Lesson 3: Double Sharp and Twice as Quick
You may have noticed that sometimes we skip frets on the guitar:
These notes “in between” the letters are called sharps and flats. They are the black keys on the piano.
If you raise a note one fret it is a sharp (#). So C# is the second fret of the B string one fret above C.
If you lower a note one fret it is a flat (b). So Db is the second fret of the B string one fret below D.
That means that the note in the second fret of the B string is both C# and Db.
If you raise a note one fret it is a sharp (#). So C# is the second fret of the B string one fret above C.
If you lower a note one fret it is a flat (b). So Db is the second fret of the B string one fret below D.
That means that the note in the second fret of the B string is both C# and Db.
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In musical notation, sharps and flats are written before notes on the staff.
Once a sharp or flat has been used in a measure, it is good for the whole measure. So the third note in both of these measures is still C# or Db.
Once a sharp or flat has been used in a measure, it is good for the whole measure. So the third note in both of these measures is still C# or Db.
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We use sharps (#) and flats (b) to raise or lower pitches one semitone. So between C and D there is a note that can be called either C# or Db. The sharp or flat symbol is written in front of the note head. Once a sharp or flat has been introduced in a measure, that note stays # or b for the rest of that measure. The fretting for the notes is as follows:
In second position, you can play the same pitches as open strings.
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You can make cool effects with these notes!
To start, get in second position.
This works really well with the pick.
To start, get in second position.
This works really well with the pick.
Here’s an example with the E string:
Now create your own pattern using fretted notes and open strings! You can write them in the space below.
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On the guitar you can get the same pitch in different parts of the guitar. In this exercise we learn how to match the pitch of open strings with fretted notes. If you push down at the 4th fret of the G string, you get the pitch B. It is the same B as the open B string. In order to play this note, it is easiest to get into second position. By alternating between an open string and fretted notes on a lower string, you can create some interesting sounds. This is especially true if you use the pick. You can practice the two sets of notes, one using the B string and another using the E string, to explore these sounds. Try coming up with your own patterns, the only rule is that you use the open string for every other note.
Now that we have been working with the pick and eighth notes, it is time to put them together.The good news is that the pick can actually help us with our counting of eighth notes! Here’s how:Whenever you play eighth notes pick down and then up.
Let’s try it on open G!
Let’s try it on open G!
So if it is a number pick down, and if it is an “&” pick up.This will help you keep a steady pulse when you switch between eighth and quarter notes.
Practice these rhythms, paying close attention to the counting and the picking.
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So far all of the picking we have been doing has been down picking. Today we will start adding up picking, When you pick up you want to be on the “ands”. In fact it is common for musicians to call notes falling on the numbered beats down beats and the notes that are on &s up beats. This type of picking is called alternate picking.
The nice thing about coordinating your pick direction and your counting is that it gives you a physical anchor for rhythms. This is an exercise that you can practice anywhere: holding an imaginary pick and using your leg or chest as a guitar.
When practicing the rhythms in this exercise, make sure to coordinate your pick direction and your counting. The pick should go down on all of the numbered beats and up on all of the &s.
It’s time for us to practice our new song. This time we are going to do backward practice.
We’ll start with the ostinato (3xs):
We’ll start with the ostinato (3xs):
Now add the rest of the last line (3xs):
Next we’ll try the ending of the B section (3xs):
Then we’ll practice the whole B section (3xs):
Let’s try the whole second half now (3xs):
It’s time to practice the whole song (1x):
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In order to keep working on Let’s Roll, we will do some backward practice. The goal is to get good at the ends of the phrases and then add back in the beginnings. Follow the suggested number of times (3xs or 1x), so that practicing is fast and efficient.
Note: Your child might be interested in using the pick, while this is possible, it would be good to spend a little longer working on alternate picking before playing this song with the pick.
Note: Your child might be interested in using the pick, while this is possible, it would be good to spend a little longer working on alternate picking before playing this song with the pick.
Now that you have been practicing the pentatonic scale, it is time for another jam session.For this jam session we will be using an ostinato.You might remember that an ostinato is a short, repeated musical phrase.
Here is an ostinato using the G and the D strings:
Here is an ostinato using the G and the D strings:
Now with repeats:
Once you can play the ostinato without stopping. Play a short phrase with the pentatonic scale and then end it with the ostinato.
If you are working with a partner, you can take turns playing the ostinato and making up melodies (improvising) with the pentatonic scale.
If you are working with a partner, you can take turns playing the ostinato and making up melodies (improvising) with the pentatonic scale.
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The goal of the jam session is for students to start getting used to improvising in time with the pentatonic scale. This exercise can be performed alone by playing a short phrase with the pentatonic scale and then ending it with the ostinato. If you are working with a partner, you can take turns having one person play the ostinato while the other improvises using the pentatonic scale. The ostinato helps tie the improvisation together and can give a sense of structure to the performance.
This lesson, we will learn some new chords:The 5th and 6th chords.
To do this we will start on the low sounding E string. This is the thick string closest to the top of the guitar.
To do this we will start on the low sounding E string. This is the thick string closest to the top of the guitar.
Now put your first finger at the second fret of the A string and strum both the open E string and the A string using the pick with a chunk-a-chunk-a rhythm.
chunk - a - chunk - a - chunk - a - chunk - a
To play a sixth chord play the open E and push down at the 4th fret of the A string with your third (ring) finger.
To play a sixth chord play the open E and push down at the 4th fret of the A string with your third (ring) finger.
So the pattern goes:
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This unit introduces two common “guitarisms”. First, there is the 5th chord. To play an E5th chord, play the low (thickest) open E string and the note B (fretted at the 2nd fret of the A string). The second “guitarism” is the blues shuffle rhythm (the chunk-a-chunk-a) rhythm. The E6 chord (the open E + the 4th fret on the A string) completes the full shuffle effect. Since the first finger is placed in the 2nd fret, the entire pattern is played in second position. You can use alternate picking with down picking on the “chunk” and up picking on the “a”.