the first and sixth strings to play the notes your pinky would normally play - there's no logical reason to do this.) Care should be taken to play the scale accurately and slowly, using alternate picking, until it can be played with reasonable precision. Only then should the scale be attempted at a slightly faster tempo. Using a metronome is, as always, the beneficial way of practising scales such as this.

Root notes of the scale are marked in red, and the last two notes are bracketed to illustrate that the scale is, at this point, extending beyond two octaves.

This illustration is just a jumping-off point for learning the harmonic minor scale. Once comfortable with the sound of the scale, guitarists should teach themselves to play the scale all over the fretboard in different positions, up one string, etc. either by using their ear to figure out the correct notes, or by following the scale steps illustrated above and below.

DIATONIC CHORDS OF:

Like the major scale, we can derive a series of chords out of each of the seven notes in the harmonic minor scale, by stacking each note with notes from the scale a diatonic third and fifth above it. Although the end process may not yield a set of chords as user-friendly as those derived from the major scale, they are nonetheless important to know and understand. Using the above illustration, for example, we can see if a progression moves from Vmaj to Imin, the harmonic minor scale would be an appropriate choice.

The harmonic minor scale can also be "forced" over a static chord progression that does not initially seem receptive to the harmonic minor sound. For example, a tune in the key of A minor, that vamps on Amin for a long time, can often be a good situation to use the harmonic minor scale. It will often create a sound that could be considered exotic, or unusual, so be prepared for this.

The harmonic minor is just one of many scales that can be used to provide different color to minor chords (others include melodic minor, phrygian, dorian, etc.) For every minute spent practising the scale itself, guitarists should spend another minute listening to each note of the scale against a repeatedly strummed minor chord (record a rhythm track of yourself playing), paying attention to the specific color each note gives, and where it wants to resolve to. Also, listen for the use of the harmonic minor scale by your favorite guitarist. Be able to sing the scale without having to think about it. Practise moving from a minor pentatonic into a harmonic minor scale, and back again. Learning a scale goes far beyond memorizing the shape on the neck of the guitar; it involves internalizing the sound of the scale itself.

Minor Pentatonic Scales

A pentatonic scale is a scale that contains only five notes, and are quite popular in western music.

You could say they derive from major or minor scales. If you have a major (or minor) scale that have seven notes, and take out two notes, you'll get a five-note scale.

Let's take a look at minor pentatonics:

Let's say we have the A minor (aeolyan) scale, which is: A - B - C - D - E - F - G.

E|--------------------------------------------------------------7---8--10--|

B|--------------------------------------------------6--8--10---------------|

G|--------------------------------------5--7--9----------------------------|

D|-------------------------5---7---9---------------------------------------|

A|---------------5---7--8--------------------------------------------------|

e|--5----7---8-------------------------------------------------------------|

If we take out the second and sixth notes, we get:

A - C - D - E - G, which happens to be the A minor pentatonic scale.

E|-------------------------------------------------------5-----8-----------|

B|---------------------------------------------5----8----------------------|

G|----------------------------------5----7---------------------------------|

D|-----------------------5----7--------------------------------------------|

A|------------5----7-------------------------------------------------------|

e|--5----8-----------------------------------------------------------------|

Go up and down A minor scale, and then move on to A minor pentatonic scale? Hear the difference? 

As an exercice, play both A minor and A minor pentatonic scale across the fretboard (you already know the notes!)

Once you've done this, let's move forwards.

Da blue note: this is nothing more than the flattened fifth degree. Play now A minor pentatonic scale, but add bE now (Let's not say d#, so as not to repeat note's names. A minor pentatonic with the bluw note added - or 'A Blue Scale' - is: A - C - D - Eb - E - G).

E|---------------------------------------------------------5-----8-----------|

B|-----------------------------------------------5----8----------------------|

G|----------------------------------5----7---8-------------------------------|

D|------------------------5----7---------------------------------------------|

A|------------5---6---7------------------------------------------------------|

e|--5----8-------------------------------------------------------------------|

 Improvise blues.

I want you to take your time and listen to great bluesman guitar players, like B.B. King and Stevie Ray Vaughan. Blues is all about playing very brief but emotional-filled phrases, and then stop. It's about playing and stops. Say what you have to say and shut up. Silence is a key part in a blues motive.

I highly recommend to record yourself playing a twelve-bar blues progressions. Blues progressions are basically made from seventh chords in a shuffle feel: I7 - IV7 - V7 is an easy sequence. I'm sorry, but you are on your own here, I'm going to supose you know what a twelve-bar blues progression, since you can find examples without any difficulty on the web.

Above your recordings, play this licks and use them on your improvisations.

Pattern n1

E|------------------------------------|

B|---------------------5-------5------|

G|-----------5----7b9----7b9----------|

D|------7-----------------------------|

A|------------------------------------|

e|------------------------------------|

Pattern n2

E|--8---5--------8---------------------------------------------------------|

B|----------8--------8-----5--------8-----5--------5-----------------------|

G|--------------------------------------------7---------7-----5------------|

D|-----------------------------------------------------------------7h5h7---|

A|-------------------------------------------------------------------------|

e|-------------------------------------------------------------------------|

Pattern n9

E|--8-----------------8------------------|

B|--------8h5---------------8h5----------|

G|-------------7b8----------------7b8----|

D|---------------------------------------|

A|---------------------------------------|

e|---------------------------------------|

B.B. king uses this minor 'little scale' a lot (this one is in A position):

[10] is the root note here, A note.

E|-------------------------10---12-------|

B|--------------[10]--12-----------------|

G|----9---11-----------------------------|

D|---------------------------------------|

A|---------------------------------------|

e|---------------------------------------|

Music theory is the study of the practices and possibilities of music. It generally derives from observation of how musicians and composers make music, but includes hypothetical speculation. Most commonly, the term describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, but also refers to descriptions, concepts, or beliefs related to music. Because of the ever-expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music.

Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle.[1] As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonace, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production. A person working in music theory is a music theorist. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used.

The development, preservation, and transmission of music theory may be found in oral and practical music-making traditions, musical instruments, and other artifacts. For example, ancient instruments from Mesopotamia, China, and prehistoric sites around the world reveal details about the music they produced and, potentially, something of the musical theory that might have been used by their makers (see History of music and Musical instrument). In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia, Pharoanic Egypt, and ancient China have also considered music theory in more formal ways such as written treatises and music notation.Pitch is the lowness or highness of a tone, for example the difference between middle C and a higher C. The frequency of the sound waves producing a pitch can be measured precisely, but the perception of pitch is more complex because we rarely hear a single frequency or pure pitch. In music, tones, even those sounded by solo instruments or voices, are usually a complex combination of frequencies, and therefore a mix of pitches. Accordingly, theorists often describe pitch as a subjective sensation.

Most people appear to possess relative pitch, which means they perceive each note relative to some reference pitch, or as some interval from the previous pitch. Significantly fewer people demonstrate absolute pitch (or perfect pitch), the ability to identify pitches without comparison to another pitch. Human perception of pitch can be comprehensively fooled to create auditory illusions. Despite these perceptual oddities, perceived pitch is nearly always closely connected with the fundamental frequency of a note, with a lesser connection to sound pressure level, harmonic content (complexity) of the sound, and to the immediately preceding history of notes heard. In general, the higher the frequency of vibration, the higher the perceived pitch. The lower the frequency, the lower the pitch. However, even for tones of equal intensity, perceived pitch and measured frequency do not stand in a simple linear relationship.

Intensity (loudness) can change perception of pitch. Below about 1000 Hz, perceived pitch gets lower as intensity increases. Between 1000 and 2000 Hz, pitch remains fairly constant. Above 2000 Hz, pitch rises with intensity. This is due to the ear's natural sensitivity to higher pitched sound, as well as the ear's particular sensitivity to sound around the 2000–5000 Hz interval, the frequency range most of the human voice occupies.

The difference in frequency between two pitches is called an interval. The most basic interval is the unison, which is simply two notes of the same pitch, followed by the slightly more complex octave: pitches that are either double or half the frequency of the other. The unique characteristics of octaves gave rise to the concept of what is called pitch class, an important aspect of music theory. Pitches of the same letter name that occur in different octaves may be grouped into a single "class" by ignoring the difference in octave. For example, a high C and a low C are members of the same pitch class—the class that contains all C's. The concept of pitch class greatly aids aspects of analysis and composition.

Although pitch can be identified by specific frequency, the letter names assigned to pitches are somewhat arbitrary. For example, today most orchestras assign Concert A (the A above middle C on the piano) to the specific frequency of 440 Hz, rather than, for instance, 435HZ as it was in France in 1859. In England, that A varied between 439 and 452. These differences can have a noticeable effect on the timbre of instruments and other phenomena. Many cultures do not attempt to standardize pitch, often considering that it should be allowed to vary depending on genre, style, mood, etc. In historically informed performance of older music, tuning is often set to match the tuning used in the period when it was written. A frequency of 440 Hz was recommended as the standard pitch for Concert A in 1939, and in 1955 the International Organization for Standardization affirmed the choice. A440 is now widely, though not exclusively, the standard for music around the world.

Pitch is also an important consideration in tuning systems, or temperament, used to determine the intervallic distance between tones, as within a scale. Tuning systems vary widely within and between world cultures. In Western culture, there have long been several competing tuning systems, all with different qualities. Internationally, the system known as equal temperament is most commonly used today because it is considered the most satisfactory compromise that allows instruments of fixed tuning (e.g. the piano) to sound acceptably in tune in all keys.

Am F G Abm Ebm C#m F# B E

||: Am  F G  Am :|| Am  F G  Abm 

Abm                            Ebm  

What will you do when you get lonely 

Abm          G       A        B 

With nobody waiting by your side

C#m         F#          B               E

You´ve been running and hiding much too long, 

C#m           F#                B

You know it´s just your foolish pride.

     E 

CHORUS:

Am   F      G            Am

Layla,  you got me on my knees.  

Am    F     G               Am

Layla,  I´m begging darling please.

Am    F   G                 Am              F     G  

Layla,    darling won´t you ease my worried mind.

Abm                   Ebm     

Tried to give you consolation, 

Abm       G         A        B 

Your old man won´t let you down

C#m    F#      B                 E    

Like a fool, I fell in love with you, 

C#m        F#                 B

Turned the whole world upside down

CHORUS

Abm                          Ebm    

Let´s make the best of the situation 

Abm      G       A    B 

Before I fin´lly go insane.

C#m          F#        B            E  

Please don´t say we´ll never find a way 

C#m         F#              B

And tell me all my loves in vain

CHORUS

Am E G D F C Dm E7

Intro:

Am E G D F C Dm E – 2x times

     Am              E

On a dark desert highway

   G             D

Cool wind in my hair

  F               C

Warm smell of a colitas

 Dm                  E

Rising up through the air

    Am              E

Up a head in the distance

   G             D

I saw shimering light

      F                        C

My head grew heavy and my sight grew dim

  Dm                   E

I had to stop for the night

   Am            E  

There she stood in the door way

 G                   D

I heared the mission bell

  F              C 

And I was thinking to myself

 Dm                                E

This could be heaven and this could be hell

   Am              E

Then she lit up a candle

   G                D

And she showed me the way

 F                      C   

There were voices down the corridor

 Dm                    E

I thought I heared them say

  Chorus:

  F                   C

Welcome to the Hotel California

      E7

Such a lovely place

      Am

Such a lovely face

  F                          C

Plenty of the room at the Hotel California

    Dm

Any time of year

    E7

You can find it here

Am E G D F C Dm E – 2x times

Her mind is Tiffany twisted

She got the Mersedes Benz

She got a lot of pretty pretty boys

That she calls friends

How they dance in the courtyard

Sweet summer sweat

Some dance to remember

Some dance to forget

So I called up the Captain

Please bring me my wine He said

We haven´t had that spirit here

Since nineteen sixty nine

And still those voices are calling

From faraway

Wake up in the middle

Of the night just to hear them say

  Chorus:

Welcome to the Hotel California

Such a lovely place

Such a lovely face

They living it up at the Hotel California

What a nice surprice bring your alibis.

Am E G D F C Dm E – 2x times.

C   Dm   Am   G   F

F Dm F Dm Am Dm Am G C

(Whistling ... )

                 Dm               C                     Dm      Am G  C 

I follow the Moskva down to Gorky Park listening to the wind of change 

                 Dm                     C                   Dm      Am G

An August summer night soldiers passing by listening to the wind of change 

F  Dm F Dm Am Dm Am G C

(Whistling ... )

C                    Dm              C                         Dm          Am  G

The world is closing in did you ever think that we could be so close, like brothers 

                    Dm                     C                     Dm       Am  G

The future's in the air I can feel it everywhere blowing with the wind of change 

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night

          Dm            G             Am  F                     G

where the children of tomorrow dream away        in the wind of change 

C                Dm                 C                      Dm      Am G C

Walking down the street distant memories are buried in the past forever 

                Dm                C                     Dm      Am   G

I follow the Moskva down to Gorky Park listening to the wind of change 

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night 

          Dm            G                  Am     F              G

where the children of tomorrow share their dreams   with you and me 

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night

          Dm            G             Am  F                  G

where the children of tomorrow dream away     in the wind of change 

Am                       G                         Am

The wind of change blows straight into the face of time 

                            G                                  C

Like a storm wind that will ring the freedom bell for peace of mind 

                   Dm                           E

Let your balalaika sing what my guitar wants to say 

F G Em Am   (x3)

F E

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night 

          Dm            G                  Am     F              G

Where the children of tomorrow share their dreams   with you and me 

C    G         Dm           G           C      G

Take me to the magic of the moment on a glory night 

          Dm            G             Am  F                   G

Where the children of tomorrow dream away      in the wind of change 

F Dm F Dm Am Dm

F   Fmaj7   C   F6   Gm   Gm7   Gm6   D#7   A7   Gmaj7   G6   D   G

F   Fmaj7   C

   F

Strangers in the night exchanging glances

Fmaj7

Wond´ring in the night what were the chances 

 F6

We´d be sharing love

                        Gm

Before the night was through.

Gm

Something in your eyes was so inviting,

Gm7

Something in your smile was so exciting,

Gm6                   C

Something in my heart,

                     F

Told me I must have you.

  D#7

Strangers in the night, two lonely people

          A7

We were strangers in the night up to the moment

         Gm

When we said our first hello.

Gm7

Little did we know

Gm6               F

Love was just a glance away,

  Gm              C

A warm embracing dance away and -

F

Ever since that night we´ve been together.

Fmaj7

Lovers at first sight, in love forever.

F6                     C

It turned out so right,

                      F

For strangers in the night.

(interlude)

   Gm6               F

...love was just a glance away,

  Gm              C

A warm embracing dance away and -

G

Ever since that night we´ve been together.

Gmaj7

Lovers at first sight, in love forever.

G6                     D

It turned out so right,

                      G

For strangers in the night.

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

  C              G                Am          F

When I find myself in times of trouble Mother Mary comes to me

C                   G            F C-Dm7-C

Speaking words of wisdom, let it be

                     G            Am                   F

And in my hour of darkness she is standing right in front of me

C                   G             F  C-Dm7-C

Speaking words of wisdom, let it be

       Am         G             F        C

Let it be, let it be, let it be, let it be

                  G              F  C-Dm7-C

whisper words of wisdom, let it be

And when the broken hearted people living in the world agree

There will be an answer, let it be

For though they may be parted there is still a chance that they will see

There will be an answer, let it be

Let it be, let it be, let it be, let it be

There will be an answer, let it be

Let it be, let it be, let it be, let it be

whisper words of wisdom, let it be

| F C Dm7 C | F   C   | G F C . | F  C  | G F C . |

Instrumental verse

Let it be, let it be, let it be, let it be

whisper words of wisdom, let it be

And when the night is cloudy there is still a light that shines on me

Shine until tomorrow, let it be

I wake up to the sound of music, Mother Mary comes to me

Speaking words of wisdom, let it be

Let it be, let it be, let it be, let it be

There will be an answer, let it be

Let it be, let it be, let it be, let it be

There will be an answer, let it be

Let it be, let it be, let it be, let it be

whisper words of wisdom, let it be

| F  C  | G F C . |

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

Gm  Cm  Eb  Dm  Dm7

Intr;o: 

Gm

I shot the sheriff,

Cm                      Gm

but I did not shoot the deputy.

Gm

I shot the sheriff,

Cm                      Gm

but I did not shoot the deputy.

Eb    Dm          Gm

All a round in my home town

        Eb        Dm       Gm

they´re trying to track me down.

     Eb               Dm          Gm

They say they want to bring me in guilty

        Eb           Dm     Gm

for the killing of a deputy,

        Eb           Dm7     Gm

for the killing of a deputy. 

           Gm

But I say:

I shot the sheriff,

but I swear it was in selfdefence.

I shot the sheriff,

but I swear it was in selfdefence.

Sheriff John Brown always hated me

for what I don´t know.

Ev´ry time that I plant a seed

he said "Kill it before it grow,"

he said "Kill it before it grow."

But I say:

I shot the sheriff,

but I swear it was in selfdefence.

I shot the sheriff,

but I swear it was in selfdefence.

Freedom came my way one day

and I started out of town.

All of a sudden I see sheriff John Brown,

aiming to shoot me down.

So I shot, I shot him down.

But I say:

I shot the sheriff,

but I did not shoot the deputy.

I shot the sheriff,

but I did not shoot the deputy.

Reflexes got the better of me

and what is to be must be.

Ev´ry day the bucket goes to the well,

but one day the bottom will drop out,

yes one day the bottom will drop out.

But I say:420

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

Action

The action is when you raise or lower it to make the strings either closer or further away from the fretboard. Look where the strings are held in place on the body of the guitar... the bridge of the guitar and you can raise it or lower it usually with a screwdriver. So you can see the difference when you look at the guitar like this:

Altered and Open Tunings

The result of changing the tuning of one or more strings from standard EADGBE. So changing it to things like drop D or tuning the guitar to a chord will then be called an altered tuning.

Alternate Picking

Picking in alternate directions (down-up-down-up). 

Arpeggio

A broken chord, usually played evenly low to high and back again. Refer to my previous lessons for a detailed lesson on Arpeggios : Arpeggios

Arrangement

The setting of an original or standard tune for a given solo instrument or group of instruments.

Barre Chord

The most popular style of chords. The technique of placing the left hand's index finger over two to six strings in the fingering of a chord. The awesome advantage of using barre chords is that they are "moveable shapes" that can be applied at practically any fret. 

Bending

Pushing or pulling a string up or down across the a fret to raise the pitch of a note by a half to full tone or more. Used extensively in rock and blues playing as well as in jazz.

Bridge

The method of supporting the strings on an electric or acoustic guitar. 

Capo

One of my favourite tools, a capo is a mechanical barre that attaches to the neck of a guitar by means of a string, spring, elastic or nylon band, or a lever and thumbscrew arrangement. The capo can be used to raise the key of a song to suit a vocalist as well as to lower the action and shorten the string length. 

Closed Voicing

The term "voicing" refers to the vertical arrangement of the notes of a given chord. "Closed voicing" places those notes as close together as possible, no matter the inversion as opposed to "open voicing" which spreads the member notes of the chord at larger intervals. 

Cutaway

A concave area generally in the upper right bout of a normal right-hand guitar that allows the player easier access to the high frets. I personally love this and prefer guitars with cutaways.

Finger Picking

Playing with the fingernails or fingertips with or without fingerpicks as opposed to playing with a flatpick. 

Frets

Metal strips placed across the fingerboard to determine semitonal spacing.

Hammer-on

A note sounded literally by "hammering" down with a left hand finger, often performed in conjunction with a note first plucked by the right hand on the same string.

harmonics

Some peopl efind this really difificult to do. They're chime-like sounds achieved in two ways: 

1) Natural Harmonics - by touching a string at any equidistant division of the string length (typically 5th, 7th, and 12th fret), directly above the fret with left hand, and striking hard with the right-hand fingers or pick near the bridge where there is more string resistance; or 

2) Artificial Harmonics - touching a string with the index finger of the right hand twelve frets higher than any fretted note and plucking the string with either the thumb or third finger of the right hand. 

Headstock

Section for mounting the machine heads or pegs. 

Heel

A reinforced section supporting the neck where it joins the body. 

Nut

Point at which the strings are supported as they run from the fingerboard to the headstock. 

Open Voicing

A manner of chord construction in which the member notes are broadly separated. See closed voicing above. 

Pickup

A coil wound with fine wire which converts the sound into electrical signals. 

p i m a

Letters derived from the Spanish names for the fingers of the right hand: pulgar (thumb), indice (index), medio (middle), and anular (ring). Used to indicate fingering. 

Pull-off

The opposite of a hammer-on. Performed by plucking a note with a finger on a higher note and pulling parallel to the fret to sound a lower note on the same string. 

Rasgueado

Method of strumming used by flamenco guitarists.

Saddle

The point on the bridge for supporting the strings. 

Slide

A plastic or glass tube placed over the third or fourth finger of the left hand and used to play "slide" or glissando effects in rock and blues and other forms of traditional music. 

Transcription

To write a piece of music or a solo, note for note, off of a recording.

Transpose

To change the key of a piece of music by a specific interval. 

Tremolo

A technique performed with either a very rapid down-up movement of the pick or a pami plucking of the fingers.

What is Tapping?

Tapping is the technique that involves both hands to be doing something on the fretboard at the same time. It can be done using your fretting hand doing a hammer-on technique while your picking hand is tapping a fret. Speeds can vary between hands, for example the solo's intro on Ozzy Osbourne's "Crazy Train", it uses two quick taps and 1 hammer on with the fretting hand. 

I am not going to lie, it took me a little while to get the timing down between both hands, so be prepared to get a little frustrated with some things at the beginning.

Here's a step-by-step guide to getting tapping down, but, as a recommendation I would highly recommend that you look up some of the guys like Eddie Van Halen, its a big help to have the visual aid.

* alright, so if you're not holding your guitar right now, go get it and be ready to have your mind blown.

* get into a comfortable playing position and either you can use your pick or just one of your fingers on your picking hand to tap. 

* to reduce the hand strain from stretching and repeated hammer-on pull-off technique, place your fretting hand's index finger at the 10th fret of the B string.

* now perform a hammer-on *without picking* at the 12th fret of the same string.

* this is what your fretting hand will be doing , or some variation of it, while you tap.

* for the actual tapping, you have 2 choices, you can either use your pick turned sideways or your fingers. 

-first, place your hands index/middle finger or pick at around the 14th fret.

-second, literally press down onto the 14th fret with your finger or pick and slightly pull up towards you or push down away from you. This is a slight movement and should not be highly exaggerated unless you want random strings to be struck as you tap.

-third, now as you pull your finger/pick away from the string, hammer-on to the 12th fret with your fretting hand.

-finally, as you finish the hammer-on with the fretting hand, tap with your finger/pick and repeat steps 2 and 3.

     T         T         T         T         T

e--------------------------------------------------------

B----14p10h12--14p10h12--14p10h12--14p10h12--14p10h12----

G--------------------------------------------------------

D--------------------------------------------------------

A--------------------------------------------------------

E--------------------------------------------------------

Again I would highly suggest that you watch Eddie Van Halen doing "Eruption" live from I think 1984-85, it would only help with the technique.

Remember that you can be creative with your tapping, try using 3 fingers to fret notes while you tap, it can add a whole new sound to it!

This is a technique that takes a lot of practice and time to be really good at, you will hit the other strings around you, but don't be worried, eventually you will get to be accurate and controlled with your taps and will not hit anything you don't mean to.

LEFT HAND WARM UPS

First the trills. In my opinion trills are the best way to loosen up your fingers. They are also a great way to build up muscles in your fingers to decrease fatigue. I do them like so.

h=hamer on, p=pull off

e-------------------------------1h2p1--------------------------------------------|

B-------------------------1h2p1-------2h3p2--------------------------------------|

G-------------------1h2p1-------------------2h3p2--------------------------------|

D-------------1h2p1-------------------------------2h3p2-----------------------etc|

A-------1h2p1-------------------------------------------2h3p2-------------etc----|

E-1h2p1-------------------------------------------------------2h3p2-3h4p3--------|

try to make it all the way until your index finger hits the 12th fret. But if it hurts STOP!

after doing that do it again with your ring and pinky finger. You will find that your fingers feel loos and ready to play.

next comes finger stretching

This will help you stretch out your fingers so that you can make some of those more intense cords. This one starts with your index finger on the 12th fret and looks like this. 

e-----------------------------------------------------------------|

B-15-15-15-15-14-14-14--------------------------------------------|

G-14-14-14-13-13-13-13--------------------------------------------|

D-13-13-12-12-12-12-11--------------------------------------------|

A-12-11-11-11-11-10-10-etc-etc------------------------------------|

E-----------------------------------------------------------------|

keep going until your index finger is on the first fret or until you cant go any further. As the frets get farther apart you will stretch your fingers out more.

chord changing

This next one will help you move your hands easier when changing chords. 

e---------4-1-5-2-------------|

B-----4-1-3-2-4-3-5-2---------|

G-4-1-3-2-2-3-3-4-4-3---------|

D-3-2-2-3-1-4-2-5-3-4---------|

A-2-3-1-4---------2-5---------|

E-1-4-----------------etc-etc-|

Go all the way until you your index finger gets down to the 12th fret and then go back to the first fret.

moving up and down the neck

This one is to help move up and down the neck and keep the location of octaves are fresh in your mind.

e-------------------------------6-7-8-8-7-6---------------------------------------|

B-------------------------6-7-8-------------8-7-6---------------------------------|

G-------------------3-4-5-------------------------5-4-3---------------------------|

D-------------3-4-5-------------------------------------5-4-3---------------------|

A-------1-2-3-------------------------------------------------3-2-1---------------|

E-1-2-3-------------------------------------------------------------3-2-1-etc-etc-|

with this one go as far as you can on your guitar with the lat finger on the high e string and then come back to where you started.

RIGHT HAND

right and left hand synching exercise 

This one is simple. it is just chromatics going up and down the fret board. like so.

e-----------------------------------------1-2-3-4-5-4-3-2---------------------------------|

B---------------------------------1-2-3-4-----------------5-4-3-2-------------------------|

G-------------------------1-2-3-4---------------------------------5-4-3-2-----------------|

D-----------------1-2-3-4-------------------------------------------------5-4-3-2---------|

A---------1-2-3-4-----------------------------------------------------------------etc-----|

E-1-2-3-4-----------------------------------------------------------------------------etc-|

the first time you do this one start with a down stroke and continue on with alternate picking. Then do it the same way only this time start on a down stroke. This will make sure that you are ready for both inside and outside picking. Go all the way to the 12th fret and then go back to the first.

alternate picking exercise

this one is exactly like the last one except you only use three fingers instead of all four (so instead of 1-2-3-4 change it to 1-2-3) This makes it so that, if done with a strict alternate picking style, You alternate inside and outside picking. remember after starting with an up stroke do it again but this time start with a down stroke.

sweep picking

this time we try sweeps. like so. 

u= up stroke d= down stroke

  ddd uuu  ddd uuu

e--------------------------|

B--------------------------|

G--------------------------|

D---3-3------4-4-----------|

A--2---2----3---3----------|

E-1-----1--2-----2-etc-etc-|

do this on every group of three strings. 

RIGHT AND LEFT HAND WARM UP

String skipping exercise

This one is like the alternate picking exercise except you skip the string. like so.

e-------------------------------------------1-2-3--3-2-1-------------------------------|

B-------------------------------1-2-3--------------------------3-2-1-------------------|

G-------------------1-2-3-------------1-2-3--------------3-2-1-------------3-2-1-------|

D-------1-2-3-------------1-2-3--------------------------------------3-2-1-------------|

A-------------1-2-3--------------------------------------------------------------3-2-1-|

E-1-2-3--------------------------------------------------------------------------------|

same drill as the alternate picking one. all the way up, all the way back, once starting in an up stroke one starting with a down stroke.