Easy Guitar Songs • Pink Floyd, Poison, Blue Rodeo, Fleetwood Mac • Guitar Chords, Strumming Patterns, Theory.

Chord Chart For The Songs

Review by Karen: Starts at the beginning and breaks the blues down in a well articulated way. It exponentially grows from there.
Review by Karen: Starts at the beginning and breaks the blues down in a well articulated way. It exponentially grows from there. | Source

Learning Blues Guitar

I have been teaching guitar professionally since 1992, when Don’t Fret Guitar Instruction was established. Over the years, I have taught countless students (beginners to advanced) how to play or improve their chops. Past students include four members of PROTEST THE HERO.

With this book, my goal is to relate the scales with chords and rhythms as opposed to just learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge is crucial to good soloing and vice versa. This comes through understanding the relationship between chords and scales. This book provides that important foundation.

The book is unique in the fact that each chapter is based around a different key signature and an open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the pentatonic scale. Eventually all the box patterns are covered, from the open strings to the fifteenth fret.

There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a chord progression, moves into various rhythm patterns derived from the chord progression, and then culminates with solos based on the scale and key covered. These solos tie in with the chord progression and rhythm patterns to form a complete lesson for each chapter.

The book is progressive. Upon completion, the student will have a solid foundation in blues guitar, and will understand the rhythm, lead connection.

The book is best studied from beginning to end, without slighting any material. All theory is explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and photos of hand positions as well as videos posted on YouTube to aid in the learning process.

It is best, but not necessary, to have a knowledge of barre and open chord shapes before beginning this course. All the chords have fretboard grids associated with them.

Good luck and have fun. Music is a celebration. Enjoy!

Lorne K. Hemmerling

Introduction

The chord chart above outlines some of the the chord shapes contained in the songs. For the other shapes please see: The Fifteen Essential Open Chords. They are all open chords meaning they contain open strings. When fingering these chords, make sure the strings marked with the 'o' ring out. Do not mute them. You may have to experiment with different fret hand positions to free the strings up.

Try to keep your thumb planted in the middle of your hand at the back of the neck (between your middle and ring fingers). Stay up on the tips of your fingers, do not let them collapse down across the other strings. If one finger is ahead of another (for example, in the first chord, G no.2, the second finger on the sixth string is ahead of the first finger on the fifth string), bring your first finger up close to the second finger to free up the open fourth string. The first finger should be tucked in behind the second up against the sixth string. Any part of a finger touching these open strings will cause an unwanted buzz or a complete mute. This is a common problem with beginning players.

I have always called this shape of the G chord G no.2. You may see it named differently by someone else. It is just a G Major chord. The only note added from the normal shape is the D on the second string. This note is the fifth interval of the G Major triad and is already contained in the open chord an octave lower on the open fourth string.

Wish You Were Here

This is a strumming chart for Pink Floyd's masterpiece 'Wish You Were Here'. The strumming pattern is comprised of eighth and sixteenth note rhythm slashes. This usually means a slow tempo.

I have notated the pattern in the first measure. Treat the eighths as downstrokes and the sixteenth note combinations as down-up. If the note durations were doubled (eighths become quarters, sixteenth become eighths), the strum direction would be the same. The third and fourth fingers are held on the same notes throughout the intro and refrain. When changing these chords, do not move these fingers.

Fleetwood Mac - Live in Boston (2 DVD + 1 CD)
Fleetwood Mac - Live in Boston (2 DVD + 1 CD)

This special 2 DVD/1 CD package is Fleetwood Mac's first U.S. live album in 24 years! The package includes many of their greatest hits as well as songs from their most recent album. A 60 minute version of this concert will be airing on PBS' Soundstage.

 

Dreams

This is quite simple as far as chord progressions go. Basically two chords throughout the song. The Am only shows up in the second line of the solo.

The strumming pattern is quarter and eight note rhythm slashes. There is a tie on the 'and' of the second beat to the 'three' of the third beat. This creates a quarter note in the middle of the pattern. Let your strumming hand go by without hitting the strings on the first half of the third beat so that the second half of that beat (the 'and') starts on an upstroke. This is a very common rhythm pattern.

The G6 is a G Major chord without the G fretted on the first string. This adds an E to the chord (open first string), the sixth interval of the G Major scale.

Every Rose Has It's Thorn

This chart is similar to Wish You Were Here. The tempo is slow, the pattern is all eighths and sixteenth note rhythm slashes.

Whenever there is two chords per measure, I have notated the second half of the full pattern (two eights and four sixteenths). You could use the first half or the full pattern. As long as there is four beats to each measure any pattern would do. All of these transcriptions differ from the actual recording in this manner. Rarely would a rhythm guitar player stick to one pattern for the entire piece. In the same manner as Wish You Were Here, the third and fourth finger stay in the same position for most of the song. In fact the third finger should remain in place when making the transition into and out of the D Major chord. In this respect the third finger does not leave the fretboard until the Em chord in measure forty one. This will probably take some practice to master.

Hasn't Hit Me Yet

This is the most difficult piece of the lesson. The tempo is quite fast, the slashes are all quarters and eighths, but the strumming pattern in the intro and other sections of the song is quite difficult. There is a lot of syncopation in these sections (accenting the 'and' instead of the number). Your strumming hand is still maintaining a strict eighth note down-up pattern, but there is quite a few missed strums. For example in measure one and two, the 'and' of the first and second beat are missed on the upstroke, but played on the fourth beat, while the number is missed. There is also three different forms of a D chord in this section, as there is on the A chord between the first and second verse.

Work this pattern up very slowly, making sure all the stroke directions are correct. This progression has been used in many tunes and sounds great when executed properly.

The main pattern of down, down, down-up down is much easier to execute. Try to hit the bass notes of the chord on the first beat, then accent the second beat. This is a common country rhythm guitar sound.

To play with the song, capo on the 2nd fret

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