Intermediate Guitar Workshop

Intermediate Guitar

Contents 1

A Brief Introduction to Music Theory i. ii. iii.

2

3

4

5

6

7

8

What are Notes?................................................................... What are Keys? .................................................................... What are Chords? .................................................................

3 3 5 5

Reading Guitar Tablature

6

i. ii.

6 7

Reading Tabs: Dashes.......................................................... Reading Tabs: Numbers........................................................

Plucking Guitar Chords

8

i. ii.

8 9

The Bass Note………............................................................ Plucking Patterns………........................................................

Transposing Chords

11

i.

11

How Do We Transpose?........................................................

Sus & Stacked Chords

15

i. ii. iii.

15 16 17

Sus Chords – Quashing Notes Together............................... Stacked Chords – Piling Notes Up........................................ How Do I Play Them?............................................................

Strumming

19

i. ii. iii. iv.

19 19 20 24

Bars………………………………………................................ Beats……………………………….......................................... Common Strumming Patters................................................. Listening Out……………………….........................................

Barre Chords

26

i. ii.

26 27

How Do We Play Barre Chords?...……................................ Which Frets Do We Press?..................................................

Chords in E

31

i. ii.

31 32

Here I am to Worship…………......……................................ Awesome in this Place……..................................................

9

Practice, Practice, Practice!

34

10

Appendix: Playing Power Chords

35

i. ii.

35 36

Playing Power Chords – 6th string....……................................ th Playing Power Chords – 5 string....……................................

2

A Brief Introduction to Music Theory Although theory is not essential, it helps to understand how the music you play works at an intuitive level. Without going into anything too complex, this section outlines the basics on notes, keys, and chords.

1) What Are Notes? Notes are the individual pitches that you hear when you pluck a single guitar string. These notes have names. Not names like Bill and Sam, but the following:

C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B

It helps to look at them on a piano:

The White notes have no “b” or “#” symbols next to them, e.g. C, D, E. The Black notes have these symbols: # (sharp) means “one note higher”, b (flat) means “one note lower”.

3

For example, A# = the black note above A,

Gb = the black note below G.

There is no E#, Fb, B#, or Cb.

C B

The black notes are referred to by the white notes around them. Instead of having 12 names to remember we only have to remember the white notes – 7 notes.

4

2) What Are Keys? We do not use all 12 notes in every song. Generally, smaller groups of 7 notes can be taken out from the entire set of 12 notes to form a key. The key of the song is therefore the set of notes you use in the song. One example is all the 7 white notes, which we call “C major”:

C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B

C

D

E

F

G

A

B

3) What Are Chords? Chords are what you play on the guitar - a musical “background” to sing melodies over. We derive these chords by taking alternate notes from the key: Finding the “C chord”:

C

D

E C

F E

G

A

B

G

Depending on which note of the key you start in, you get: Major Chords: full, happy sounding chords. Minor Chords: darker sounding chords.

Summary Music Notes Individual pitches melodies 12 notes




Keys Set of notes used in a song 7 notes




Chords Background

music

for

3 notes

5

Reading Guitar Tablature Guitar tablature (tab) is a musical notation for sharing instructions on how to play guitar chords and solos. Instead of music symbols, tablature uses dashes and numbers. Tabs are: i) DIY - You can do it yourself on word processor, without having to purchase additional software. ii) Everywhere - Because it is easy to create guitar tabs are all over the Internet – you can download and start learning songs within minutes. iii) Visual – the notation is actually a ‘picture’ of the guitar fret board. iv) Accessible - doesn’t require knowledge music theory. However, tabs don’t tell you the timing of the notes: it says what to play, but not when to play the notes.

Reading Tabs: Dashes Tabs use dashes – these dashes tell you which string to press. Dashes resemble the guitar fretboard:

e-------------------------------------------b-------------------------------------------G------------------------------------------D------------------------------------------A------------------------------------------E------------------------------------------e-------------------------------------------b-------------------------------------------G------------------------------------------D------------------------------------------A------------------------------------------E------------------------------------------Names of the strings: e, b, G, D, A, E Thinnest string on the top. Thickest string at the bottom

.

6

Reading Tabs: Numbers We add numbers to the dashes to indicate which fret to press. Examples:

e----------------------------b--3-------------------------G----------------------------D----------------------------A----------------------------E----------------------------Play the third fret of the 2

nd

e----------------------------b----------------------------G----------------------------D--0------------------------A----------------------------E-----------------------------

string:

Play an ‘open’ D-string – pluck the string without pressing any notes.

e----------------------------b-------5--------------------G--4------------------------D----------------------------A----------------------------E-----------------------------

e----------------------------b---5------------------------G--4------------------------D----------------------------A----------------------------E-----------------------------

Play the two notes consecutively.

Play the two notes together.

e----0-------------------------b----1-------------------------G----0-------------------------D----2------------------------A----3------------------------E-----------------------------Play the C chord without strumming the thickest string.

e----------b----------G----------D----------A-----------E-----------

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

Exercise: write down the tab for the F chord:

Summary To read tabs, we ask: Which String Do I Press? Fret Refer to the Dashes




Which Fret Do I Press?




Play on the String +

Refer to the Numbers

7

Plucking Guitar Chords Strumming chords gives a full sound, but we often need a more contemplative and quiet accompaniment to the music – we pluck the chords instead. When we pluck chords we play notes one at a time, unlike in strumming where we play them all at once.

The Bass Note The bass note is the first string we pluck when we begin. This note is the lowest note of the chord, and it gives the chord its character. This note is important - chords are named after their first notes. E.g. the G chord has G as its bass note. E.g. for chords like F/C (F over C), we play the F chord, but we alter the bass note from F to C.

The diagram below locates all the bass notes:

Fret no: Examples G Chord We locate the bass note for “G”, which from the diagram is on the E string, 3rd fret. We start plucking from: E –3-A Chord The bass note for “A” is the A open string. We start plucking from: A --0—

G/B Chord nd We fret the A string 2 fret – this is where ‘B’ is. We ignore the strings below this note (E string).

D/F# Chord nd The F# note can be located at the E string, 2 fret. We play a D, & add in this note.

G/B: e --3-B --0-G --0-D --0-A --2-E --x--

D/F#: e --2-B --3-G --2-D --0-A --0-E --2--

8

Exercise: Strum the following chords. The bass line moves downward - this is called a walkdown.

C G/B F/A C/G F C/E D/F# G

G/B: e --3-B --0-G --0-D --0-A --2-E --x---

F/A: e --1-B --1-G --2-D --3-A --0-E --x---

C/G: e --0-B --1-G --0-D --2-A --3-E --3---

C/E: e --0-B --1-G --0-D --2-A --3-E --0---

D/F#: e --2-B --3-G --2-D --0-A --0-E --2--

Exercise: The following progressions are useful ways to end a song by letting the music linger on. Each pattern is the same, but in a different key:

C D E G A

F/C G/D A/E C/G D/A

C D E G A

F/C G/D A/E C/G D/A

C D E G A

Plucking Patterns There are no set rules as to how to pluck the chord after the bass note. However, the following pointers can help: i) How many notes to use per beat? ii) How loud or soft should these notes be plucked? iii) Keep timing. Here are some examples:

i) Letting the chord ring out - Very few notes, hanging feel. 1 2 3 4 e -----------------------------------B ------------1----------------------G ---------0-------------------------D -----2-----------------------------A --3--------------------------------E -----------------------------------C

ii) Centered - Notes centered around one note 1 2 3 4 e -----------------------------------B -----------------1-----------------G --------0---------------0---------D ----2-----2-------2--------2-----A --3--------------------------------E -----------------------------------C

iii) 2 chords in one bar - Chord changes fast 1 2 3 4 e -----------------------------------B --------1--------------3-----------G ---0--------------2---------------D ---------------0-------------------A -3---------------------------------E -----------------------------------C D

iv) Arpeggio - Notes flow up and down. 1 2 3 4 e -----------------0-----------------B -----------1---------1-------------G --------0---------------0---------D ----2----------------------2------A -3---------------------------------E -----------------------------------C

Exercise

9

Play the following songs, taking note of: i) The bass note to start with, ii) The various plucking patterns

As The Deer D A/C# Bm Bm/A As the deer panteth for the water G A D So my soul longeth after Thee. D A/C# Bm Bm/A You alone are my heart's desire G A D And I long to worship Thee.

B: e --2-B --3-G --2-D --0-A --2-E --x---

F#: e --2-B --2-G --3-D --4-A --x-E --x---

G G D/F# You alone are my strength my shield G Em F# To You alone may my spirit yield D A/C# Bm Bm/A You alone are my heart's desire G A D And I long to worship Thee.

There Is None Like You G D/F# G/E G/D There is none like You C G/B No one else can touch Am D My heart like You do G D/F# G/E G/D I could search for all eternity long C D G And find there is none like You C D G Em Your mercy flows like a river wide C D/F# G And healing comes from Your hands C D G Em Suffering children are safe in Your arms Am C D There is none like You

10

Transposing Chords The given key may sometimes be difficult for the worship leader to sing. In such cases it is necessary to shift the key up or down – all the chords in the songs will have to be changed. You would then need to write down the new set of chords.

How Do We Transpose? There are twelve different notes – imagine these notes put in a circle, arranged like a clock:

A

G

G#/ Ab

A#/ Bb

B

F#/ Gb

C C#/ Db

F E

D#/ Eb

D

If: i) The key is too high for the worship leader to sing: Move anti-clockwise to lower the pitch of the song.

ii) The key is too low for the worship leader to sing. Move clockwise to raise the pitch of the song.

Step 1: Anti-clockwise
Lowers the pitch. Clockwise
Raises the pitch.

11

Suppose that the first chord is A. The worship wants to move this chord to E. A

A moves 5 steps anti-clockwise to E.

G#/ Ab

G

A#/ Bb

B

F#/ Gb

C C#/ Db

F D#/ Eb

E

D

We then move all the chords, minor chords included, in the song 5 steps anti-clockwise. A

e.g. from D to A.

A#/ Bb

G#/ Ab

G

B

F#/ Gb

C C#/ Db

F E

A

from G/B to D/F#,

G

G#/ Ab

A#/ Bb

B

G C

C#/ Db E

D#/ Eb

D

D

A

F#/ Gb F

D#/ Eb

G#/ Ab

A#/ Bb

B

F#/ Gb

C C#/ Db

F E

D#/ Eb

D

Step 2: Move all chords in the same direction, & the same number of steps, as with the first change made.

12

Exercises

Transpose this song 4 steps lower.

My Redeemer Lives E A My Redeemer lives C#m7 B My Redeemer lives E A My Redeemer lives C#m7 B My Redeemer lives

My

Redeemer

lives

My

Redeemer

lives

My

Redeemer

lives

My

Redeemer

lives

Transpose this song 4 steps higher.

Tell the World

F Tell Dm Tell F Tell Dm Tell

C the world that Jesus lives Bb the world that Tell the world that C the world that He died for them Bb the world that He lives again

Tell the world that Jesus lives Tell the world that Tell the world that Tell the world that He died for them

13

Answers C Redeemer Am Redeemer C Redeemer Am Redeemer

My My My My

F lives G lives F lives G lives

A Tell F#m Tell A Tell F#m Tell

E the world that Jesus lives D the world that Tell the world that E the world that He died for them D the world that He lives again

Tip: When choosing the number of steps to shift, choose one that obtains chords which are manageable. E.g. If the first chord is G, shifting 2 or 5 steps up to A or C is preferable. Avoid moving 3 or 4 steps to Bb and B, relatively more difficult chords to play.

Summary: Using the clock, we i)

Move anti-clockwise to lower the pitch, & clockwise to raise the pitch of the first chord,

ii)

Transpose the first chord to a chord that is easy to play,

iii)

Shift all other chords in the same direction with the same number of steps.

14

Sus & ‘Stacked’ Chords When we see more complicated chords like Dsus2 and Emaj7 we often ignore them, choosing to play chords like D and E to replace them. However, using these ‘complicated’ chords can make the music more interesting. Two such chords are the Sus and ‘stacked’ chords.

Sus Chords – Quashing Notes Together Sus chords substitute the middle note in the chord for one next to it.

1) This is a C:

3) By moving the middle note down we get C sus2

2) By moving the middle note up we get C sus4:

Sus chords look and sound quashed. Musically, they create tension.

C

D

E

F

G

A

e --3-B --3-G --0-D --0-A --3-E --x---

e --0-B --3-G --2-D --0-A --x-E --x---

e --0-B --0-G --4-D --4-A --2-E --0---

e --1-B --1-G --0-D --3-A --x-E --x---

e --3-B --3-G --2-D --0-A --0-E --3---

e --0-B --0-G --2-D --2-A --0-E --x---

e --1-B --1-G --0-D --3-A --3-E --x---

e --3-B --3-G --2-D --0-A --x-E --x---

e --0-B --0-G --2-D --2-A --2-E --0---

e --1-B --1-G --3-D --3-A --x-E --x---

e --3-B --1-G --0-D --0-A --x-E --3---

e --0-B --3-G --2-D --2-A --0-E --x---

sus2

sus4

Exercise: By moving in and out of sus chords, you can colour a chord. This is useful for introductions, or if you have to hold on to a chord for some time.

D A

Dsus2 Asus2

Dsus4 Asus4

D A

15

Stacked Chords – Piling Notes up Notes in a normal chord are stacked up nicely over one another. When we add more notes on top we get chords like C7, C9, and so forth. As before, some diagrams:

From C


C7

C9

C11

C13

C

D

E

F

G

A

e --0-B --1-G --3-D --2-A --3-E --x---

e --2-B --1-G --2-D --0-A --x-E --x---

e --0-B --0-G --1-D --0-A --2-E --0---

e --5-B --4-G --5-D --3-A --x-E --x---

e --1-B --0-G --0-D --0-A --2-E --3---

e --0-B --2-G --0-D --2-A --0-E --x---

e --0-B --0-G --3-D --2-A --3-E --x---

e --2-B --2-G --2-D --0-A --x-E --x---

e --4-B --4-G --4-D --2-A --2-E --0---

e --0-B --1-G --0-D --3-A --x-E --x---

e --2-B --0-G --0-D --0-A --2-E --3---

e --0-B --2-G --1-D --2-A --0-E --x--

Am

Bm

Cm

Dm

Em

F#m

e --0-B --1-G --0-D --2-A --0-E --x--

e --2-B --3-G --2-D --0-A --2-E --x---

e –3-B –4-G --3-D --x-A --3-E --x--

e --1-B --1-G --2-D --0-A --x-E --x---

e --0-B --0-G --0-D --0-A --2-E --0---

e --0-B --2-G --2-D --2-A --0-E --2---

7

maj7

7

Just for fun: To play Em7add4, just strum the open strings! Exercise: th 7 minor chords & maj7th chords can make the chord sound more soothing.

C

Am

Dm

G




Cmaj7 Am7 Dm7

G

7th major chords make the chord sound suspended, and is useful to repeat a line, verse, or chorus.

Cmaj7 Am7 Dm7

G




Cmaj7 Am7 Dm7

G7

16

How Do I Play Them? There is no ‘trick’ to playing them. All you have to do is to refer to chord charts, and learn the fingering. This takes effort, discipline, and preparation, so it is important to know the songs in advance, & prepare with the worship leader. As you use these & other chords more and more you will familiarize with the sound they produce, and in turn will be able to substitute chords with more complicated chords on your own. As again, this takes practice!

Exercises

Amazing Grace C C7 Fmaj7 C/E Ama-zing grace how sweet the sound Am7 Dm7 G7 That saved a wretch like me Em7 Csus2 Fmaj7 Em7 I once was lost but now am found Am7 G7 F/C C Was blind but now I see

Heart of Worship Verse Dsus2 Asus2 Em9 When the music plays, all is stripped away. Asus4 A7 And I simply come.

Bridge Em7 D/F# I'll bring you more than a song, Asus4 A7 cause a song in itself Em7 D/F# A7sus2 is not what you have required. Chorus: D2 Asus2/C# I'm coming back to the heart of worship. Em7 D/F# G A7 And it's all about you, it's all about you, Jesus.

17

To You Alone (Pluck the verse) Verse 1 Csus2 Every

G/B knee will bow Csus2 G/B And every tongue confess Bbsus2 F/A That Jesus Christ is Lord Dsus Lord and King Chorus Gsus2 Cmaj7 glory to Your name Am7 D G D/F# All honour to Your Majesty Em7 Asus4 A Forever fore ver G/D D/C Dsus All praise to You alone All

(Play Csus2 a few times to go to verse) Verse 2 Csus2 Every

G/B eye will see Csus2 G/B And every heart will know Bbsus2 F/A The beauty of the Lord Dsus2 In all the earth

th

Tip: Using a 7 for all minor chords (Am7, Cm7) makes them sound ‘smoother’.

Summary -

Two ways to add colour to your chords are by applying sus and stacked chords.

-

These chords can be found in chord charts.

-

By applying and practicing them, you will familiarize yourself with how they sound and will be able to add them in on your own for future songs.

18

Strumming We have been learning what to play; how to play chords is equally important.

Bars A song can be divided into bars, with each bar divided into four counts. Bars are usually indicated with a bar line, “|”. For example,

| Dsus2 | Asus2 | Em9 When the music plays, all is stripped away.

| Asus4 A7 And I simply come.

Generally, each chord comes in at the beginning of each bar. It is important that you adhere strictly to the timing of each chord else the worship leader finds it hard to keep timing.

Beats To keep time within a bar, we must count while playing, by -

Counting subconsciously (counting in your mind)

-

Counting physically (tapping foot, bobbing up and down).

Each bar can be further divided into 3 or 4 beats, depending on the song:

| 1

2

3

4

| 1

2

3

4

|

+

|

If the timing gets difficult, then we count the half beats:

| 1

+

2

+

3

+

4

If it gets even more difficult, we divide the bar into 16 beats:

|1

2

3

4

2

2

3

3

4

2

3

4

4

2

3

4

|

4

po

You can also use any 3 syllable word (e.g. “po-ta-to”):

|1

po

ta

to

2

po

ta

to

3

po

ta

to

ta

to

|

Knowing what beats and bars are help us to think of timing in a structured manner, and most importantly to be able to write down useful strumming patterns.

Useful Strumming Patterns

19

i) Hillsong Pattern This is a strumming pattern commonly used by Hillsong, & has a contemplative feel to it:

∨ 1

2

3

4

∧ 2

2

3

4

∨ 3

∧ 2

∨ 3

4

∨ 4

2

3

4

∨ 3

4

∨ 4

2

3

4

2

3

4

Here I am to Worship Verse D A Light of the World Em7 G You stepped down into dark-ness D A Open my eyes G Let me see

Chorus D Here I am to worship A/C# Here I am to bow down Bm7 G Here I am to say that You're my God D You're altogether lovely A/C# Altogether worthy Bm7 G Altogether wonderful to me

This, and all other strumming patterns can be modified. By adding an upstroke on ‘2’ the strumming becomes stronger:

∨ 1

2

∧ 3

4

∨ 2

2

3

4

∨ 3

∧ 2

Also, by removing one stroke at “3a” the strumming becomes more contemplative:

∨ 1

2

3

4

∧ 2

2

3

4

3

∨ 2

∧ 3

4

∨ 4

ii) A Generic Pattern This pattern is suitable for both slow and fast songs.

20

∨ 1

2

3

∧ 4

2

2

∨ 3

4

3

∨ 2

∧ 3

4

∨ 4

2

3

4

To You Verse G Cmaj7 Here I stand forever in Your migh - ty hand D C Living with Your pro - mise written on my heart G Cmaj7 I am Yours surrendered wholly to You D C You set me in Your fam - ily calling me Your own

D

D

Chorus G Am Now I, I be - long to You D G All I need, Your Spirit, Your Word, Your truth C Em7 Hear my cry, my deep de - si - re F D To know You more G Am In Your name I will lift my hands D G To the King this anthem of praise I bring C Em7 Heaven knows I long to love You D D G With all I am I belong to You

21

Glory Verse D

G Great is the Lord God Al-mighty D G Great is the Lord on high D G The train of His robe fills the temple A Bm7 G and we cry out highest praise

Pre-Chorus G D/F# Bm7 A Glo-ry to the risen King G D/F# E Glo-ry to the Son G Glorious Son

Chorus D Lift up your heads open the doors Bm7 let the King of glory come in G D/F# A and forever be our God D Lift up your heads open the doors Bm7 let the King of glory come in G D/F# A and forever be our God

22

iii) A Simple Pattern Strumming patterns do not always have to be so complicated. Often a simple one is better:

∨ 1

2

3

4

∧ 2

2

3

4

∨ 3

2

3

4

∧ 4

2

3

4

You Laid Aside Your Majesty Verse C G Am7 Em7 F You laid aside Your majesty, gave up everything for me. C Dm7 Gmaj7 Suffered at the hands of those You had created. C G Am7 Em7 F You took all my guilt and shame, When You died and rose again. C Dm7 Gmaj7 Now today You reign, And heaven and earth exalt You.

Chorus C G Am7 I really want to worship You my Lord, Em7 F You have won my heart and I am Yours. C Dm7 Gmaj7 Forever and ever, I will love You. C G Am7 You are the only one who died for me, Em7 F gave Your life to set me free. C Dm7 Gmaj7 So I lift my voice to You in ador - a -

C tion.

This pattern can also be expanded upon:

∨ 1

2

3

∧ 4

∨ 2

2

3

4

∨ 3

2

3

∧ 4

∨ 4

2

3

4

23

Listening Out While it is useful to learn different strumming patterns, it is more important to be able to pick them up on your own by listening to CDs. To do so one can follow the guitar or the drum groove in the recording. i) Following the Guitar The guitar parts are easy to catch in some songs.

Exercise: At the Foot of the Cross (verse)

1

2

3

4

2

2

3

4

3

2

3

4

4

2

3

4

2

3

4

4

2

3

4

G

Em7 At the foot of the cross C G Where grace and suffering meet D Em7 You have shown me Your love C D Through the judgment You received

Exercise: Thank You Lord (verse)

1

2

3

4

2

2

3

4

3

G D I come before You today Am7 Em7 And there's just one thing that I want to say Csus2 D Csus2 D Thank You, Lord, thank You, Lord G D For all You've given to me Am7 Em7 For all the blessings that I cannot see Csus2 D Csus2 D Thank You, Lord, thank You, Lord

24

ii) Following the Drum Groove The drum groove comprises of two parts, the kick drum (the deep sounding drum) and the snare drum (which sounds like a clap). In cases where the guitar parts cannot be heard we strum in tandem to these two parts of the drums, which determine a large part of the groove. Demonstration: Free Exercises: To You Alone (chorus)

1

2

3

4

2

2

3

4

3

2

3

4

4

2

3

4

2

3

4

4

2

3

4

Gsus2 Cmaj7 glory to Your name Am7 D G D/F# All honour to Your Majesty Em7 Asus4 A Forever fore ver G/D D/C Dsus All praise to You alone All

Lord I Lift Your Name On High

1

2

3

4

2

2

3

4

3

Verse G C D C Lord, I lift Your name on high. G C D C Lord, I love to sing Your praises. G C D C I'm so glad You're in my life. G C D C I'm so glad You came to save us. Chorus G C D C You came from heaven to earth to show the way, G C D C From the earth to the cross, my debt to pay, G Am7 D Em From the cross to the grave, from the grave to the sky, C D G Lord, I lift Your name on high.

25

Barre Chords Barre chords enable you to play any chord because we sometimes have to play chords like Bb, Eb, B.

How Do We Play Barre Chords? When you ‘cut and paste’ a chord’s fingering onto another position on the fretboard you transpose the chord – E becomes, for instance, F. But you need to transpose the open strings as well, and to do this you use your first finger to press down on all the strings. Place your first finger over all the strings in this fret.

E




F

This can be done for the C, A, G, E, D chords.

‘Easy’ level: E & A barre chords.

F chord using E-barre

Simplified to

Bb chord using A-barre

Use one finger to fret three strings.

Exercise: Can you figure out the barre chords for the Em & Am barre chord group?

26

‘Intermediate’ level: C barre chord

Simplified to Halve the number of strings the 1st finger frets.

Db chord using C-barre

‘Advanced’ level: D & G barre chords

Simplified to

Ab chord using G-barre

Remove the last finger.

Simplified to

Eb chord using D-barre

Press 3 strings.

Therefore there are 5 kinds of barre chords:

E barre chord

A barre chord

C barre chord

G barre chord

D barre chord

Among these the most commonly used ones are the E and A barre chords. Barre chords require little memorisation; you can play them as long as you know how to play E, A, C, G, D chords. After you master the simplified versions do try the full version of the barre chords.

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Which Frets Do We Press? The ‘transpose clock’ can be used to figure out the chords: A

A#/ Bb

G#/ Ab

G

B

F#/ Gb

C C#/ Db

F E

D#/ Eb

D

By moving up or down each fret you move up or down by one chord, in this order.

Exercise:

st

Using the E barre chord, fill in the location of the 1 finger: st

Chord

Location of 1 finger

E

0th fret

G

3 fret

rd

F A Using the C barre chord, fill in the location of the 1st finger: Chord

Location of 1st finger

C

0th fret

E

3 fret

rd

D G

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Complete the table (the ‘starting points’ are shaded in grey) :

E

F

F#/ Gb

G

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Db

C-barre

4

5

6

7

8

9

10

11

0

1

2

3

A-barre

7

9

10

11

0

1

2

4

6

G-barre

9

11

0

4

6

8

E-barre

0

2

2

4

6

8

D-barre

10

0

st

* The numbers represent the location of the 1 finger. 0 refers to an open chord.

From this table, you can now play any chord!

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Locate, using the table above, the 5 different ways of playing a C chord. Write down the type of barre-chord & the location of the first finger, from left to right: Type of barre chord

st

Location of 1 finger

Left

Right

Locate, using the table above, the 5 different ways of playing a G chord. Write down the type of barre-chord & the location of the first finger, from left to right: Type of barre chord

Location of 1st finger

Left

Right

Do you see a pattern? The chords always follow the order C-A-G-E-D.

Lastly, barre-chords are extremely difficult to play. You will need to practice for a month to a few months consistently to master them, so don’t be discouraged if it takes time – press on!

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Chords in E Open strings have a unique ringing sound to them, as compared to the more muffled sound that barre chords produce. Because the top strings, the E and B strings, are found in most chords in the key of E, these strings can be kept open throughout to produce several pleasant chords. These chords will be introduced via the exercises below:

Here I Am To Worship Verse E1 Badd4 Light of the World F#m7add4 You stepped down into darkness Badd4 Asus2 E1 Open my eyes let me see Badd4 E1 Beauty that made F#m7add4 This heart adore You E1 Badd4 Aadd2 Hope of a life spent with You Chorus 2

E Here I am to worship Bsus4 Here I am to bow down E/G# Asus2 Here I am to say that You're my God E2 You're altogether lovely Bsus4 Altogether worthy E/G# Asus2 Altogether wonderful to me Bridge B I'll never know B To see my sin B I'll never know B To see my sin

E1 ------0-----------0-----------9-----------9-----------7-----------0------

Badd4 ------0-----------0-----------8-----------9-----------9-----------x------

F#m7add4 ----0-------0-------2-------2-------0-------2----

Aadd2 ----0-------0-------6-------7-------7-------x----

E2 ----0-------0-------1-------2-------2-------0----

Bsus4 ----0-------0-------4-------4-------2-------x----

E/G# ----0-------0-------4-------2-------x-------4----

Asus2 ----0-------0-------2-------2-------0-------x----

E/G# Asus2 how much it cost E/G# Asus2 u-pon that cross E/G# Asus2 how much it cost E/G# Asus2 u-pon that cross

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Awesome in this Place

Verse E1 Here in this house of the great king C#m7 Asus2 We come together now to worship him E1 This house is built on Christ our rock C#m7 Cannot be shaken Asus2 Cannot be shaken

C#m7 -----0---------0---------6---------6---------4---------x-----

Pre-Chorus Asus2 E2 Asus2 E2 God is awesome in this place Asus2 Bsus4 E2 Sense his presence as we sing his praise C#m7 Bsus4 There is power here for a miracle C#m7 Asus2 Set the captives free and the broken whole

Chorus E2 Asus2 God is awesome Asus2 E2 He’s so awesome E2 Asus2 God is awesome in this place

Bridge Amaj7sus2 A6sus2 I’ve found Amaj7sus2 A6sus2 where I be-long Amaj7sus2 A6sus2 I'm a living stone Amaj7sus2 A6sus2 in this house E2 I will grow

Amaj7sus2 -----0---------0---------6---------6---------0---------x-----

A6sus2 -----0---------0---------6---------4---------0---------x-----

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Tip: If the song is not in E, you can still use these chords by transposing the song if the pitch is suitable.

Summary The ‘key of E’ chords are:

E E1, E2, E/G# F#m F#m7 A Asus2, Aadd2 B Bsus2, Badd2 C#m C#m7 Others Amaj7sus2, A6sus2

1

2

E ------0-----------0-----------9-----------9-----------7-----------0------

E ----0-------0-------1-------2-------2-------0----

E/G# ----0-------0-------4-------2-------x-------4----

Aadd2 ----0-------0-------6-------7-------7-------x----

Asus2 ----0-------0-------2-------2-------0-------x----

Amaj7sus2 -----0---------0---------6---------6---------0---------x-----

Bsus4 ----0-------0-------4-------4-------2-------x----

Badd4 ------0-----------0-----------8-----------9-----------9-----------x------

A6sus2 -----0---------0---------6---------4---------0---------x-----

F#m7add4 ----0-------0-------2-------2-------0-------2---C#m7 -----0---------0---------6---------6---------4---------x-----

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Practice, Practice, Practice!

As a practicing guitarist, I am of the firm belief that no one else can make you a better player. It is up to each of us as individuals to stand out among others. There is no method, gimmick, book or video which has the ability to make you play better or worse. Being a quality player means continually practicing and playing with the intent of improving, never giving up and often sacrificing much in the process. Fretboard Logic, Bill Edwards

Sing to him a new song; play skilfully, and shout for joy. Psalm 33:3

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Appendix: Power Chords Power chords are not really chords. Chords are 3 notes or more, whereas power chords only have 2 rd different notes. The missing chord note in the power chord is the 3 note, which determines if the chord is a major or a minor chord. This causes power chords provide to little harmonic texture to a song. Because of this interval power chords have an open feel to them. If you have a fast chord change, it's often easier to use power chords for the really fast part.

Power Chord Patterns – 6th String Power chord patterns can be ‘cut and pasted’ to create different power chords – one set of fingering can give you a dozen chords. The root note determines what power chord it is. These chords are derived from the E chord. Only the bottom three strings are played.

By shifting the E fingering up a fret we obtain the power chord pattern. The result is an F chord:

We know it is an F chord because our first finger is holding an F note. In other words, the lowest note is an F note. The chord is determined by this lowest note. We can play this pattern all over the fretboard to create different power chords – give it a try! The chart below tells you where the chords are – the top row tells you where your first finger is, and the corresponding chord is in the second row. For example, if the lowest note is at the 10th fret, the chord is a D.

Fret

1

2

3

4

5

6

7

8

9

10

11

12

Chord

F

F#/Gb

G

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

Power Chord Patterns – 5th String

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This power chord pattern is similar to the previous pattern, only it's root note is now on the A string instead of the low E string. rd

th

th

If we play the A chord on the 3 , 4 and 5 string we have the following pattern:

Moving this chord up a fret we obtain a B power chord:

As before, when we move this pattern all over the fretboard we obtain different chords. By looking at the fret the first finger is on we can see which chord is being played:

Fret

1

2

3

4

5

6

7

8

9

10

11

12

Chord

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

F

F#/Gb

G

Combining the two tables we have:

Fret

1

2

3

4

5

6

7

8

9

10

11

12

Chord (E string)

F

F#/Gb

G

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

Chord (A string)

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

F

F#/Gb

G

Tips: -

Because power chords are simplified chords, we ignore minor, sus, 7th, 9th, etc. chords when we use power chords. Power chords are used mainly for fast songs where the fast strumming rather than the harmonic texture of the chord drives the chord forward.

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Exercises: Try the following songs using power chords:

Lord, I lift Your name on high.

Verse G C D C Lord, I lift Your name on high. G C D C Lord, I love to sing Your praises. G C D C I'm so glad You're in my life. G C D C I'm so glad You came to save us.

Chorus G C D C You came from heaven to earth to show the way, G C D C From the earth to the cross, my debt to pay, G Am D Em From the cross to the grave, from the grave to the sky, C D G Lord, I lift Your name on high.

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King of Majesty Verse B

G#m You know that I love You, You know that I want to F# E Know You so much more, More than I have before B

.

E

.

G#m

.

E

.

B

G#m These words are from my heart, these words are not made up F# E I will live for You, I am devoted to You B

.

E

.

G#m

.

E

.

Pre-Chorus F# G#m7 King of Ma-jesty, I have one desire F# G#m E Just to be with You my Lord F# G#m7 E Just to be with You my Lord

Chorus B E F# E B Jesus You are the Saviour of my soul B G#m7 F# E E And forever and ever I’ll give

my

G#m

praises

F# B

to

E E

F#

You

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