Guitar For Dummies, 2nd Edition
Guitar For Dummies 2nd Edition tells you everything a beginning or intermediate guitarist needs to know: from buying a guitar to tuning it, playing it, and caring for it, this book has it all—and you don't even need to know how to read music. Full of photo-illustrated exercises and songs you can play to practice the techniques discussed in each section, this step-by-step guide will take you through the basics and beyond before you can say "Eric Clapton." You'll learn how to:
- Match yourself with the guitar and equipment that fits your needs and budget
- Select the right accessories: amps, picks, pedals, capos, cases, and other goodies
- Pick and strum to produce a clean, clear, buzz-free tone
- Know whether you're really in tune
- Play melodies without reading music
- Perform basic guitar maintenance and repairs
- Build strength and dexterity while playing
- Play in different styles, including rock, blues, folk, jazz, and classical
- Make your guitar talk with bends and slides!
Fully revised and updated, with an all new interactive CD that allows readers to listen, learn, tune, and play along, Guitar For Dummies 2nd Edition is the perfect introductory guide for any novice acoustic or electric guitar player.
Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.
Part I: So You Wanna Play Guitar.
Chapter 1: Guitar 101.
Chapter 2: Turn On, Tune In.
Chapter 3: Ready, Set . . . Not Yet: Developing the Tools and Skills to Play.
Part II: So Start Playing: The Basics.
Chapter 4: The Easiest Way to Play: Basic Major and Minor Chords.
Chapter 5: Playing Melodies without Reading Music!
Chapter 6: Adding Some Spice: Basic 7th Chords.
Part III: Beyond the Basics: Starting to Sound Cool.
Chapter 7: Playing Melodies in Position and in Double-Stops.
Chapter 8: Stretching Out: Barre Chords.
Chapter 9: Special Articulation: Making the Guitar Talk.
Part IV: A Cornucopia of Styles.
Chapter 10: Rock.
Chapter 11: Blues.
Chapter 12: Folk.
Chapter 13: Classical.
Chapter 14: Jazz..
Part V: Purchasing and Caring for Your Guitar.
Chapter 15: Perfectly Good Guitars.
Chapter 16: Guitar Accessories.
Chapter 17: Getting Strung Along: Changing Strings.
Chapter 18: Staying Fit: Basic Maintenance and Repairs.
Part VI: The Part of Tens.
Chapter 19: Ten Guitarists You Should Know.
Chapter 20: Ten Guitars You Should Know.
Part VII: Appendixes.
Appendix A: How to Read Music.
Appendix B: 96 Common Chords.
Appendix C: How to Use the CD.
During the 1970s and early ’80s, Phillips was Director of Popular Music at Warner Bros. Publications, where he edited and arranged the songbooks of such artists as Neil Young, James Taylor, the Eagles, and Led Zeppelin. Since the mid-’80s he has served as Director of Music and Director of Publications at Cherry Lane Music, where he has edited or arranged the songbooks of such artists as John Denver, Van Halen, Guns N’ Roses, and Metallica, and has served as Music Editor of the magazines Guitar and Guitar One.
Phillips is the author of several books on musical subjects, including Metallica Riff by Riff, Sight-Sing Any Melody Instantly, and Sight-Read Any Rhythm Instantly. In his non-musical life, Phillips is the author/publisher of a series of “fun” high school English textbooks, including The Wizard of Oz Vocabulary Builder, The Pinocchio Intermediate Vocabulary Builder, and Tarzan and Jane’s Guide to Grammar. For the reference value of his numerous publications, Phillips is profiled in Who’s Who in America.
Jon Chappell is a multistyle guitarist, transcriber, and arranger. He attended Carnegie-Mellon University, where he studied with Carlos Barbosa-Lima, and he then went on to earn his master’s degree in composition from DePaul University, where he also taught theory and ear training. He was formerly Editor-in-Chief of Guitar magazine, Technical Editor of Guitar Shop Magazine, and Musicologist for Guitarra, a classical magazine. He has played and recorded with Pat Benatar, Judy Collins, Graham Nash, and Gunther Schuller, and he has contributed numerous musical pieces to film and TV. Some of these include Northern Exposure, Walker, Texas Ranger, Guiding Light, and the feature film Bleeding Hearts directed by actor-dancer Gregory Hines. In 1990, he became Associate Music Director of Cherry Lane Music where he has transcribed, edited, and arranged the music of Joe Satriani, Steve Vai, Steve Morse, Mike Stern, and Eddie Van Halen, among others. He has more than a dozen method books to his name, and is the author of Rock Guitar For Dummies and the textbook The Recording Guitarist — A Guide for Home and Studio, published by Hal Leonard.
|Guitar For Dummies CD Update||63.44 KB||Click to Download|
Guitar For Dummies, 2nd Edition, CD Update
This CD is intended to play on a computer, in an audio CD player, or when downloaded to an MP3 player. Sometimes, though, the tracks play correctly only on a computer or when downloaded to an MP3 player and do not play correctly in an audio CD player.
|If your CD is yellow, black, and green; then your CD plays correctly on a computer, in an audio CD player, and when downloaded to an MP3 player. You can ignore the rest of these instructions!|
|If your CD is yellow, black, and red; then your CD plays correctly on a computer and when downloaded to an MP3 player but does not play correctly in an audio CD player. Please read on.|
If your CD is yellow, black, and red like the above image, tracks play correctly in the order listed in the book when you play this CD on a computer or download the tracks to an MP3 player. However, when you play this CD in a CD player, the tracks are in reverse order from what?s noted in the book, with the exception of Track 1. Track 1, as listed in the book, corresponds to Track 1 when the CD is played in a CD player. However, the book?s Track 2 is actually Track 98 in a CD player; Track 3 is Track 97; and so on. When you play this CD in a CD player, use the following table to navigate to the track you want to hear.
|As a shortcut, you can quickly find the CD track without using the table by subtracting the track number found in the book from 100. For example, Track 27 in the book is CD Track 73 (100 ? 27 = 73); the book?s Track 84 is CD Track 16 (100 ? 84 = 16); and so on.|
If the following table doesn?t answer your questions, please contact Wiley Technical Support at http://support.wiley.com or call 800-762-2974.
|Track Number from Text||Actual Track Number When Played in a CD Player||Time||Figure Number from Text||Song Title/Description|
|2||98||(0:00)||4-2||Chord progression using A family chords|
|(0:16)||4-4||Chord progression using D family chords|
|(0:43)||4-6||Chord progression using G family chords|
|(1:10)||4-8||Chord progression using C family chords|
|4||96||n/a||“Swing Low, Sweet Chariot”|
|5||95||n/a||“Auld Lang Syne”|
|6||94||n/a||“Michael, Row the Boat Ashore”|
|8||92||n/a||“Little Brown Jug”|
|9||91||n/a||“On Top of Old Smoky”|
|10||90||n/a||“Swanee River (Old Folks at Home)”|
|11||89||n/a||“Home on the Range”|
|12||88||n/a||“All Through the Night”|
|13||87||n/a||“Over the River and Through the Woods”|
|14||86||n/a||“It's Raining, It's Pouring”|
|16||84||6-6||A 12-bar blues progression in E|
|17||83||(0:00)||7-4a||1-2-3-1 permutation exercise|
|(0:10)||7-4b||1-3-2-4 permutation exercise|
|(0:20)||7-4c||15-14-13 permutation exercise|
|18||82||(0:00)||7-5||C-major up-the-neck double-stop scale|
|(0:11)||7-6||C-major across-the-neck double-stop scale|
|20||80||n/a||“Turkey in the Straw”|
|22||78||n/a||“The Streets of Laredo”|
|23||77||(0:00)||8-2||Progression using E-based major barre chords|
|(0:13)||8-3||Syncopated progression using E-based major barre chords|
|(0:27)||8-4||Progression using major and minor E-based barre chords|
|(0:41)||8-5||Progression using major and 7th E-based barre chords|
|(0:54)||8-6||Progression using major and minor 7th E-based barre chords|
|24||76||8-7||Christmas song progression using E-based barre chords|
|25||75||(0:00)||8-11||Progression using A-based major barre chords|
|(0:12)||8-13||Progression using major and minor A-based barre chords|
|(0:26)||8-14||Progression using major, minor, and dominant 7th A-based barre chords|
|(0:42)||8-15||Progression using minor 7th barre A-based barre chords|
|(0:55)||8-16||Progression using major and minor 7th A-based barre chords|
|26||74||8-17||Christmas song progression using A-based barre chords|
|27||73||(0:00)||8-20||Power chord progression in D|
|(0:14)||8-21||Heavy metal power chord progression|
|28||72||n/a||“We Wish You a Merry Christmas”|
|30||70||(0:00)||9-1a||Open string hammer-on|
|(0:07)||9-1b||Hammer-on from a fretted note|
|(0:20)||9-1d||Double hammer-on using three notes|
|(0:27)||9-2a||Double-stop hammer-on from open strings|
|(0:34)||9-2b||Double-stop hammer-on from second to fourth fret|
|(0:41)||9-2c||Double double-stop hammer-on|
|(0:48)||9-3||Hammer-on from nowhere|
|31||69||9-4||Single-note hammer-ons from open strings|
|32||68||9-5||Strumming a chord while hammering one of the notes|
|33||67||9-6||Single-note hammer-ons from fretted notes|
|34||66||9-7||Double-stop hammer-ons & hammer-on from nowhere|
|35||65||(0:00)||9-8a||Open string pull-off|
|(0:07)||9-8b||Fretted note pull-off|
|(0:13)||9-8c||Open string double pull-off|
|(0:20)||9-8d||Fretted note double pull-off|
|(0:27)||9-9a||Double-stop pull-off to open strings|
|(0:34)||9-9b||Double stop pull-off from fretted notes|
|(0:41)||9-9c||Double double-stop pull-off|
|36||64||(0:00)||9-10||Single-note pull-offs to open strings|
|(0:10)||9-11||Strumming a chord while pulling off one of the notes|
|37||63||(0:00)||9-12a||Slide with second note not picked|
|(0:07)||9-12b||Slide with second note picked|
|(0:12)||9-13a||Ascending immediate slide|
|(0:17)||9-13b||Descending immediate slide|
|38||62||9-14||Chuck Berry-like slides|
|39||61||9-15||Changing positions with slides|
|(0:06)||9-17b||Bend and release|
|(0:13)||9-17c||Prebend and release|
|41||59||9-18||3rd-string bending in a rock 'n' roll progression|
|42||58||9-19||2nd-string bending in a lead lick|
|43||57||9-20||Bend and release in a lead lick|
|44||56||9-21||Bending in different directions|
|45||55||9-22||Intricate bending lick|
|46||54||9-23||Double-stop bend and release|
|49||51||9-26||Syncopation through muting|
|50||50||9-27||Palm muting in a hard-rock riff|
|51||49||9-28||Palm muting in a country riff|
|52||48||n/a||“The Articulate Blues”|
|53||47||10-1||Chuck Berry accompaniment riff|
|54||46||10-2||12-bar blues progression in A using double-stops|
|55||45||10-4||Box I hammer-ons and pull-offs|
|56||44||10-5||Bending in Box I|
|57||43||10-6||Double-stop bend in Box I|
|58||42||10-7||Box I solo|
|59||41||10-9||Typical Box II lick|
|60||40||10-11||Typical Box III lick|
|61||39||10-12||12-bar solo using Boxes I, II, and III|
|62||38||(0:00)||10-13||Sus chord progression|
|(0:15)||10-14||Add chord progression|
|63||37||10-15||Slash chord progression|
|64||36||(0:00)||10-16||Drop-D tuning phrase|
|(0:10)||10-17||Power chord riff in drop-D tuning|
|65||35||10-18||Typical phrase in open-D tuning|
|66||34||10-20||Southern-rock lead-lick in A|
|69||31||11-2||12-bar blues accompaniment|
|70||30||11-3||12-bar blues with boogie-woogie riff|
|71||29||(0:00)||11-6||Box IV riff with triplet feel|
|(0:10)||11-7||Box V lick with slide to Box I|
|72||28||(0:00)||11-9||Box I blues lick|
|(0:13)||11-10||Box II blues lick|
|(0:23)||11-11||Box IV blues lick|
|73||27||(0:00)||11-13||Box I blues lick with major third|
|(0:10)||11-14||Box I double-stop blues lick with major third|
|74||26||11-15||Riff showing typical blues phrasing|
|75||25||(0:00)||11-16a||Typical blues move|
|(0:10)||11-16b||Typical blues move|
|(0:19)||11-16c||Typical blues move|
|(0:29)||11-16d||Typical blues move|
|76||24||11-18||Steady bass notes with the E blues scale|
|77||23||(0:00)||11-19||Repeated motive at the same pitch|
|(0:11)||11-20||Repeated motive at a different pitch|
|78||22||(0:00)||11-21||Alternating between a lead lick and a bass groove|
|(0:13)||11-22||Alternating between a lead lick and a bass lick|
|(0:26)||11-23||Combining fretted notes and open strings|
|79||21||(0:00)||11-24a||Blues turnaround 1|
|(0:13)||11-24b||Blues turnaround 2|
|(0:26)||11-24c||Blues turnaround 3|
|(0:39)||11-24d||Blues turnaround 4|
|(0:07)||12-4||Up-and-down Em arpeggio|
|(0:09)||12-8||Carter style pattern|
|85||15||(0:00)||12-9a||Travis style, Step 1|
|(0:08)||12-9b||Travis style, Step 2|
|(0:15)||12-9c||Travis style, Step 3|
|(0:23)||12-9d||Travis style pinch|
|(0:31)||12-9e||Travis style roll|
|86||14||12-11||“Oh, Susanna” in Travis style|
|87||13||12-12||Travis style with Open G tuning|
|88||12||n/a||“House of the Rising Sun”|
|89||11||n/a||“The Cruel War Is Raging”|
|91||9||n/a||“All My Trials”|
|93||7||(0:00)||13-5||Free stroke classical exercise|
|(0:15)||13-8||Arpeggio classical exercise|
|(0:47)||13-9||Contrapuntal classical exercise|
|95||5||n/a||“Bourrée in E minor”|
|96||4||(0:00)||14-2||Typical “inside” chord moves|
|(0:17)||14-4||Typical “outside” chord moves|
|(0:40)||14-6||Faking a jazz chord-melody solo|
|(0:53)||14-7||A melody dressed up with altered tones|
|(1:18)||14-8||Approaching target notes from a fret above and below|
|(1:45)||14-9||Playing a melody as arpeggiated chord tones|