- G



This is just a short little introduction to rudimentary guitar playing. It's meant for the beginner with little to no experience with a guitar.

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GUITAR PLAYING 101

Class . . . class . . . class . . . SHUT UPPPPPP!!

Thank you.



Welcome to Guitar Playing 101. You’ve taken the first step in learning a skill that will provide a lifetime of enjoyment.

What I can teach you (or at least familiarize you with):

- The parts of the guitar and the purpose of each one.

- How to properly maintain your guitar.

- How to select and install the proper strings.

- The notes of the fingerboard (also known as fretboard).

- Roughly 20 to 25 of the most common chords, enough to play just about any song.

- On-line sources where songs can be found and how to manipulate those songs into songs you can play and sing.

- Shortcuts and tricks I’ve learned over the past 35 years.

What I cannot teach you:

- How to read sheet music or the science of music theory. This is about learning to play chords so you can sing along and have

fun with a guitar. I don't care why a 7th minor is a 7th minor.

- The desire to learn or willingness to practice, both crucial to success.

- How to sing. Everyone can sing. It's just like talking, except longer and louder, and you move your voice up and down.

(Elf, 2003)

- To fingerpick like Chet Atkins.

So let’s start with a few ground rules.

- You have to practice. This is the single most important thing you can do to ensure success. You’re learning a new skill and every new skill requires patience, reasonable expectations, and lots of practice.

- Don't get discouraged. Learning to play guitar is also a physical skill. You cannot expect to learn to play overnight or even in a few weeks. Your skill will improve the more you practice and the more you play. And you’ll continue to improve for the rest of your life if you keep with it.

LESSON 1: PREPARE YOURSELF

First of all, your fingertips will never be the same. Cut and keep the nails of your non-dominant hand (the one you'll be forming chords with, usually the left hand for right-handed people) as short as you can possibly stand it. You can leave your right hand anyway you want. Same with your toes. Here is a photo of my fingers.

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Wow, they're really ugly, eh? See how short the nails are? The ring finger is a little shorter than necessary, and you certainly don't want to risk an ingrown nail, I mean, unless you're into that kind of thing, but the idea here is you don’t want your fingernails to touch the fingerboard while playing a chord. If they do you’ll get sloppy chord results and get discouraged. We don’t want that. We want learning to play to be as easy as possible. And use an emery board to keep the edges smooth. The thumb is a non-player. I lost my thumb in a chain saw accident. Just kidding, my thumb is still there, just not in this photo. A thumb is helpful in forming pressure on the back of the neck. And for hitchhiking.

Secondly, prepare for some sore fingertips. They will toughen up as a matter of course but will be sore for a while. When your fingertips start hurting, that’s a sign to stop and give them a rest. You don’t want to practice if your fingertips hurt. If you do your form will be sloppy and so will your chords. Always wash your hands before playing (your strings will last longer) and put lotion on your fingertips afterwards.

Third, do finger stretching exercises daily. You want to build (and/or maintain) strength and flexibility. No rocket science, just use your right fist to gently stretch the fingers of your left. An old racquetball also works well and has the added benefit of being squeezable to build hand strength.

Finally, you'll want to do some sort of aerobic strength training like running up and down stairs or some light distance running. No wait a minute, that's totally unnecessary.

LESSON 2: PREPARE YOUR INSTRUMENT

I want to prepare you for the most pleasant, pain-free (literally) learning experience. Therefore you want your guitar to be as easy to play as it can be. So I highly recommend having your guitar “set-up.” This is not absolutely necessary but I think is well worthwhile. Trying to play a difficult instrument is a major reason beginners quit after just a few sessions or don't stick with it. Who wants to do something that's suppose to be enjoyable but is really just a chore?

A set-up involves going over the entire guitar and making adjustments (to the truss rod, if present, and the saddle) to ensure you have the optimum “action” for your guitar. "Action” refers to how high the strings reside above the frets. You want the action to be as low as possible without being so low that the strings contact the frets when plucked or strummed. This is called “fret buzz” and is really annoying. If the action is too high it will be harder to push the strings down to form the chords properly. An abnormally high set-up can also be quite painful to the fingers and physically uncomfortable to play. That creates frustration and we don’t want that. During a set-up the neck is also checked for any bowing and proper intonation (tone up and down the fretboard) and adjusted if needed. The strings are also replaced with a fresh set. A guitar set-up costs about $50-$60, including new strings, and you may have to leave your guitar overnight. Even if you suspect your guitar is currently set up properly (it isn’t) having a professional set-up removes any doubt and starts you out on the right foot. And your right foot will thank you, so will your left hand. And your ears. Your kneecaps, not so much. It’s not uncommon for guitars “right out of the box” to need a set-up. And after you do have a set-up chances are good you won’t need another one for 10 years or longer. Most places that sell instruments can do a set-up.

Speaking of strings, if you do get a set-up, ask the guitar technician to start you off with light, bronze or phosphor bronze strings. Lighter gauge strings will make the guitar easier to play and easier on the fingertips. The brand isn’t particularly important, either Martin or D’Addarios. Strings run anywhere from $5 to $12 a set. More on strings below. Here's an example of D'Addarios:

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Also pick up a guitar winder. This is an inexpensive (about $8) plastic device that makes changing strings much easier. One end fits over the tuning knob and the other end has a handy string cutter.

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You'll also want a capo. A capo is a castrated rooster . . . no, wait, that's a capon. A capo is a device that aids a gynecologist . . . no that's not right either, and frankly I'm embarrasses I even started to go there. A capo goes over the fretboard to change the key. You don't need a capo to play the guitar but it comes in handy to adjust the key for your singing vocal range. They're about $10. Get the grip kind like this, not the strap kind.

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If you don't already have some, pick up a few guitar picks as well. They're cheap so get two light picks, two light-medium picks, and two medium picks. Each will give you a slightly different feel and sound. I like light picks myself. Brand is not important. Dunlops are popular.

This next bit is completely optional but you might consider getting a guitar humidifier, especially if the body of your guitar is made of solid wood rather than a laminate. The wood in your guitar breathes and needs the right amount of moisture. An atmosphere too dry is more harmful than one that is too wet as dryness can cause cracks and glue to separate. The guitar also sounds better when it has the right amount of moisture. Guitars should be kept at an RH of 45 to 55%. A guitar humidifier is a simple device, basically a sponge, that sits in the sound hole and keeps the interior of the body humidified. They cost between $12 and $20. If you have a case, your guitar should be returned and kept in its case with humidifier in place. It’s much easier to keep the guitar humidified while in its case. Here are two different types. The one on the left sits between the strings, the one on the right covers the sound hole.

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You might also want to keep a second humidifier in the case itself, behind the headstock at the top of the case, to humidify the neck and areas outside of the soundhole. But there's no need to buy another humidifier. Simply get a two-piece plastic travel soap dish and a common sponge. Drill a few holes (or make slats if you're creative) in the top of the dish cover, wet the sponge and cut it to size and voila, instant case humidifier.

So set-up, guitar winder, capo, humidifier, and a few picks . . .

One more thing. While you can tune your guitar manually (I'll show you how later) I strongly recommend getting an electronic guitar tuner. Your strings change with age and temperature. I prefer the ones that just clip on to the headstock as they're simple to use and you'll use it a lot. Snark makes good ones for between $10 and $20.

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Once you decide you’re really serious about learning how to play, and you’ve been playing a few weeks (at least) you might want to consider . . . buying another guitar. A guitar is a highly personal thing, almost an extension of yourself and every one feels different. You want to love your guitar. You want it to talk to you. And in the beginning it really is more about comfort and playability than sound. I guess what I’m trying to say is you can be cautious and just play the guitar you currently have, in case you’re not sure learning the guitar is for you. Then you’re not out the money. On the other hand, if you’re going “all in” and you think you’ll be playing a lot and/or for a long time, which I hope is the case, then you should get a guitar that feels and sounds good to YOU (which, in turn, makes the learning experience that much easier). So what I suggest you do is, after you’ve learned several of the chords and have been playing for a bit, go to a music store and play several guitars. It’s highly likely you’ll have an “oooooh” moment in which your current guitar will suddenly feel like driving a dump truck with a transistor radio and the one in your hands is like driving a Mercedes with the Mormon Tabernacle Choir.

If you have the money (and it's okay if you don't -- there are several great sounding entry-level models) you can't go wrong with the top-drawer names like Martin, Taylor, Collings, Gibson, or Santa Cruz. These are all great guitar makers but you're also paying for the brand name. And they can cost into the thousands of dollars. Mid-level brands include Takamine and Guild and run from the several hundreds to a thousand or so. Entry level (but still good) brands include Epiphone (especially the discontinued Masterbilts), Breedlove, Ovation, Alvarez, and Seagull. I've owned and played many guitars over the years. To my ear, Martins sound the best and hold their value, but are harder to play. Taylors are also very good and, in my experience, are the easiest of the big names to play. But I've also owned a 1980s $200 Hondo and a $300 Epiphone that sound and play almost as good as the high price models. Again, it's a personal decision. Let your ears and fingers decide, not the brand (or the price). One final thought: your "new" guitar doesn't have to be new at all. Guitars, especially the more expensive solid wood guitars, "open up" and sound better with age the more they're played. So don't be shy about buying used as someone has already done the work for you. Just buy from a reputable source.

So that’s about everything I wanted you to do first before we get started. If you decide not to get a set-up, then at least get a new set of strings and a winder. There's a link below showing the proper way to restring your guitar.

BTW, guitar supplies are cheaper on-line. I kind of like because the shipping is free regardless of the amount you buy and there’s no sales tax. Other on-line sites (Musicians Friend, ZZ Sounds, Sam Ash, Elderlys) generally require you spend $49 before they give you free shipping.

So let's dive in.

LESSON 3 - KNOW THY GUITAR

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This is a photo of a standard 6-string acoustic guitar. There are lots of variations (14 fret, 12 fret, acoustic-electric, cutaways) and sizes (dreadnought, orchestra, auditorium) but they all have the same basic components.

The "headstock" is the wooden piece at the top of the guitar, above the nut. The "nut" is the piece of plastic, bone, or Tusq at the top of the neck the strings rest in on their way from the bridge to the tuning heads. The "headplate" is the thin portion which sits atop the headstock. On some guitars the headstock and headplate are made of a single piece of wood.

"Tuning heads" and "machine heads" are collectively known as "Tuning Machine."

The "neck" of the guitar is the portion between the soundhole and the nut. The "fingerboard" (or fretboard) is a thin piece of wood veneer that sits atop the neck.

"Frets" refer to both the pieces of metal seated across the fingerboard but also to the spaces between the frets. So the "first fret" is the area between the nut and the first fret.

Position markers, when present, are always on the 3rd, 5th, 7th, 9th, 12th, and 15th frets.

The body of the guitar is made up of the upper "bout" and lower "bout", the bouts being separated by the portion where the guitar curves in toward the middle (usually above and below the soundhole).

The "Scratchplate" is better known as a pick guard.

The "rosette" is the decorative ring surrounding the soundhole. Most guitars have one but some do not.

The "binding and purfling" are thin pieces of shaped wood that connects the three parts of the body of the guitar, top, bottom and sides.

Not visible is the truss rod which runs through the neck. Sometimes a nut can be seen or felt just inside and neckward of the soundhole. Not all guitars have a truss rod depending on how the neck is attached to the guitar.

A SHORT TUTORIAL ON STRINGS

Strings can be broken down into three different considerations: manufacturer, gauge, and material.

- Manufacturer. Just like the guitar itself, players will develop a preference of one brand over another. It's a matter of personal choice. I've found all the major string makers produce good quality strings. Among the main manufacturers are Martin, D'Addario, DR, GHS, Eddie Ball, Dean Markley, and Elixer. Martins and D'Addarios are probably the most popular and easiest to find. Elixers are also popular but are IMO overpriced. You can expect to pay between $4 and $12 for a set of strings so they're pretty inexpensive.

- Gauge. Strings mainly come in two varieties, light and mediums. The lighter the gauge the easier the string will play and most players prefer some variation of a light string. The downside is that because they are more flexible if your chord mechanics aren't true the chord may be slightly out of tune if you slide the string along the fret. Still, this is not much of a problem. Medium strings have their place as well but they require higher tension which places a little more stress on the guitar. It's best to just experiment with several different types until you find a sound and feel that you like.

-- Strings come six to a pack and are denoted by a lower and upper number representing the gauge of the treble (1st or bottom string) and the bass string (6th or top). For example: Light strings with a treble gauge of .012 and a bass string of .054 might be labeled as LT 12-54. Light strings can be further broken down as "extra" or "ultra" light, usually having a treble gauge of .010, and "custom" light with a treble gauge of .011. Regular old "light" gauge strings can have a treble gauge of .010, .011 or .012, depending on the material used but are usually .012.

-- Medium gauge strings usually have a treble gauge of .013 or .014.

- The bottom three strings are unwrapped steel of various gauges. The top three strings are wound in (there are exceptions) a combination of bronze and/or phosphor. You'll see designations such as 80/20 or 92/8 which denote the alloy ratio and reflect the amount of brightness. Straight bronze tends to be brighter and more "zingy" than phosphor bronze which are just a tad more mellow. It's whatever sounds good to you. Strings can also be coated, which (allegedly) extend their life before they go dull.

Here's a good video from Martin regarding the strings they sell and the difference in each. Keep in my that since it is from Martin you'll only hear about Martin strings but the comments made, especially regarding material, hold true for any manufacturer. The first 5 minutes of the video is all about the history of strings and you can skip that part.



WHEN TO CHANGE YOUR STRINGS

Strings usually wear out (sound dead and dull) long before they break. There is no hard and fast rule as to when you should change your strings, other than this: When your strings no longer sound good to you, change them. A lot depends on how often you play and the strings you're playing with. I try and play a little bit roughly 4 or 5 days a week for about an hour each time. I change my strings about every other month. Some strings will let you play longer as they're purposely made to last longer than others. Some strings start out sounding great but lose their tone within a relatively short time. If you only play once or twice a month you may be able to go quite a long time with your strings sounding just fine. But since strings are relatively inexpensive and easy to change, if you really want to keep your guitar sounding nice, change your strings when they no longer sound like they did when you first put them on.

STRINGING THE GUITAR

Stringing a guitar is not rocket science and should only take about 15 minutes. It is much easier to show you how to string a guitar and here is a good video that goes through the process step by step.



LESSON 4 - STANDARD TUNING

Once upon a time there was a fellow named Cletus. Cletus lived in the hollers of eastern Kentucky. Cletus was a crack shot with a rifle and always had more game than he could possibly eat. His neighbor was Big Ed. Big Ed wasn't much of a hunter but he had a reputation for eating just about anything that could be shot, trapped, or run over. Cletus had a big heart and often gave his leftovers to Big Ed who was grateful for the extra food. One winter was particularly harsh and game was hard to find. Cletus felt bad that he was unable to bring Big Ed the usual offering of leftovers. One cold morning Cletus appeared on Big Ed's doorstep with a sheepish look. He had to tell Big Ed that there might not be any game leftovers until spring came. But, it just so happened that one of Cletus’ young-ins had a pet gerbil and that gerbil had died overnight. Cletus was about to toss the remains out behind the chicken coop but remembered Big Ed's reputation for eating just about anything. So Cletus knocked and Big Ed invited Cletus in to get warm. Big Ed waited in anxious anticipation of what vittles Cletus might have brought him this time. They exchanged greetings followed by a long pause. Cletus then held up the recently deceased rodent and asked, “Eat a Dead Gerbil, Big Ed?”

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Eat A Dead Gerbil, Big Ed?

EAT A DEAD GERBIL, BIG ED?

EAT A DEAD GERBIL BIG ED

E A D G B E

E A D G B E

6th (Top) string: E (also known as low E or bass E)

5th string: A

4th string: D

3rd string: G

2nd string: B

1st (bottom) string: E (also known as high E or treble E)

Or if you prefer:

Eddie Ate Dynamite Good Bye Eddie

Every Adult Dog Growls Barks Eats

Every Acid Dealer Gets Busted Eventually

Eat All Dead Gophers Before Easter

Eat All Day Get Big Easy

Elephants And Donkeys Grow Big Ears

Every Apple Does Go Bad Eventually

Even Average Dogs Get Bones Eventually

Eat a Darn Good Breakfast Early

Every Apple Does Get Bitten Eventually

Eat A Dog, Get Big Ears

Even A Dumb Great Britian Eats

LESSON 5 - DOE, A DEER, A FEMALE DEER

Now let's talk about the scale.

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As we know from the famous John Denver song we have our neighbors in Ohio to thank for the common scale:



"Ah, but let's not forget that the folks of Toledo

Unselfishly gave us the scale

No springs, honest weight, that's the promise they made

So smile and be thankful next time you get weighed!"

While that's all well and good let's talk about another scale, the musical scale. It's not terribly important to know where the notes are on the fretboard but occasionally it comes in handy. So here they are:

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(Ignore the colors). These are where the major notes are on the fingerboard so if you wanted to play the scales (doe, ray, me, fah, so, lah, tee, doe)

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here's how to do it.

Each note will appear in the chord but at varying finger positions. I've found that by memorizing just a few notes, like notes and , I can figure out the rest. But otherwise, here's how to find them:

When playing (A) the note is in the middle.

I don't like the (B) so I just remember note is two frets away from note .

When playing (C) the note can be found at both the upper and lower finger positions (the ring and index fingers).

When playing (D) the note can be found at the ring finger.

When playing (E) the note can be found at the index finger (in addition to the open top and bottom strings).

When playing (F) the note can be found at the index finger. Also notice that note is the top and bottom string closest to the nut. In other words, is at the corners.

When playing (G) the note can be found at the top and bottom strings.

And of course there's always our friend Big Ed for the open string notes.

As for the sharps and flats, well for what it's worth (which ain't much) here they are:

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It is interesting to note that the open strings repeat themselves at the 12th fret.

TUNING TRICK:

Here's a neat little trick about tuning your guitar in a pinch should you find yourself without your handy little Snark Clip-On tuner.

If you look at the 5th fret above you'll see all major notes (no flats or sharps). You may also notice that they're the same notes - albeit in different order - but the same notes as the open strings (EADGBE) except for that wayward C on the 3rd string.

This "phenomenon" allows you to tune your guitar by tuning one string against another. The overall guitar may be flat or sharp but the notes themselves will be in tune with each other. This is handy to know if you don't have a tuner with you and a string sounds off.

A is the standard used to tune a guitar. It naturally vibrates at 440 centimes. If your electronic tuner has a moving needle you may see 440 in the middle of the scale. Here's how to tune your guitar without a tuner:

Step 1: Pluck the open 5th string, which we know from Big Ed, is A, until it is pleasing to you.

Step 2: Okay now hold down the top string (remember 5th fret) and pluck it. You can see from the diagram above we're playing note . Now pluck the open 5th string which of course is also . The two should sound the same. If not, adjust the top string.

Step 3: Now hold down the 5th string and pluck it. You're playing note . Pluck the open 4th string which we know is also . These two should sound the same. If not, adjust adjust the 4th string.

Step 4: Now hold down the 4th string and pluck it. You're playing note . Pluck the open 3rd string which we know is also . These two should sound the same. If not, adjust the 3rd string.

Step 5: Okay, we have to deviate from the process just a tad because if you hold down the 3rd string in the 5th fret you'll get and that does us no good because there's no open C to compare it to. So what we do when we get to the 3rd string is we hold it down in the 4th fret instead. Note the diagram above and you'll see that is note and the 2nd string below it is, "voila" B. So hold down 3rd string/4th fret and compare it to the open 2nd string. The two should sound the same. If not, adjust the 2nd string.

Step 6: Back to the 5th fret for the 2nd string. Hold it down and you're playing . The open bottom string is also . The two should sound the same.

You've just tuned your guitar. As sort of a double check at this point I usually finish the process by playing the (G) chord. The top string, bottom string, and 3rd string should all sound the same since all three are note .

Again, ALL of your strings may not be within their tuning standards, i.e., they may all be slightly sharp or flat, but they should be in tune relative to each other and will give you a passing sound until you can tune them with an electronic tuner.

Enough about the scale.

LESSON 6 - THE FIRST FIVE CHORDS

Let the fun begin! For each chord there will be a diagram and a photo of how the position is most commonly played. I'll then show you any alternate ways of playing them. Most people play chords the same way except for the (G) in which there are two distinct camps but we'll get to that eventually. BUT THIS IS IMPORTANT!: Once you start playing a chord in a particular way it is very difficult to change later. It just becomes ingrained. So pick a way to play the chord and stick with it.

The chord diagram will have a thick line at the top which denotes the guitar nut. Just above the nut there might be an "O". An "O" denotes an open string which can be included in the strum or not, at your preference. If you don't see an "O" then it means this string is not meant to be stuck as its harmonics may not be agreeable to the chord, although this is not a hard and fast rule. Some diagrams you will run across, rather than showing the lack of an "O" will show an "X" which means the same thing, don't play this string.

Also, in some of the photos it appears as if the fingers are pressing down on the fret (the metal strip) itself. They're not (or shouldn't be) and doing so will result in a dull sound. Ideally you want your fingertips to be as close to the fret but not on the fret. Too far away from the fret and you'll have a tendency to bend the string which will make the note sound sharp.

Now I'm going to start you out with a full plate and ask you to learn 5 chords in this first chord lesson. But this will be the most I'll ask you to learn at any one time. So take some time and learn these chords until you can move between them easily and without thinking much about it. It's to be expected that you'll need to go slow at first. Concentrate on forming the chord correctly so each string sounds pure, without dullness or buzz. Speed will come with practice. And here we go . . .

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A MAJOR which is denoted by "A" or (A)

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This is the preferred way to play (A), with the three middle fingers as indicated.

Notice the "O"s on the bottom and 5th string which means you can strum all of the strings or any portion thereof. There's no "X" on the top string but the lack of a "O" indicates this string isn't meant to be included in the strum.

Another way to play the (A) would be to use your lower three fingers in the same configuration as shown above. But I find this limits your flexibility when playing other variations of the (A) chord family which we'll get to later. Yet a third way is to play is with the ring finger as shown but with the index and middle finger reversed - index finger on the 3rd string and middle finger on the 4th string, so the middle finger is to the left (nutward) or "behind" the other two. That's what is being depicted by the (2) and (1) on the diagram above. I also find this approach a little restrictive because you're thinking about what you have to do instead of just putting your fingers together and stabbing the 2nd fret.

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E MAJOR denoted by "E" or (E)

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(E) is played exactly as illustrated above. Has a pretty sound doesn't it?

Okay now you know two chords. Notice when going from (A) to (E) all you do is keep the middle and ring fingers in formation and just move them up two strings while rotating your index finger back to the 3rd string/1st fret. This is too easy, isn't it! Practice moving back and forth between (A) and (E).

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A MINOR which is denoted "Am" or (Am)

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Look familiar? Look at this chord diagram. Now look at the chord diagram for (E) below. Now look at the chord diagram for (Am). Now look at the chord diagram for (E). Now look at the chord diagram for (Am).

It's the same chord, just on different strings!!

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To move from (E) to (Am) you keep the fingers formed and just drop down one string.

To move from (Am) to (E) you keep the fingers formed and just move up one string.

To move from (A) to (E) you keep the middle and ring fingers together and move them up two strings while dropping the index finger down into the first fret. To move from (A) to (Am) you do the exact same thing but move up just one string.

Practice moving between these three chords until you feel comfortable.

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E MINOR which is denoted by "Em" or (Em)

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First of all, in the photo above the index finger is in the air. Only the middle and ring fingers are in play here.

Okay, look at this diagram for (Em). Now look back at the diagram for (E).

(Em) is nothing more than (E) without the index finger. Doesn't get much easier than that!

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I was going to stop here but I'm going to include the (D) because in many songs, particularly those in the key of (A) will also include the (E) and the (D).

The (D) chord is completely different than the first four. Here it is:

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Your index and middle finger are in the 2nd fret and straddle the 2nd string. The ring finger is in the 3rd fret and on the 2nd string. Note the diagram has an "O" only on the 4th string, meaning the 5th and 6th strings are not meant to be struck. Nonsense. Play as many as you want.

The middle finger is key here. You want to rock your wrist down just a bit so the lower part of your middle finger is nearly perpendicular to the fingerboard and presses straight down on the string. The ring finger next door will follow and this helps it, the ring finger, from touching the bottom string and yielding a muffled sound. You can be a little more sloppy with the index finger since it can touch the string below it (the 2nd string) without consequence as the string is "covered" by the ring finger to its right.

Practice until you can move to and from the (D) with a nice clear tone from all three strings.

And this is a good place to mention using your wrist to improve form. As you're playing the various chords, if you find you're fingers are touching adjacent strings and muffling the chord, take a moment and look at your wrist. Often you can improve your form and how your fingers are touching the strings by small movements of your wrist (up and down, left and right). Also try moving your elbow closer to (or further from) to your side to improve the angle. Experiment and you'll find a comfortable technique that improves your string attack.

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That's all the chords for this lesson. Time to practice, practice, practice. Remember to stop and take a break when your fingertips start hurting.

After you feel a little comfortable, and when you start getting bored with just switching back and forth between chords, here are some songs that use only (mostly) (A) (D) (E) (Am) and (Em). There are a few others that we haven't gone over yet but I'll walk you through them. I'm not sure you know all these songs but when I thought you might not I included the you tube link.

But practice the chords for a while first before trying to play the songs.

AMANDA - Waylon Jennings



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I've (A) held it all in, and (D) Lord knows I've (A) tried. But it's an awful awakening in a (E) country boy's (A) life. To look in the mirror in (D) total sur (A) prise, at the hair on my collar and the (E) age in my (A) eyes.

Amanda, (D) light of my (A) life. Fate should have made you a (E) gentleman's (A) wife. Amanda, (D) light of my (A) life. Fate should have made you a (E) gentleman's (A) wife.

It's a (A) measure of people, who (D) don't under (A) stand the pleasures of life in a (E) hillbilly (A) band. I got my first guitar when (D) I was (A) fourteen. Now I'm pushing forty and (E) still wearing (A) jeans.

Amanda, (D) light of my (A) life. Fate should have made you a (E) gentleman's (A) wife. Amanda, (D) light of my (A) life. Fate should have made you a (E) gentleman's (A) wife.

AMAZING GRACE – (Newton) - Traditional

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(A) Amazing Grace, how (D) sweet the (A) sound, that saved a wretch like (E) me. I (A) once was lost, but (D) now am (A) found. Was blind, but now, (E) I (A) see.

T'was Grace that taught, my (D) heart to (A) fear. And Grace, my fears re (E) lieved. How (A) precious did that (D) Grace a (A) ppear, the hour I first (E) be (A) lieved.

Through many dangers, (D) toils and (A) snares, we have already (E) come. T'was (A) Grace that brought, us (D) safe thus (A) far, and Grace will lead (E) us (A) home.

The Lord has promised (D) good to (A) me. His word my hope sec (E) ures. He (A) will my shield and (D) portion (A) be, as long as life (E) en (A) dures.

Yea when, this flesh and (D) heart shall (A) fail. And mortal life shall (E) cease. I (A) shall possess with (D) in the (A) veil, a life of joy (E) and (A) peace.

When we've been here ten (D) thousand (A) years, bright shining as the (E) sun. We've (A) no less days to (D) sing God's (A) praise then when we've first (E) be (A) gun.

(A) Amazing Grace, how (D) sweet the (A) sound, that saved a wretch like (E) me. I (A) once was lost, but (D) now am (A) found. Was blind, but now, (E) I (E) see (D) (A).

BLUE MOON OF KENTUCKY – (Monroe) – Patsy Cline



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I said blue (A) moon of Kentucky, keep on (D) shinin'. Shine (A) on the one that's gone and left me (E) blue. I said blue (A) moon of Kentucky, keep on (D) shinin'. Shine (A) on the one that's (E) gone and left me (A) blue.

Well it was (D) on one moonlit night, (A) stars shinin' bright. (D) Whispered on high, your (A) love said good (E) bye.

I said blue (A) moon of Kentucky, keep on (D) shinin'. Shine (A) on the one that's gone and left me (E) blue. I said blue (A) moon of Kentucky, keep on (D) shinin'. Shine (A) on the one that's (E) gone and left me (A) blue.

Well it was (D) on one moonlit night, (A) stars shinin' bright. (D) Whispered on high, your (A) love said good (E) bye.

Blue (A) moon of Kentucky, keep on (D) shinin'. Shine (A) on the one that's gone and left me (E) blue. I said blue (A) moon of Kentucky, keep on (D) shinin'. Shine (A) on the one that's (E) gone and left me (A) blue.

Shine (A) on the one that's (E) gone and left me (A) blue. (A)

BLUE SUEDE SHOES – (Perkins) – Carl Perkins/Elvis Presley/Buddy Holly

Alright we haven't talked about (A7) but you can see it's just (A) without the middle finger. Now in this song you can play it just like that, you'll be playing the (A) already so just lift off the middle finger. BUT, otherwise you should play the (A7) with your ring and middle fingers. But we'll talk about that again when we get to the (A7) chord. But for here, go cat go!

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Well, it's (A) one for the money. Two for the show. Three to get ready, now (A7) go, cat, go.

But (D) don't you, step on my blue suede (A) shoes. Well, you can (E) do anything but lay (D) off of my blue suede (A) shoes.

Well, you can knock me down, step in my face. Slander my name all over the place. Do anything that you want to do, but uh-uh Honey, lay (A7) off of my shoes.

But (D) don't you, step on my blue suede (A) shoes. Well, you can (E) do anything but lay (D) off of my blue suede (A) shoes.

Well, you can burn my house. Steal my car. Drink my liquor from an old fruit jar. Do anything that you want to do. But uh-uh, Honey, lay (A7) off of my shoes.

But (D) don't you, step on my blue suede (A) shoes. Well, you can (E) do anything but lay (D) off of my blue suede (A) shoes.

Well, it's (A) one for the money. Two for the show. Three to get ready, now (A7) go, cat, go.

But (D) don't you, step on my blue suede (A) shoes. Well, you can (E) do anything but lay (D) off of my blue suede (A) shoes.

Well, it's blue, blue blue, suede shoes. Blue, blue, blue suede shoes. Yeah (D), blue, blue, blue suede shoes. (A) Baby, blue, blue, blue suede shoes.

Well, you can (E) do anything but lay (D) off of my blue suede (A) shoes. (A) (D) (A) (BTI)

BYE BYE LOVE – (Bryant/Bryant) – The Everly Brothers

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(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello, (A) loneliness. I think I'm a (E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello (A) emptiness. I feel like (E) I could di- (A) ie. Bye bye, my (E) love, goodby- (A) eye.

There goes my (E) baby, with a someone (A) new. She sure looks (E) happy, I sure am (A) blue. She was my (D) baby, til he stepped (E) in. Goodbye to romance, that (D) might (E) have (A) been.

(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello, (A) loneliness. I think I'm a (E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello (A) emptiness. I feel like (E) I could di- (A) ie. Bye bye, my (E) love, goodby- (A) eye.

I'm a through with (E) romance. I'm a through with (A) love. I'm through with a (E) countin', the stars a (A) bove. And here's the (D) reason, that I'm so (E) free: My lovin' baby, is a (D) through (E) with (A) me.

(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello, (A) loneliness. I think I'm a (E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello (A) emptiness. I feel like (E) I could di- (A) ie. Bye bye, my (E) love, goodby- (A) eye.

Bye bye, my (E) love, goodby- (A) ye. Bye bye, my (E) love, goodby- (A) ye.

CHAPEL OF LOVE – (Barry/Greenwich/Specter) – Dixie Cups

This song has a (B) in it which we haven't discussed. The (B) is a difficult chord to play. You play the (B) like you would an (A) but with the bottom three fingers instead of middle three. You play this "modified (A)" on the 4th fret and then use your pinky to cover the bottom string/2nd fret as shown on the diagram. The (B) only appears once in the chorus so give it a try.

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(D) Going to the chapel and we're gonna get married. (Em) Going to the (A) chapel, and we're (Em) gonna get (A) married. (D) Gee, I really love you and we're gonna get married. (Em) Going to the (A) chapel of (D) love. (A)

(D) Spring is here, the sky is blue. (Em) Birds all (A) sing, as (Em) if they (A) knew. (D) Today's the day, we'll say, "I (B) do." And we'll (Em) never be (A) lonely any (D) more (A).

Because we’re (D) going to the chapel and we're gonna get married. (Em) Going to the (A) chapel, and we're (Em) gonna get (A) married. (D) Gee, I really love you and we're gonna get married. (Em) Going to the (A) chapel of (D) love. (A)

(D) Bells will ring, the sun will shine. (Em) I'll be (A) hers and (Em) she'll be (A) mine. (D) We'll love until, the end of (B) time. And we'll (Em) never be (A) lonely any (D) more (A).

Because we’re (D) going to the chapel and we're gonna get married. (Em) Going to the (A) chapel, and we're (Em) gonna get (A) married. (D) Gee, I really love you and we're gonna get married. (Em) Going to the (A) chapel of (D) love. (A) (D)

COVER OF THE ROLLING STONE (Silverstein) – Dr. Hook and the Medicine Show



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Hey Ray, hey Sugar, tell them who we are. (A) Well, we're big rock singers, we got golden fingers and we're loved everywhere we (E) go. (That sounds like us). We sing about beauty and we sing about truth (E7) at ten-thousand dollars a (A) show. We take all kinds of pills that give us all kind of thrills but the thrill we've never (D) known. Is the (E) thrill that'll gitcha when you get your picture on the cover of the Rollin’ (A) Stone.

Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Wanna buy five copies for my mother. (E) Wanna see my smilin’ face on the (D) cover of the Rollin’ (A) Stone.

I got a freaky ol’ lady name a Cocaine Katy who embroideries on my (E) jeans. I got my poor ol’ grey-haired daddy drivin my limo (A) sine. Now it's all decided to blow our minds but our minds won't really be (D) blown. Like the (E) blow that'll gitcha when you get your picture on the cover of the Rollin’ (A) Stone.

Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Wanna buy five copies for my mother. (E) Wanna see my smilin’ face on the (D) cover of the Rollin’ (A) Stone.

Rock and roll. Ah, that's beautiful.

(A) We got a lot of little teenage blue eyed groupies who do anything we (E) say. We got a genu-wine Indian Guru who's teaching us a better (A) way. We got all the friends that money can buy so we never have to be (D) alone. And we (E) keep getting richer but we can't get our picture on the cover of the Rollin’ (A) Stone.

Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Wanna buy five copies for my mother. (E) Wanna see my smilin’ face on the (D) cover of the Rollin (A) Stone. I can see it now, we'll be up in the front, smilin, man, ahh, beautiful.

COWARD OF THE COUNTY – (Bowling/Wheeler) – Kenny Rogers

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(A) Everyone considered him, the (D) coward of the (A) county. He'd never stood one single time to prove the county (E) wrong. His (A) Mama named him Tommy, but (D) folks just called him (A) yellow. Something always told me, they were (E) reading Tommy (A) wrong.

He was only ten years old when his (D) daddy died in (A) prison. I looked after Tommy cause he was my brother's (E) son. I (A) still recall, the final words, my (D) brother said to (A) Tommy: “Son my life is over, but (E) yours has just be (A) gun.

Promise me son, not to (D) do the things I've (A) done. (D) Walk away from (A) trouble if you (E) can. Now (A) it don't mean you're weak, if you (D) turn the other (A) cheek, and I hope you're old e (D) nough to under (E) stand. Son, you don't have to fight to be a (A) man.”

There's someone for everyone, and (D) Tommy's love was (A) Becky. In her arms he didn't have

to prove he was a (E) man. One (A) day while he was working, the (D) Gatlin boys came (A) callin’. They took turns at Becky, (E) ‘n' there was three of (A) them.

Tommy opened up the door, and (D) saw Becky (A) cryin’. The torn dress, the shattered look, was more than he could (E) stand. He (A) reached above the fireplace, and took (D) down his daddy's (A) picture. As his tears fell on his daddy's face he (E) heard these words a (A) gain.

Promise me son, not to (D) do the things I've (A) done. (D) Walk away from (A) trouble if you (E) can. Now (A) it don't mean you're weak, if you (D) turn the other (A) cheek, and I hope you're old e (D) nough to under (E) stand. Son, you don't have to fight to be a (A) man.”

The Gatlin boys just laughed at him, when he (D) walked into the (A) barroom. One of them got up and met him half way cross the (E) floor. When (A) Tommy turned around they said “Hey (D) look, old yeller's (A) leavin'.” But you could've heard a pin drop, when Tommy (E) stopped and (A) blocked the door.

Twenty years of crawling, was (D) bottled up in (A) side him. He wasn't holding nothing back, he let 'em have it (E) all. When (A) Tommy left the bar room, not a (D) Gatlin boy was (A) standing. He said “This one's for Becky” as he (E) watched the last one (A) fall. N' I heard him say:

“I promised you Dad, not to (D) do the things you've (A) done. I walk away from trouble when I (E) can. Now (A) please don't think I'm weak, I didn't (D) turn the other (A) cheek. Papa, I should (D) hope you under (E) stand. Sometimes you gotta fight when you're a (A) man.

Everyone considered him, the (D) coward of the (No Chord) county (A).

COWBOY MAN – Lyle Lovett

This one has an (F#m) which if you look at the diagram is an easy chord to play. You might be tempted to play it like an (A) but don't - you play it as a "barre" meaning all with one finger, in this case, your index finger. And you'll be playing the (D) beforehand so all you have to do is lift your middle and ring finger and lay down your index on the bottom three strings of the 2nd fret. You'll see, it's easy.

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Intro: (A) (D) (A) (E); (A) (D) (A) (E) (A)

(A) She wore glass slippers; (D) (A) she held her head up (E) high. (A) She had that sparkle (D) at her feet and that, (A)(E) twinkle in her (A) eye.

She smiled at me, (D) (A) and as I wondered (E) why, she said, (A) I'm looking for a (D) cowboy, (A) (E) to take me for a (A) ride.

And he can (D) rope me, on the (A) prarie. And he can (D) ri-ide me, on the (A) plain. And I will (D) be, his Cinder (F#m) ella, if he'll (A) be, my (E) cowboy (A) man.

She said, I got a 40-gallon (D) Stetson hat with a, (A) 38-foot (E) brim. We could, (A) dance around the (D) outside, baby, (A) 'til we (E) both fall (A) in.

And you can (D) rope me, on the (A) prarie. And you can (D) ri-ide me, on the (A) plain. And I will (D) be, your Cinder (F#m) ella, if he'll (A) be, my (E) cowboy (A) man.

Now I ain't never been no (D) cowboy; (A) heaven knows I (E) try. I'll be, (A) riding tall in my (D) saddle honey, with the (A) Cinder (E) ella by my (A) side.

And I can (D) rope her, on the (A) prarie. And I can (D) ride her on the (A) plain. And she will (D) be, my Cinder (F#m) ella, if I’ll (A) be her (E) cowboy (A) man.

I can (D) rope her, on the (A) prarie. And I can (D) ride her on the (A) plain. She will (D) be, my Cinder (F#m) ella, and I’ll (A) be her (E) cowboy (A) man.

I can (D) rope her, on the (A) prarie. And I can (D) ride her on the (A) plain. She will (D) be, my Cinder (F#m) ella, and I’ll (A) be her (E) cowboy (A) man.

THE CRAWDAD SONG – Traditional



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(A) You get a line and I'll get a pole, honey. You get a line and I'll get a pole, (E) babe. (A) You get a line and I'll get a pole. (D) And we'll go down to the crawdad hole. (A) Honey, oh (D) baby, (A) mine.

(A) Yonder come a man with a sack on his back, honey. Yonder come a man with a sack on his back, (E) babe. (A) Yonder come a man with a sack on his back. (D) Look at them crawdads in that sack. (A) Honey, oh (E) baby, (A) mine.

(A) The man fell down and he broke that sack, honey. The man fell down and he broke that sack, (E) babe. (A) The man fell down and he broke that sack. (D) Look at them crawdads crawlin’ back. (A) Honey, oh (E) baby, (A) mine.

(A) Get up, old man, you slept too late, honey. Get up, old man, you slept too late, (E) babe. (A) Get up, old man, you slept too late. (D) Crawdad Man done passed your gate. (A) Honey, oh (E) baby, (A) mine.

(A) Sittin' on the bank 'til my feet get cold, honey. Sittin' on the bank 'til my feet get cold, (E) babe. (A) Sittin' on the bank 'til my feet get cold. (D) Look at that empty crawdad hole. (A) Honey, oh (E) baby, (A) mine.

(A) What you gonna do when the lake runs dry, honey? What you gonna do when the lake runs dry, (E) babe? (A) What you gonna do when the lake runs dry? (D) Sit on the bank and watch crawdads die. (A) Honey, oh (E) baby, (A) mine.

(A) What did the duck say to the drake, honey? What did the duck say to the drake, (E) babe? (A) What did the duck say to the drake? (D) Ain’t no crawdads in this lake! (A) Honey, oh (E) baby, (A) mine.

(A) Honey, oh (E) baby, (A) mine. (A) Honey, oh (E) baby, (A) mine. (A)

DON’T LET ME DOWN – (Lennon/McCartney) - The Beatle

This song has an (A7) which is (A) without the middle finger. It can be played with the index and ring finger, or the ring and middle, whichever is more comfortable.

TIP: To find the right note to start singing with – bottom string/2nd fret - strum (D)

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Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down.

Nobody ever loved me like she (Em) does. Oooh she does, yes she (D) does. And if somebody loved me like she (Em) do me. Oooh she do me, yes she (D) does.

Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down.

I'm in love for the first time. Don't you know it's gonna (A7) last? It's a love that lasts forever. It's a love that had no (D) past.

Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down.

And from the first time that she really (Em) done me. Oooh she done me, she done me (D) good. I guess nobody ever really (Em) done me. Oooh she done me, she done me (D) good.

Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down. Ooooooh. (D)

GOD WILL – Lyle Lovett

Normally you should play the (F#m) as a barre with the index finger but in this song you can play it as an (A) as you'll be playing the (A) right before and it's easier to just drop down one string-set.

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(A) Who keeps on trustin’ you, (D) when you've been (A) cheatin’, and spendin’ your nights on the (E) town? And (D) who keeps on (A) sayin’, (D) that he still (A) wants you, (D) when you're through runnin’ a (E) round? And (D) who keeps on (A) loving you, (D) when you've been (A) lyin’, sayin’ things ain't what they (E) seem?

(D) Well God does, but (E) I don't. (A) God will but (D) I won't. And that's the (F#m) difference, be (E) tween God and (D) me (A). (D) God does, but (A) I don't. (D) God will but (A) I won't. And that's the (F#m) difference, be (E) tween God and (D) me (A).

(D)(E)(A)(D), (D)(E)(D)(A)

(D) So who says he'll for (A) give you, and (D) says that he'll (A) miss you, and dream of your sweet (E) memory?

(D) Well God does, but (E) I don't. (A) God will but (D) I won't. And that's the (F#m) difference, be (E) tween God and (D) me (A). (D) Well God does, but (A) I don't. (D) God will but (A) I won't. And that's the (F#m) difference, be (E) tween God and (D) me (A).

GOLDEN RING – (Braddock) – George Jones and Tammy Wynette



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In a (D) pawn shop in Chicago, on a sunny summer day, a (A) couple gazes at the wedding (D) rings there on display. She smiles n' nods her head, as he says, "Honey that's for you. It's not much, but it's the (A) best that I can (D) do."

Golden ring (golden ring) with one tiny little stone, waiting (A) there (waiting there) for some (D) one to take you home. By it self (by itself) it's just a cold metallic thing. Only love can make a (A) golden wedding (D) ring.

In a little wedding chapel later on that afternoon, an (A) old upright piano plays that (D) old familiar tune. Tears roll down her cheeks, and happy thoughts run through her head, as he whispers low, "With (A) this ring, I thee (D) wed."

Golden ring (golden ring) with one tiny little stone, waiting (A) there (waiting there) for some (D) one to take you home. By it self (by itself) it's just a cold metallic thing. Only love can make a (A) golden wedding (D) ring.

In a small two room apartment, as they fought their final round, he (A) says, "You won't admit it, but I (D) know you're leavin' town." She says, "One thing's for certain, I don't love you any more." And throws down the ring as (A) she walks out the (D) door.

Golden ring (golden ring) with one tiny little stone, waiting (A) there (waiting there) for some (D) one to take you home. By it self (by itself) it's just a cold metallic thing. Only love can make a (A) golden wedding (D) ring.

In a (D) pawn shop in Chicago, on a sunny summer day, a (A) couple gazes at the wedding (D) rings there on display. Golden ring.

HIGH COTTON – (Murrah/Anders) – Alabama



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(A) We didn't know that times were lean. A (D) round our home the grass was green. It (A) didn't seem like things were all that (E) bad. I (A) bet we walked a thousand miles, (D) choppin' cotton and pushin' plows, and (A) learnin' how to (E) give it all we (A) had.

As life went on and years went by, I (D) saw the light in daddy's eyes, and (A) felt, the love in mama's (E) hands. They (A) kept us warm and kept us fed. (D) Taught us how to look ahead. (A) Now, lookin' (E) back, I under (A) stand.

We were walkin' in high cotton. Old times (D) there are not forgotten. Those (A) fertile fields are never far a (E) way. We were walkin' in (A) high cotton. Old times (D) there are not forgotten. Leavin' (A) home was the hardest (E) thing we ever (A) faced.

When Sunday mornings rolled around, (D) we dressed up in hand-me-downs. (A) Just in time, together with the (E) church. Some (A) times I think how long it's been, (D) and how it impressed me then. It was the (A) only day my (E) daddy wouldn't (A) work.

We were walkin' in high cotton. Old times (D) there are not forgotten. Those (A) fertile fields are never far a (E) way. We were walkin' in (A) high cotton. Old times (D) there are not forgotten. Leavin' (A) home was the hardest (E) thing we ever (A) faced.

We were walkin' in high cotton. Old times (D) there are not forgotten. Those (A) fertile fields are never far a (E) way. We were walkin' in (A) high cotton. Old times (D) there are not forgotten. Leavin' (A) home was the hardest (E) thing we ever (A) faced.

We were walkin' in high cotton. (D) (A)

HONKY TONK WOMEN – (Richards/Jagger) - The Rolling Stones

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(A) I met a gin soaked, barroom queen in (D) Memphis. She (A) tried to take me upstairs for a (E) ride. She (A) had to heave me right across her (D) shoulder. 'Cause I (A) just can't seem to (E) drink you off my (A) mind.

It's the (A) hon (E) ky tonk (A) women. Gimme, gimme, (E) gimme the honky tonk (A) blues.

(A) I played a divorcee in New York (D) City. I (A) had to put up some kind of a (E) fight. The (A) lady then she covered me with (D) roses. She (A) blew my nose and (E) then she blew my (A) mind.

It's the (A) hon (E) ky tonk (A) women. Gimme, gimme, (E) gimme the honky tonk (A) blues.

It's the (A) hon (E) ky tonk (A) women. Gimme, gimme, (E) gimme the honky tonk (A) blues.

I WILL ALWAYS LOVE YOU – (Parton) – Dolly Parton/Whitney Houston

The (F#m) can be played like the (A) as it precedes the (A) so just drop down one string-set.

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INTRO: (A) (F#m) (D) (E)

If (A) I, (E) should (A) stay, I would (F#m) only be in your (D) way (E). And so I'll (A) go, and (E) yet I (A) know, that I'll think of (F#m) you each step of my (D) way (E).

And (A) I- (F#m) -I will (D) al (E) ways love (A) you, (F#m) I will (D) al (E) ways love (A) you.

(F#m) (D) (E)

Bitter (A) sweet (E) memor (A) ies. That is (F#m) all that I’m taking with (D) me (E). Good (A) bye, (E) please don't (A) cry. We both (F#m) know that I'm not what you (D) need (E).

And (A) I- (F#m) -I will (D) al (E) ways love (A) you, (F#m) I will (D) al (E) ways love (A) you.

(E) I hope (A) life, will (E) treat you (A) kind. And I (F#m) hope you’ll have all you ever (D) dreamed (E) of. And (A) I, (E) wish you (A) joy and happiness. But above (F#m) all of this, I wish you (D) love (E).

And (A) I- (F#m) I- will (D) al (E) ways love (A) you, oh (F#m) I, will (D) al (E) ways love you (A). (F#m) I will (E) always love (D) you (A).

IF YOU’RE GONNA PLAY IN TEXAS – (Mitchell/Kellum) – Alabama



The (F#m) can be played like an (A) or as a barre with the index finger.

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(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is (E) hot but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band (E) (D) (A)

I remember down in (E) Houston we were (D) puttin' on a (A) show. When a cowboy in the (E) back stood up and (D) yelled, "Cotton-Eyed (E) Joe"! He said, "We (F#m) love what you're (E) doin', (D) boys don't get us (A) wrong. There's just somethin' (E) missin' in your (A) song."

(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is hot (E) but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band (E) (D) (A)

So we dusted off our (E) boots and put our (D) cowboy hats on (A) straight. Them Texans raised the (E) roof when Jeff (D) opened up his (E) case. You say (F#m) y'all all wanna (E) two-step. You (D) say ya wanna doe-si (A) doe. Well, here's your fiddlin' (E) song before we (D) go (A).

(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is hot (E) but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band (E) (D) (A)

(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is hot (E) but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band (D) (A).

(BTI)

KUMBAYA – Traditional - Campfires all over the world

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Kumba (A) ya, my Lord, (D) kumba (A) ya. Kumbaya my Lord, (D) kumba (E) ya. Kumba (A) ya, my Lord, (D) kumba (A) ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) crying, Lord, (D) kumba (A) ya. Someone's crying, Lord, (D) kumba (E) ya. Someone's (A) crying, Lord, (D) kumba (A) ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) praying, Lord, (D) kumba (A) ya. Someone's praying, Lord, (D) kumba (E) ya. Someone's (A) praying, Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) singing Lord, (D) kumba (A) ya. Someone's singing Lord, (D) kumba (E) ya. Someone's (A) singing Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.

Someone's (A) sleeping, Lord, (D) kumba (A) ya. Someone's sleeping, Lord, (D) kumba (E) ya. Someone's (A) sleeping, Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.

(D) Oh (A) Lord, (E) kumba (A) ya.

L.A. COUNTY - Lyle Lovett

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(A) She left Dallas for Cali (D) fornia, with an (A) old friend by her (D) side. Well he did not (A) say much, but one year (D) later, he'd ask (A) her to be his (D) wife.

And the (A) lights of L.A. (D) County, look like (A) diamonds in the (D) sky. When you're (A) driving through the (D) hours, with an (A) old friend at your (D) side.

One year (A) later I left (D) Houston, with an (A) old friend by my (D) side. Well it did not (A) say much, but it was a (D) beauty, of a (A) coal black forty -(D) five.

And the (A) lights of L.A. (D) County, look like (A) diamonds in the (D) sky. When you're (A) driving through the (D) hours, with an (A) old friend at your (D) side.

So I (A) drove on all the (D) day long, and I (A) drove on through the (D) night. And I (A) thought of her a (D) waiting, for to (A) be his blushing (D) bride.

And the (A) lights of L.A. (D) County, look like (A) diamonds in the (D) sky. When you're (A) driving through the (D) hours, with an (A) old friend at your (D) side.

And as she (A) stood there at the (D) altar, all (A) dressed in her gown of (D) white. Her face was (A) bright as stars a (D) shining, like I'd (A) dreamed of all my (D) life.

And they kissed each (A) other, and they turned a (D) round, and they saw me (A) standing in the (D) aisle. Well I did not (A) say much, I just stood there (D) watching, as that forty - (E) five told them good (A) bye.

And the (D) lights of L.A. (A) County, look like (E) diamonds in the (A) sky. When you're (D) kneeling at the (A) altar, with an (E) old friend at your (A) side.

And the (D) lights of L.A. (A) County, are a (E) mighty pretty (A) sight. When you're (D) kneeling at the (A) altar, with an (E) old friend at your (A) side.

LIVING ON LOVE – Alan Jackson



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Intro: (A) (E) (D) (A)

Two young (A) people, without a (E) thing, say some (A) vows, and spread their (D) wings. Settle (A) down with just what they need, livin’ on (E) love. She don’t (A) care, 'bout what’s in (E) style. She just (A) likes, the way he (D) smiles. It takes (A) more than marble and (E) tile, livin’ on (A) love.

Livin’ on (E) love, buyin’ on (A) time. Without some (D) body nothing ain’t worth a (A) dime. Just like an (D) old-fashioned story book (A) rhyme, livin’ on (E) love. It sounds (A) simple, that’s what you're (E) thinkin', but love can (A) walk through fire without (D) blinkin'. It doesn’t take (A) much, when you get (E) enough, livin' on (A) love.

(A) (E) (D) (A); (D) (A) (E); (A)(E)(D)(A)(E)(D)(A); (E)

Two old (A) people, without a (E) thing. Children (A) gone, but still they (D) sing. Side by (A) side in that front porch swing, livin’ on (E) love. He can’t (A) see, any (E) more, she can (A) bare, ly sweep the (D) floor. Hand in (A) hand they'll walk through that (E) door, just livin’ on (A) love.

Livin’ on (E) love, buyin’ on (A) time. Without some (D) body nothing ain’t worth a (A) dime. Just like an (D) old-fashioned story book (A) rhyme, livin’ on (E) love. It sounds (A) simple, that’s what you're (E) thinkin', but love can (A) walk through fire without (D) blinkin'. It doesn’t take (A) much, when you get (E) enough, livin' on (A) love.

Livin’ on (E) love, buyin’ on (A) time. Without some (D) body nothing ain’t worth a (A) dime. Just like an (D) old-fashioned story book (A) rhyme, livin’ on (E) love. It sounds (A) simple, that’s what you're (E) thinkin', but love can (A) walk through fire without (D) blinkin'. It doesn’t take (A) much, when you get (E) enough, livin' on (A) love.

(D) No it doesn’t take (A) much, when you get (E) enough, livin' on (D) love (A).

LUCKY MAN – (Lake) – Emerson, Lake & Palmer

TIP: This song is special to me as it’s the very first song I ever learned to play way back in 1976. So you have to do it right. It’s a very simple song but it’s essential you nail the (D)(Dsus2)(A) part of the word “was” in chorus. And it’s not hard at all. First off, the (D) comes first followed by the (Dsus2). The (Dsus2) is just the (D) without the bottom ring finger. Couldn’t be easier! More importantly, the word “was” is sung as two syllables (e.g. “wa – uz”) with the (D) accenting the “wa” and the (Dsus2) on the “uz”, following quickly by the (A). Try it and get it down before playing the song. I mean it. Don’t make me come find you. Oh yeah, one final thought. If you have a kazoo to play the Moog part at the end, that would be cool.



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(D) He had (A) white horses, and (D) ladies by the (A) score. (D) All dressed in (A) satin, and (D) waiting by the (A) door. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.

(D) White lace and (A) feathers, they (D) made up his (A) bed. A (D) gold covered (A) mattress, on (D) which he was (A) laid. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.

He (D) went to fight (A) wars, for his (D) country and his (A) king. Of his (D) honor and his (A) glory, the (D) people would (A) sing. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.

A (D) bullet had (A) found him, his (D) blood ran as he (A) cried. No (D) money could (A) save him, so he (D) laid down and he (A) died. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.

(E) Ooooh, what a (D) lucky man, he (A) was.

MAY IT BE – (Bhraonáin/Tolkein) – Enya

TIP: The words in the chorus, “Mornie utulie” (darkness has come) and “Mornie atlantie” (darkness has fallen) are not Gaelic but were created by J.R.R. Tolkein and are “Quenya Elfin,” the dialect spoken by the elves of Middle Earth. Which of course is utter nonsense. In order to sing them as Enya does they’re presented phonetically.

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May it (A) be an evening (D) star, shines (A) down upon (E) you. May it (A) be when darkness (D) falls, your (A) heart will be (E) true. You (D) walk a lonely (A) road. Oh how (D) far you (A) are from (E) home.

(A) Mor nee ay, ooh (D) too lee (A) aah-(E)-aah. Be (A) lieve and you will (D) find your (E) way. Mor-(A)-or nee ay, ah (D) lahn tee (A) aah-(E)-ahh. A (A) promise (D) lives with (E) in you (A) now.

May it be, the shadows call, will fly away. May it be you journey on, to light the day. When the night, is overcome, you may rise to find the sun.

(A) Mor nee ay, ooh (D) too lee (A) aah-(E)-aah. Be (A) lieve and you will (D) find your (E) way. Mor-(A)-or nee ay, ah (D) lahn tee (A) aah-(E)-ahh. A (A) promise (D) lives with (E) in you (A) now.

A (A) promise (D) lives with (E) in you (A) now.

OH BOY – (West/Tilghman/Petty) - Buddy Holly



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(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E) you, were meant, for (A) me (D)-(A).

(A) All of my life, I been a waitin'. Tonight there'll be no hesitatin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E) you, were meant, for (A) me (D)-(A).

(E) Stars appear and the shadows are fallin'. (A) You can hear my heart a callin'. A (D) little bit of lovin' makes everything right. And (E) I'm gonna see my baby tonight.

(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E) you, were meant, for (A) me (D)-(A).

(A) Dum de-dum-dum, oh boy. Dum de-dum-dum, oh boy.

(D) Ah... (A) Ah... (E) Ah... (A) Ah...

(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E) you, were meant, for (A) me (D)-(A).

(A) All of my life, I been a waitin'. Tonight there'll be no hesitatin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E) you, were meant, for (A) me (D)-(A).

(E) Stars appear and the shadows are fallin'. (A) You can hear my heart a callin'. A (D) little bit of lovin' makes everything right. And (E) I'm gonna see my baby tonight.

(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E) you, were meant, for (A) me (D)-(A).

PEGGY SUE – (Holly/Allison/Petty) – Buddy Holly

TIP: The instrumental is a bit tricky. Either you know it or you don’t.

TIP: The end of the outro verse ( . . . “want you Peggy Sue”) is sung “down-voice.”

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INTO: (A) (D) (A) (E); (A) (D) (A) (E)

(A) If you knew, (D) Peggy Sue, (A) then you’d (D) know why (A) I feel blue without (D) Peggy. My Peggy (A) Sue (D) (A). Oh well, I (E) love you gal. Yes, I (D) love you Peggy (A) Sue (D)(A)(E).

(A) Peggy Sue, (D) Peggy Sue. (A) Oh how (D) my heart (A) yearns for you. Oh (D) Peggy, my Peggy (A) Sue (D) (A). Oh well, I (E) love you gal. Yes, I (D) love you Peggy (A) Sue (D) (A) (E).

(A) Peggy Sue, Peggy Sue. (D) Pretty pretty pretty pretty (A) Peggy Sue. Oh (D) Peggy, my Peggy (A) Sue (D)(A). Oh well, I (E) love you gal and I (D) need you Peggy (A) Sue (D)(A)(E).

(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true. Oh (D) Peggy, my Peggy (A) Sue (D) ooh, ooh, (A) hoo, hoo. Well I (E) love you gal - I (D) want you Peggy (A) Sue (D) (A).

(Instrumental)

(A) (D) A/D/A/D/A/D/A (D)(D)(D) (A) (D)-(A) (E) (D) (A)-(D)-(A)-(D)-(A) (E)

(A) Peggy Sue, Peggy Sue. (D) Pretty pretty pretty pretty (A) Peggy Sue. oh (D) Peggy, my Peggy (A) Sue (D)(A). Oh well, I (E) love you gal, yes I (D) need you Peggy (A) Sue (D)(A)(E).

(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true. Oh (D) Peggy, my Peggy (A) Sue (D)(A). Well I (E) love you gal and I (D) want you Peggy (A) Sue (D) (A).

(Outro): Oh well, I (E) love you gal and I (D) want you Peggy (A) Sue (D)(A).

QUE SERA SERA – (Livingston/Evans) – Doris Day



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When I was (A) just a little girl, I asked my mother, what will I (E) be? Will I be pretty, will I be rich? Here's what she said to (A) me.

Que Se (D) ra, Sera. Whatever will (A) be, will be. The future's not (E) ours to see. Que Sera, Se (A) ra. (E) What will be, will (A) be.

When I was young, I fell in love. I asked my sweetheart, what lies a (E) head? Will we have rainbows, day after day? Here's what my sweetheart (A) said.

Que Se (D) ra, Sera. Whatever will (A) be, will be. The future's not (E) ours to see. Que Sera, Se (A) ra. (E) What will be, will (A) be.

Now I have children of my own. They ask their mother, what will I (E) be? Will I be handsome, will I be rich? I tell them tender (A) ly.

Que Se (D) ra, Sera. Whatever will (A) be, will be. The future's not (E) ours to see. Que Sera, Se (A) ra. (E) What will be, will (A) be.

RED RIVER VALLEY – (Kerrigan) – Traditional/Michael Martin Murphey



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From this (A) valley they say you are going. We will miss your bright eyes and sweet (E) smile. They (A) say you are taking the sun (D) shine. That has (A) brightened our (E) pathway a (A) while.

(A) Come and sit by my side if you love me. Do not hasten to bid me a (E) dieu. But re (A) member the Red River Vall (D) ey, and the (A) cowboy that (E) loved you so (A) true.

(A) I’ve been thinking a long time, my darling. Of the sweet words you never would (E) say. Now (A) alas, must my fond hopes all van (D) ish, for they (A) say you are (E) going (A) away.

(A) Come and sit by my side if you love me. Do not hasten to bid me a (E) dieu. But re (A) member the Red River Vall (D) ey, and the (A) cowboy that (E) loved you so (A) true.

(A) Do you think of the valley you’re leaving, and how lonely and dreary it will (E) be? Do you (A) think of the kind hearts you’re break (D) ing, and the (A) pain you are (E) causing to (A) me?

(A) Come and sit by my side if you love me. Do not hasten to bid me a (E) dieu. But re (A) member the Red River Vall (D) ey, and the (A) cowboy that (E) loved you so (A) true.

SAVE THE LAST DANCE FOR ME – (Pomus/Shuman) – The Drifters



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(A) You can dance every dance with the guy who gives you the eye. Let him (E) hold you tight. You can smile every smile for the man who held your hand 'neath the (A) pale moonlight. But don't for (D) get who's taking you home and in whose arms you're (A) gonna be. So (E) darling, save the last dance for (A) me.

(A) Oh I know that the music is fine like sparkling wine. Go and (E) have your fun. Laugh and sing but while we're apart don't give your heart to (A) anyone. But don't for (D) get who's taking you home and in whose arms you're (A) gonna be. So (E) darling, save the last dance for (A) me.

(A) Baby don't you know I (E) love you so? Can't you feel it when we (A) touch? I will never never (E) let you go. Cause I love you oh so (A) much.

(A) You can dance, go and carry on, till the night is gone and it’s (E) time to go. If he asks if you’re all alone, can he take you home, you must (A) tell him, “No.” And don’t for (D) get who’s taking you home and in whose arms you’re (A) gonna be. So (E) darling, save the last dance for (A) me. So (E) darling, save the last dance for (A) me.

SHOOTING STAR – (Rodgers) – Bad Company



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(A) Johnny was a (E) schoolboy when he (D) heard his first Beatle (A) song. Love me (E) do I think it was, and from (D) there it didn't take him (A) long. Got himself a (E) guitar, used to (D) play every (A) night. Now he's in a (E) rock 'n' roll outfit and (D) everything's all (A) right, don't you (E) know? (D) (E)

(A) Johnny told his (E) Mama, ‘Hey, (D) 'Mama, I'm goin' (A) away. I'm gonna hit the (E) big

time, gonna (D) be a big star some (A) day'. Mama came (E) to the door with a (D) teardrop in her (A) eye. (A) Johnny said, (E) ‘Don't cry, mama, (D) smile and wave good (A) bye.'

(D) Don't you (E) know, (D) yeah (E) yeah. Don't you (D) know that you are a (A) shooting star. (D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are. (D)(E)

(A) Johnny made a (E) record, went (D) straight up to number (A) one. Suddenly (E) everyone loved to (D) hear him sing the (A) song. Watching the (E) world go by, (D) surprising it goes so (A) fast. Johnny looked (E) around him and said, 'Well, I (D) made the big time at (A) last'.

(D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. (D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are. (D)(E)

(A) Johnny died (E) one night, (D) died in his (A) bed. A bottle of (E) whiskey, sleeping

(D) tablets by his (A) head. Johnny's life (E) passed him by like a (D) warm summer (A) day. If you listen to the (E) wind you can (D) still hear him (A) play.

(D) Whoa (E). Don't you (D) know that you are a (A) shooting star. (D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are, a (D) shooting (A) star.

(E) Don't you (D) know that you are a (A) shooting star. (E) Don't you, don't you, don't you, don't you know. Don't you (D) know that you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are, a (D) shooting (E) star. (D) A shooting (E) star.

SOME BROKEN HEARTS NEVER MEND (Jennings) – Don Williams



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Coffee (A) black, cigar (E) ette. Start this day like all the (A) rest. (D) First thing every morning that I (A) do, is start (E) missing you.

(A) Some broken (E) hearts never mend. Some mem'ries (A) never end. Some tears will (D) never dry. (E) My love for you will never (A) die.

Rendezvous, in the (E) night. A willing woman to hold me (A) tight. (D) But in the middle of love's em (A) brace, I (E) see your face.

(A) Some broken (E) hearts never mend. Some mem'ries (A) never end. Some tears will (D) never dry. (E) My love for you will never (A) die.

SPIRIT IN THE SKY – Norman Greenbaum



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(A) When I die and they lay me to rest. Gonna go to the (D) place that's the best. When I lay me (A) down to die, (E) goin' up to the spirit in the (A) sky.

Goin' up to the spirit in the sky. That's where I'm gonna go (D) when I die. When I die and they (A) lay me to rest, I’m gonna (E) go to the place that's the (A) best.

Prepare yourself, you know it's a must. Gotta have a friend in (D) Jesus. So you know that (A) when you die, he's (E) gonna recommend you to the spirit in the (A) sky.

Gonna recommend you to the spirit in the sky. That's where you're gonna go (D) when you die. When you die and they (A) lay you to rest, you're gonna (E) go to the place that's the (A) best.

Never been a sinner, I never sinned. I got a friend in (D) Jesus. So you know that (A) when I die, He's (E) gonna set me up with the spirit in the (A) sky.

Oh set me up with the spirit in the sky. That's where I'm gonna go (D) when I die. When I die and they (A) lay me to rest, I'm gonna (E) go to the place that's the (A) best. (E) Go to the place that's the (A) best.

(BTI)

YOU ARE MY SUNSHINE – (Davis/Mitchell) – Traditional

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The other (A) night dear, as I lay sleeping, I dreamed I (D) held you in my (A) arms. When I a (D) woke dear, I was mis (A) taken. So I hung my (E) head and I (A) cried.

You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.

I'll always (A) love you and make you happy, if you will (D) only say the (A) same. But if you (D) leave me, and love a (A) nother, you'll regret-it- (E) all some (A) day.

You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.

You told me (A) once dear, you really loved me. And no one (D) else could, come be (A) tween. But now you've (D) left me, and love a (A) nother. You have shattered (E) all of my (A) dreams.

You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.

In all my (A) dreams dear, you seem to leave me. When I a (D) wake my, poor heart (A) pains. So when you (D) come back, and make me (A) happy. I'll forgive, you (E) dear, I'll take the (A) blame.

You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.

LESSON 7 - THE BIGGIES

There are only two chords for this lesson but they are biggies. Not that (D), (A), (E) weren't biggies, they were. Or whether we took a few liberties with our female party guests. We did. ( 1:18-1:28). But they were members of a family of chords usually played together. Adding the next two chords to your repertoire expands your musical world significantly. Think of them as wild cards, chords that can be found in songs in just about any key.

First is the (C)

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Again, I don't like the way the fingers are being depicted in this photo as it looks like the ring and middle fingers are pressing down on the fret bars. You don't want or need to do that. The sweet spot is just behind the fret -- close to the fret but not on it. This will require the least finger pressure while still resulting in a good tone. Too far in the middle and you'll tend to produce a sharp note.

(C) is a very important chord and is played a lot. It's complimentary to the songs played in the key of (G), (D), and especially (F) so it appears frequently. You might find it helpful when moving your fingers to play the (C) to first concentrate on getting the ring and middle fingers down first. If you do you'll find your index finger will already be in the correct position to complete the chord. It's just a slight hesitation: ring-middle, index.

One more thing about the (C). What is shown here is what you could call "basic C". Notice on the diagram that there is no "O" indication on the top string, meaning you shouldn't strike the top string when playing it. You can if you want. But after you've been playing for a while you'll learn to use your pinky on the top string right above the ring finger (or directly above the "3" on the diagram). This is called covering the bass and it usually involves the top string. Some chords have a complimentary bass string, most notably the (C) and the (F), which we haven't talked about yet. Here is the chord for (C) with the bass string.

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But for now just learn the basic (C).

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The (G), like the (C), is used quite often. Many songs are written in the key of G. And also like the (C), the (G) is used frequently in concert with many other chords. I personally find songs in the key of G the easiest to play and I like to convert songs written in other keys into G. I just wished I could sing in the key of G . . . come to think of it I wish I could sing in just about any key. The cockpit? It's the little room up front where the pilots sit but that's not important right now.

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As I mentioned before there are two schools of instruction concerning the best way to play the (G). The way shown here is how I play it and I admit I am biased toward playing it this way. And since here it is in a photograph which came from a book of chords, it must be a popular way to play it. I like this method because there is another chord which is played a lot, called the (G-Add), which looks like this:

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As you can see, this is just one more finger added to the chord.

Alright, now for the other method which has just as many advocates, including a lot of performers I see playing on music videos. If you look at the diagram you'll see numbers in parentheses which represents the other way: Ring finger on the top string/3rd fret, middle finger on the 5th string/2nd fret, and pinky on the bottom string/3rd fret. The advocates of this method say it's much easier to move from the (G) to the (C) and back, and I suppose it is. But because the pinky is not used in most of the major chords some find it difficult to use the pinky with a major chord like the (G).

Since you've not tried either, my best advice is to try each one and go with whichever you find most comfortable. But, again, once you adopt one way to play it, it will be very hard to start playing it the other way later on. Muscle memory.

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Incorporate the (C) and the (G) into your repertoire and practice, practice.

Here are a few more songs to practice with which incorporate the (C) and (G).

ALL SHOOK UP – (Blackwell) – Elvis Presley

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Intro: (G) (Em) (G) (Em) (G)

(G) A well a bless my soul, what's wrong with me? I'm itching like a man on a fuzzy tree. My friends say I'm actin' queer as a bug. I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.

My hands are shaky and my knees are weak. I can't seem to stand on my own two feet. Who do you thank when you have such luck? I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.

(C) Please don't ask me what's on my mind. I'm a (G) little mixed up, but I'm feelin' fine.

When (C) I'm near that girl that I love best, my (D) heart beats so it scares me to death!

(G) She touched my hand what a chill I got. Her lips are like a volcano that's hot. I'm proud to say she's my buttercup. I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.

My (C) tongue get tied when I try to speak. My (G) insides shake like a leaf on a tree. There's (C) only one cure for this soul of mine and that's to (D) have the girl that I love so fine.

(G) She touched my hand what a chill I got. Her lips are like a volcano that's hot. I'm proud to say she's my buttercup. I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.

Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah. I’m all shook up.

ANGEL OF THE MORNING – (Taylor) – Juice Newton

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(G) There'll be no (C) strings to bind your (D) hands. Not if my (C) love can't bind your (G) heart. (C)(D)(C) (G) There's no (C) need to take a (D) stand, for it was (C) I who chose to (G) start. (C)(D)(C) (Am) I see no (C) need to take me (D) home. (Am) I'm old e (C) nough to face the (D) dawn.

(G) Just call me (C) angel of the (D) morning, (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me, (C) ba (D) by. (G) Just call me (C) angel of the (D) morning, (C) an (D) gel. (C) Then slowly turn away, from (G) me. (C)(D)(C)

(G) Maybe the (C) sun's light will be (D) dim, and it won't (C) matter any (G) how. (C)(D)(C)

(G) If morning's (C) echo says we (D) sinned, well it was (C) what I wanted (G) now. (C)(D)(C) (Am) And if we're the (C) victims of the (D) night, (Am) I won't be (C) blinded by the (D) light.

(G) Just call me (C) angel of the (D) morning, (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me, (C) ba (D) by. (G) Just call me (C) angel of the (D) morning, (C) an (D) gel. (C) Then slowly turn away. I won’t beg you to stay, with (G) me. (C)(D)(C) (G)(C)(D)(C)

Through the (G) tears, (C)(D)(C) of the (G) day (C)(D)(C). Of the (G) years, (C)(D) - (D) ba-a-by (G).

(G) Just call me (C) angel of the (D) morning, (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me, (C) ba (D) by. (G) Just call me (C) angel of the (D) morning, (C) darl (D) lin’.

(G) Just touch my (C) cheek before you (D) leave me, (C) an (D) gel. (G) Just call me (C) angel of the (D) morning . . . dar – ar - (G) lin’. (C)(G)(C)(G)(C)(G)

THE BANANA BOAT SONG (DAY-O) - (Burgie/Attaway) - Harry Belafonte

The (A7) is just (A) without the middle finger.

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(D) Day-o, (A) Day-ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home.

Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.

Work all night on a drink o' rum. Daylight come and me (A7) wan' go (D) home. Stack banana til the mornin' come. Daylight come and me (A7) wan' go (D) home.

Come, Mister tally man, (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home. Come, Mister tally man, (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home.

Six foot, seven foot, eight foot bunch! Daylight come and me (A7) wan' go (D) home. Six foot, seven foot, eight foot bunch! Daylight come and me (A7) wan' go (D) home.

Day. Me say Day- (A) -ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home. Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.

A beautiful bunch o' ripe banana. Daylight come and me (A7) wan' go (D) home. Hide the deadly black tarantula. Daylight come and me (A7) wan' go (D) home.

Six foot, seven foot, eight foot bunch! Daylight come and me (A7) wan' go (D) home. Six foot, seven foot, eight foot bunch! Daylight come and me (A7) wan' go (D) home.

Day. Me say Day- (A) -ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home. Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.

Come, Mister tally man, (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home. Come, Mister tally man, (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home.

(D) Day-o, (A) Day-ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home. Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.

BLOWIN’ IN THE WIND – Bob Dylan

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(G) How many (C) roads must a (G) man walk down, before you (C) call him a (D) man? And (G) how many (C) seas must a (G) white dove sail, before she (C) sleeps in the (D) sand? And (G) how many (C) times must the (G) cannon balls fly, before they're (C) forever (D) banned?

The (C) answer, my (D) friend, is (G) blowin' in the wind, the (C) answer is (D) blowin' in the (G) wind.

(G) How many (C) times must a (G) man look up, before he can (C) see the (D) sky)? And (G) how many (C) ears must (G) one man have, before he can (C) hear people (D) cry? And (G) how many (C) deaths will it (G) take till he knows, that too many (C) people have (D) died?

The (C) answer, my (D) friend, is (G) blowin' in the wind, the (C) answer is (D) blowin' in the (G) wind.

How many (C) years can a (G) mountain exist, before it is (C) washed to the (D) sea? And (G) how many (C) years can some (G) people exist, before they're a (C) llowed to be (D) free? And (G) how many (C) times can a (G) man turn his head, pretending he (C) just doesn't (D) see?

The (C) answer, my (D) friend, is (G) blowin' in the wind, the (C) answer is (D) blowin' in the (G) wind.

Oh the (C) answer, my (D) friend, is (G) blowin' in the wind, the (C) answer is (D) blowin' in the (C) wi (G) nd.

CANDLE IN THE WIND – (John/Taupin) - Elton John

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(G) Goodbye Norma Jean, though I never (C) knew you at all you had the grace to (G) hold yourself, while those around you (C) crawled. They crawled out of the (G) woodwork, and they whispered, (C) into your brain. They set you on the (G) treadmill, and they made you change your (C) name.

And it (D) seems to me, you lived your life, like a (G) candle in the (C) wind. Never (G) knowing who to cling to when the (D) rain set in. And I (C) would have liked to have known you, but I was (Em) just a kid. Your candle burned out (D) long before, your (C) legend ever (Em) did.

(G) Loneliness was tough, the toughest (C) role you ever played. Hollywood created a (G) superstar. And pain was the price you (C) paid. Even when you (G) died, oh the press, (C) still hounded you, all the papers (G) had to say, was that Marilyn was found (C) in the nude.

And it (D) seems to me, you lived your life, like a (G) candle in the (C) wind. Never (G) knowing who to cling to when the (D) rain set in. And I (C) would have liked to have known you, but I was (Em) just a kid. Your candle burned out (D) long before, your (C) legend ever (Em) did.

(G) Goodbye Norma Jean, though I never (C) knew you at all you had the grace to (G) hold yourself, while those around you (C) crawled. (G) Goodbye Norma Jean, from the young man in the (C) 22nd row, who sees you as something more than (G) sexual. More than just our Marilyn Mon (C) roe.

And it (D) seems to me, you lived your life, like a (G) candle in the (C) wind. Never (G) knowing who to cling to when the (D) rain set in. And I (C) would have liked to have known you, but I was (Em) just a kid. Your candle burned out (D) long before, your (C) legend ever (Em) did. (G)

THE CAR SONG – Woody Guthrie

TIP: As you’ve probably guessed, you can substitute any car sound for the “Brrm brm brm” part. I personally recommend the “raspberry” sound made with tongue between closed lips.

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(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.

(G) Take me riding in the (D) car, car. Take me riding in the (G) car, car. Take you riding in the (C) car, car. I'll (G) take you (D) riding in my (G) car.

(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.

Click clack, open up the (D) door, girls. Click clack, open up the (G) door, boys. Front door, back door, (C) clickety clack. (G) Take you (D) riding in my (G) car.

(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.

Climb, climb, rattle on the (D) front seat. Spree I spraddle on the (G) backseat. Turn my key, (C) step on my starter. (G) Take you (D) riding in my (G) car.

Engine it goes (D) brrm, brrm. Engine it goes (G) brrm, brrm. Front seat, backseat, (C) boys and girls. (G) Take you (D) riding in my (G) car.

Trees and the houses (D) walk along. Trees and the houses (G) walk along. Truck and a car and a (C) garbage can. I’ll (G) take you (D) riding in my (G) car.

(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.

Ships and the little boats (D) chug along. Ships and the little boats (G) chug along. Brrrm brm brm brm brm brm, (C) brrrm b' brrrm. (G) Take you (D) riding in my (G) car.

I'm a gonna send you (D) home again. I'm a gonna send you (G) home again. Brrrm brm brm brm brm brm brrrm, (C) rolling home. (G) Take you (D) riding in my (G) car.

I'm a gonna let you (D) blow the horn. I'm a gonna let you (G) blow the horn. A oorah, a oorah, oo (C) rah, oorah. I'll (G) take you (D) riding in my (G) car.

(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.

(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.

CLOSE ENOUGH TO PERFECT – (Chambers) - Alabama

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(G) Sometimes her morning (D) coffee's way too (Am) strong. And (C) sometimes what she (D) says, she says all (G) wrong. (D) Right or (G) wrong she's there (D) beside me, like (C) only a (Am) friend could (C) be. And that's (Am) close enough to (C) perfect for (G) me. (D)

(G) Now she's been know to (D) wear her her pants too (Am) tight. And (C) drinking puts her (D) out just like a (G) light. (D) Heaven (G) knows she's not an (D) angel, but she'd (C) really (Am) like to (C) be. And that's (Am) close enough to (C) perfect for (G) me.

(C) She kisses me each (Am) morning (G) and smiles her sleepy smile. (C) And she don't have to (Am) say it, I can (F) see it in her (D) eyes. Don't you (G) worry about my (D) woman or what you (C) think she (Am) ought to (C) be. Cause she’s (Am) close enough to (C) perfect for (G) me.

(G) Well sometimes she gets (D) down and starts to (Am) cry. (C) But then again a (D) woman has the (G) right. (D) She's (G) everything I ever (D) wanted, and (C) all I'll (Am) ever (C) need. She's (Am) close enough to (C) perfect for (G) me.

COME DANCING – (Davies) – The Kinks

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Intro: (G)(D)(G); (G)(D)(G)

(G) They put a parking lot on a piece of land, (D) where the supermarket used to (G) stand. Before that they put up a bowling alley, (D) on the site that used to be the local (G) palais. (C) That's where the big bands (G) used to come and play. (D) My sister went there on a Satur (G) day. Come (C) dancing. All her boyfriends (G) used to come and call. Why not come (D) dancing, it's (C) only natur (G) al.

(G)(D)(G); (G)(D)(G)

Another Saturday, another date. (D) She would be ready but she's always make them (G) wait. In the hallway in anticipation, (D) he didn't know the night would end up in frust (G) ration. (C) He'd end up blowing all his (G) wages for the week. (D) All for a cuddle and a (G) peck on the cheek. Come (C) dancing. That's how they did it when (G) I was just a kid. And when they said come (D) dancing, my (C) sister always (G) did.

(G)(D)(G); (G)(D)(G)

My (Em) sister should have (D) come in at (C) midnight (D). And my (Em) mom would always (D) sit up and (C) wait (D). It (Em) always ended (D) up in a big (C) row, (D) when my (Em) sister used to (D) get home (C) late.

(G) [Spoken] Out of my window I can see them in the moonlight. Two silhouettes saying goodnight by the garden gate.

The (Em) day they (D) knocked down the (C) palais (D). My (Em) sister (D) stood and (C) cried (D). The (Em) day they (D) knocked down the pal (C) ais, (Em) part of my (D) childhood (C) died, just (G) died.

(Em)-(D)-(C) (D); (Em)-(D)-(C) (D); (Em)-(D)-(C) (D), (Em)-(D)-(C) (G)

Now I'm grown up and playing in a band, (D) and there's a car park where the palais used to (G) stand. My sister's married and she lives on an estate. (D) Her daughters go out now it's her turn to (G) wait. (C) She knows they get away with (G) things she never could. (D) But if I asked her I (G) wonder if she would . . . Come (C) dancing. Come on sister (G) have yourself a ball. Don't be afraid to come (D) dancing. It's (C) only natur (G) al.

(G)(D)(G); (G)(D)(G); (C)(G) (D)(G)

Come (C) dancing. Just like the palais (G) on a Saturday. And all her friends will come (D) dancing, where the (C) big bands used to (G) play.

(G)(D)(G); (G)(D)(G); (G)(D)-(G)

COTTON JENNY – (Lightfoot) - Gordon Lightfoot/Anne Murray

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There's a (G) house, on a hill, by a (C) worn down weathered old (G) mill. In a valley be (D) low where the river winds, there's no such thing as bad (G) times. And a soft southern flame, oh (C) Cotton Jenny's her (G) name. And she wakes me (D) up when the sun goes down, and the wheel of love goes (G) round.

Wheels of love go (C) round, love go (G) round. Love go (A) round, a joyful (D) sound. I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then the wheels go (G) round (C)(G).

When the new day begins, he goes (C) down to the cotton (G) gin. And he makes his (D) time worth while to then. Then he climbs back up a (G) gain. And she waits by the door, oh (C) Cotton Jenny he's (G) sore. And she rubs his (D) feet while the sun goes down, and the wheel of love goes (G) round.

Wheels of love go (C) round, love go (G) round. Love go (A) round, a joyful (D) sound. I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then the wheels go (G) round (C)(G).

In the hot sickly South, when they (C) say, “Well, shut my (G) mouth,” I can never be (D) free from the cotton grind, but I know I got what’s (G) mine. A soft southern flame, oh, (C) Cotton Jenny’s her (G) name and she wakes me (D) up when the sun goes down, and the wheels of love go (G) round.

Wheels of love go (C) round, love go (G) round. Love go (A) round, a joyful (D) sound. I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then the wheels go (G) round (C)(G). (G)

CRY, CRY, CRY – (Sherrill/Devaney) – Highway 101

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Intro: (D) (A) (G) (D)

(D) It's just a little creek now, but when the rain comes down, it's (G) gonna be a raging (D) river. I just heard my baby, say good (A) bye. He (D) left me here, holding back my tears, (G) now he's gone for (D) ever. The dam's gonna break and (A) I'm a gonna cry cry, (G) cry (D).

I'm a gonna (G) cry and I don't, care who sees. I (D) wonder if he knows what he's done to me. Gonna (G) love that boy till the day I die. Til the (D) day I do I'm gonna (A) cry cry, (D) cry.

Now he's gone, the pain's comin' on, I can (G) feel my whole body (D) shakin'. Lookie here, now what's this, in my (A) eyes? (D) All I hear, ringing in my ear, is the (G) sound of my heart (D) breaking. The dam's gonna break and (A) I'm a gonna cry cry, (G) cry (D).

I'm a gonna (G) cry and I don't, care who sees. I (D) wonder if he knows what he's done to me. Gonna (G) love that boy till the day I die. Til the (D) day I do I'm gonna (A) cry cry, (D) cry.

I'm a gonna (G) cry and I don't, care who sees. I (D) wonder if he knows what he's done to me. Gonna (G) love that boy till the day I die. Til the (D) day I do I'm gonna (A) cry cry, (D) cry.

Til the (D) day I do I'm gonna (A) cry cry, (D) cry.

DEAD SKUNK - Loudon Wainwright III

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(G) Crossin' the highway (D) late last night. He (C) shoulda looked left and he (G) shoulda looked right. He (G) didn't see the station (D) wagon car. The (C) skunk got squashed and (G) there you are.

You got yer (G) dead skunk in the (D) middle of the road. (C) Dead skunk in the (G) middle of the road. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven.

Take a (G) whiff on me, that (D) ain't no rose. (C) Roll up yer window and (G) hold yer nose. You don't have to look and you (D) don't have to see 'cause you can (C) feel it in your ol (G) factory.

You got yer (G) dead skunk in the (D) middle of the road. (C) Dead skunk in the (G) middle of the road. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven.

Yeah you (G) got yer dead cat and you (D) got yer dead dog. On a (C) moonlight night you got yer dead toad (G) frog. You got yer dead rabbit and yer (D) dead raccoon. The (C) blood and the guts, they're gonna (G) make you swoon!

You got yer (G) dead skunk in the (D) middle of the road. (C) Dead skunk in the (G) middle of the road. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven.

C'mon stink. You got it. It's dead, (D) it's in the middle. (C) Dead skunk in the (G) middle. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven!

All over the road, technicolor man. Oh, you got pollution. It's dead, (D) it's in the middle and it's (C) stinkin' to high, high (G) heaven.

DUKES OF HAZZARD THEME – Waylon Jennings

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Just a’good ol' (D) boys. Never meanin' no (G) harm. Beats (D) all you never saw, been in (A) trouble with the law, since the (D) day they was born.

Straightnin' the (D) curves, flattenin’ the (G) hills. (D) Someday the mountain might (A) get 'em but the law never (D) will.

Makin' their (A) way, the only way they know how. That's just a little bit more than the law will (D) allow.

Just a’ good ‘ol (D) boys. Wouldn't change if they (G) could. (D) Fightin' the (A) system like a true modern day Robin (D) Hood.

EL CONDOR PASA – (Robles/Simond) - Simon and Garfunkel

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(Em) I'd rather be a sparrow than a (G) snail. Yes I would. If I could. I surely (Em) would. Hmmm. I'd rather be a hammer than a (G) nail. Yes I would. If I only could, I surely (Em) would. Hmmm.

A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone. A (C) man, gets tied up to the ground. He gives the (G) world, its saddest sound. It’s saddest (Em) sound.

I'd rather be a forest than a (G) street. Yes I would. If I could. I surely (Em) would. I'd rather feel the earth beneath my (G) feet. Yes I would. If I only could, I surely (Em) would.

A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone. A (C) man, gets tied up to the ground. He gives the (G) world, its saddest sound. It’s saddest (Em) sound. Oh yeah. (Em)

GOOD LUCK CHARM – (Schroeder/Gold) - Elvis Presley

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(G) Don't want a four leaf (C) clover. (G) Don't want an old horse (D) shoe. (G) Want your kiss, 'cause I (C) just can't miss, with a (D) good luck charm like (G) you.

Come on and (D7) be my little good luck charm. Uh-huh (G) huh. You sweet delight. I want a (D7) good luck charm, a-hanging on my arm, to (C) have (to have), to (D) hold (to hold) to (G) night.

Don't want a silver (C) dollar, (G) rabbit's foot on a (D) string. The (G) happiness in your (C) warm caress, no (D) rabbit's foot can (G) bring.

Come on and (D7) be my little good luck charm. Uh-huh (G) huh. You sweet delight. I want a (D7) good luck charm, a-hanging on my arm, to (C) have (to have), to (D) hold (to hold) to (G) night.

If I found a lucky (C) penny, I'd (G) toss it across the (D) bay. Your (G) love is worth, all the (C) gold on earth, no (D) wonder that I (G) say.

Come on and (D7) be my little good luck charm. Uh-huh (G) huh. You sweet delight. I want a (D7) good luck charm, a-hanging on my arm, to (C) have (to have), to (D) hold (to hold) to (G) night.

HE’S GOT THE WHOLE WORLD IN HIS HANDS – Traditional

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Intro: (G) (D) (G)

He’s got the (G) whole world in His hands. He’s got the (D) whole world in His hands. He’s got the (G) whole world in His hands. He’s got the (D) whole world in His (G) hands.

He’s got the wind and the rain in His hands. He’s got the (D) wind and the rain in His hands. He’s got the (G) wind and the rain in His hands. He’s got the (D) whole world in His (G) hands.

He’s got the little bitty baby in His hands. He’s got the (D) little bitty baby in His hands. He’s got the (G) little bitty baby in His hands. He’s got the (D) whole world in His (G) hands.

He’s got you and me, brother, in His hands. He’s got (D) you and me, brother, in His hands. He’s got (G) you and me, brother, in his hands. He’s got the (D) whole world in His (G) hands.

He’s got the (G) whole world in His hands. He’s got the (D) whole world in His hands. He’s got the (G) whole world in His hands. He’s got the (D) whole world in His (G) hands.

I FOUGHT THE LAW – (Curtis) - Bobby Fuller

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Intro: (G x 7) (C) (D) (G x 7) (D) (G) (D) (G)

(G) Breakin’ rocks in the (C) hot (G) sun. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the (D) law (G) won. (G) I needed money cause I (C) had (G) none. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the (C) law (G) won.

I (C) left my baby and it feels so bad, I (G) guess my race is run. (C) She’s the best girl that I ever had. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the (D) law (G) won.

(G x 7) (C) (D) (G x 7) (D) (G) (D) (G)

(G) Robbin’ people with a (C) six (G) gun. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the (D) law (G) won. (G) I lost my girl and I (C) lost (G) fun. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the (D) law (G) won.

I (C) left my baby and it feels so bad. I (G) guess my race is run. (C) She’s the best girl that I ever had. (G) I fought the law and the (C) law (G) won, (G) I fought the law and the (D) law (G) won.

(G x 7) (C) (D) (G x 7) (D) (G) (D) (G)

I’LL FLY AWAY – (Brumley) – Alison Krauss & Gillian Welch

TIP: This old traditional Christian spiritual has many versions. This is the one popularized in the movie “O Brother, Where Art Thou?”

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(D) Some bright morning when this life is over, (G) I'll fly a (D) way. To that home on God's celestial shore, I (A) 'll fly a (D) way. I'll, fly away oh glory, (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) ‘ll, fly a (D) way.

When the shadows of this life have gone, (G) I'll fly a (D) way. Like a bird from these prison walls I’ll fly, I (A) 'll fly a (D) way. I'll fly away, fly away oh glory. (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) 'll, fly a (D) way.

Oh how glad and happy when we meet, (G) I’ll fly a (D) way. No more cold iron shackles on my feet, I (A) ’ll fly a (D) way. I'll, fly away oh glory. (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) ‘ll, fly a (D) way.

Just a few more weary days and then, (G) I'll fly a (D) way. To a land where joys will never end, I (A) 'll fly a (D) way. I'll fly away, fly away oh glory. (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) 'll, fly a (D) way. I (A) ’ll, fly a (D) way.

THE WRECK OF THE EDMUND FITZGERALD - Gordon Lightfoot

TIP: There’s very little to this song – only 4 easy chords with no chorus and only an instrumental bridge. At the end of each verse you’ll see a notation for either an (UP) or a (DOWN). This serves two purposes. First, it’s a vocal guide when singing as to whether the last note goes up or down. Second, at the end of each verse you’ll be playing the (D) chord. When (UP) is indicated strike the strings with a downward motion emphasizing the bottom three strings and the high D note (2nd string/3rd fret). When you see (DOWN) strike the 5th, 4th, and 3rd strings (i.e., A-D-G) which will emphasize the low D note.

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Intro: (D) (Am) (C) (G) (D) . . . repeat (D) several times . . .

The legend lives on from the (Am) Chippewa on down of the (C) big lake they (G) call Gitche (D) Gumee (DOWN). The lake, it is said, never (Am) gives up her dead when the (C) skies of No (G) vember turn (D) gloomy (DOWN). With a load of iron ore twenty-six (Am) thousand tons more than the (C) Edmund Fitz (G) gerald weighed (D) empty (DOWN), that big ship and true was a (Am) bone to be chewed when the (C) gales of No (G) vember came (D) early (UP).

The ship was the pride of the A (Am) merican side coming (C) back from some (G) mill in Wis (D) consin (DOWN). As the big freighters go it was (Am) bigger than most with a (C) crew and the (G) Captain well (D) seasoned (UP). Concluding some terms with a (Am) couple of steel firms when they (C) left fully (G) loaded for (D) Cleveland (DOWN). And later that night when the (Am) ships bell rang, could it (C) be the north (G) wind they'd been (D) feeling (UP)?

(D) (Am) (C) (G) (D) - (C) (G) (D)

The wind in the wire made a (Am) tattletale sound and a (C) wave broke (G) over the (D) railing (DOWN). And every man knew, as the (Am) Captain did, too, t'was the (C) witch of No (G) vember come (D) stealing (UP). The dawn came late and the (Am) breakfast had to wait when the (C) gales of No (G) vember came (D) slashing (UP). When afternoon came it was (Am) freezing rain in the (C) face of a (G) hurricane (D) westwind (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D)

When supper time came the old (Am) cook came on deck saying (C) fellas it's (G) too rough to (D) feed ya(DOWN). At 7 p.m. a main (Am) hatchway caved in he said (C) fellas it's (G) been good to (D) know ya. (UP) The Captain wired in he had (Am) water coming in and the (C) good ship and (G) crew was in (D) peril (DOWN). And later that night when his (Am) lights went out of sight came the (C) wreck of the (G) Edmund Fitz (D) gerald. (UP)

(D) (Am) (C) (G) (D) - (C) (G) (D)

Does anyone know where the (Am) love of God goes when the (C) waves turn the (G) minutes to (D) hours (DOWN). The searchers all say they'd have (Am) made Whitefish Bay if they'd (C) put fifteen (G) more miles be (D) hind her (UP). They might have split up or they (Am) might have capsized. They (C) may have broke (G) deep and took (D) water (DOWN). And all that remains is the (Am) faces and the names of the (C) wives and the (G) sons and the (D) daughters (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D)

Lake Huron rolls, Su (Am) perior sings, in the (C) ruins of her (G) icewater (D) mansion (DOWN). Old Michigan steams like a (Am) young man's dreams, the (C) islands and (G) bays are for (D) sportsmen (UP). Farther below Lake On (Am) tario takes (C) in what Lake (G) Erie can (D) send her (DOWN). And the iron boats go as the (Am) mariners all know with the (C) gales of No (G) vember re (D) membered (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D) (D) (Am) (C) (G) (D) - (C) (G) (D)

In a musty old hall in De (Am) troit they prayed in the (C) Maritime (G) Sailors' Ca (D) thedral (DOWN). The church bell chimed, 'til it rang (Am) 29 times for each (C) man on the (G) Edmund Fitz (D) gerald (UP).

The legend lives on from the (Am) Chippewa on down of the (C) big lake they (G) call Gitche (D) Gumee (DOWN). Superior, they said, never (Am) gives up her dead when the (C) gales of No (G) vember come (D) early (UP).

(D) (Am) (C) (G) (D) - (C) (G) (D) (D) (Am) (C) (G) (D) (C) (twice as many strums as normal) (G) (twice as many strums as normal, slowing at the end, ending with a one-strum) (D)

LESSON 8: THE 7THS

This next batch of chords are the 7ths. They're played often, they're important chords - think of them as the salt in the recipe of a song - as they provide flavor and depth. And since they are all simple variations on chords you've already learned they should be easy adjustments for you.

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D SEVENTH denoted as D7 or (D7)

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If you just look at the (D7) diagram you'll see the formation is kind of a reversal of (D). But don't think of it that way as the finger use is completely different. The (D7) is fairly easy to play.

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A SEVENTH denoted as A7 or (A7)

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The (A7) is (A) without the middle finger and it can be played using whichever two fingers that is comfortable for you. I personally like to use middle and ring fingers most of the time except I'll use the index and middle finger when coming off the (D).

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E SEVENTH denoted as E7 or (E7)

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The (E7) is another chord often played. It is (E) without the middle finger and played the same way.

Now there are variations in the (E7) sometimes called (E7-full) in which the pinky and/or ring finger is added. One version is what's being played in the photo above. The diagrams looks like this:

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But unless specified you can just play the simple (E7).

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G SEVENTH denoted as G7 or (G7)

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The (G7) isn't played quite as the (D7), (A7), or (G7) but more than the (C7). It is played as indicated.

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C SEVENTH denoted as C7 or (C7)

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The least played of the 7th chords. It is played by first playing a normal (C) and then adding the pinky to the 3rd string/3rd fret.

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So that's it for the most common 7th chords.

Practice, practice.

YELLOW SUBMARINE – (Lennon/McCartney) - The Beatles

TIP: (Cmaj7) is just (C) without the ring finger.

TIP: The (G)(Em) (C)-(D7) bit is “the band playing.”

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(G) In the (D) town where I was (G) born, (Em) lived a (Am) man who (Cmaj7) sailed to (D) sea. (G) And he (D) told us of his (G) life, (Em) in the (Am) land of (Cmaj7) submar (D) ines. (G) So we (D) sailed on to the (G) sun, (Em) till we (Am) found a sea of (D) green. (G) And we (D) lived beneath the (G) waves, in our (Am) yellow submar (D) ine.

(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.

(G) And our (D) friends are all (G) aboard, (Em) many (Am) more of them (Cmaj7) live next (D) door. (G) And the (D) band begins to (G) play. (G)(Em) (C)-(D)

(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.

As we (D) live, a life of (G) ease. (Em) Every (Am) one of us, has (Cmaj7) all we (D) need. (G) Sky of (D) blue and sea of (G) green. In our (Am) yellow submar (D) ine.

(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.

(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G)

WILL THE CIRCLE BE UNBROKEN – (Traditional) – Johnny Cash/Roy Acuff/Nitty Gritty Dirt Band

TIP: There are several versions of this old standard. The lyrics here are the ones popularized by Johnny Cash and the Carter family, and also by the Nitty Gritty Dirt Band.

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I was (G) standin’, by my win (G7) dow, on a (C) dark and cloudy (G) day. When I saw that, hearse come roll (Em) in’, for to (G) carry my (D) mother (G) away.

Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.

Oh I told the, undertak (G7) er, under (C) taker please drive (G) slow. For this body, you are haul (Em) in’, Lord I (G) hate to (D) see her (G) go.

Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.

Well I followed, close behind (G7) her. I tried to (C) hold up and be (G) brave. But I could not, hide my sor (Em) row, when they (G) laid her (D) in the (G) grave.

Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.

I went back home, my home was lone (G7) some, for my (C) mother she was (G) gone. Saw my brothers, and sisters (Em) crying. What a (G) home, so (D) sad and (G) alone.

Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.

We sang the, songs of child (G7) hood, hymns of (C) faith, that made us (G) strong. Ones that Mother, Maybelle taught (Em) us. Hear the (G) angels (D) sing a (G) long.

Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.

Oh will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’ . . . [slow down] in the (G) sky, Lord, (D) in the (C) sky (C)(C)(G).

WHY DON'T WE GET DRUNK AND SCREW - Jimmy Buffett

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I (D) really do a (D7) ppreciate the (G) fact you’re sittin’ (D) here. Your voice, it sounds so wonderful, but your (E7) face don’t look too (A7) clear. So (G) bar maid bring a pitcher, (D) another round o’ brew. Honey, (G) why don't we (A) get drunk and (D) screw?

(G) Why don’t we get drunk and (D) screw? (E7) I just bought a water bed, it’s filled (A7) up for me and you. They (G) say you are a snuff queen. Honey (D) I don’t think that's true. So, (G) why don’t we (A) get drunk and (D) screw?

(G) Why don’t we get drunk and (D) screw? (E7) I just bought a water bed, it's filled (A7) up for me and you. They (G) say you are a snuff queen. Honey (D) I don’t think that’s true. So, (G) why don't we (A) get drunk and (D) screw?

WHICH WAY DOES THAT OLD PONY RUN - Lyle Lovett

TIP: There is a pause after "cowboy" in the first line which is necessary to maintain the proper cadence for the (G) in "best".

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INTRO: (slowly) (C)(G) ; (C)(G)

(C) When I was a very young (G) man. I was a (C) cowboy. The (G) best in the land. But then she settled me (G7) down with a (C) touch of her (A7) hand. Now I'm (G) begging you (D) mister: Tell (C) me if you (G) can:

Which (C) way does that old pony (G) run? Which (C) way does that old pony (G) run? And how (Gadd) much is that (G7) saddle and a (C) straight shooting (A7) gun? Which (G) way does that (D) old pony (G) run?

Now a (C) young girl she don't know when she's (G) lying. But a (C) woman, great God, she (G) knows how it's done. So mama before I (G7) go, there's just one (C) thing on my (A7) mind: Which (G) way does that (D) old pony (G) run?

Which (C) way does that old pony (G) run? Which (C) way does that old pony (G) run? And how (Gadd) much is that (G7) saddle and a (C) straight shooting (A7) gun? Which (G) way does that (D) old pony (G) run?

So this (C) good life you know I must (G) leave. Your new (C) car and your color t (G) v. But what's riches to (G7) you just ain't (C) riches to (A7) me, and if (G) you're staying out (D) here then I'm (C) headed back (G) east.

Which (C) way does that old pony (G) run? Which (C) way does that old pony (G) run? And how (Gadd) much is that (G7) saddle and a (C) straight shooting (A7) gun? Which (G) way does that (D) old pony (G) run?

VIVA LAS VEGAS – (Pomus/Shuman) – Elvis Presley/ZZ Top

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(G) Bright light city gonna set my soul, gonna set my soul on fire. There’s a whole lot of money that's ready to burn, so get those stakes up higher. There's a (Em) thousand pretty women, waitin' out there. They're all livin', devil may care. And I'm just the devil with love to spare. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas.

How I wish that, there were more, than twenty-four hours in the day. But even if there were forty more, I wouldn't sleep a minute away. Oh there's (Em) black jack and poker and the roulette wheel, a fortune won and lost on every deal. All you need's a strong heart and nerves of steel. (C) Viva Las (G) Vegas, (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas, (C) Viva Las (G) Vegas.

(C) Viva Las Vegas with your, neon flashin' and your, one armbandits crashin', (G) all those hopes down the drain. (C) Viva Las Vegas turnin', day into nighttime turnin', night into daytime if you (A) see it once, you'll never come home a (D7) gain.

(G) I'm gonna keep on the run, I'm gonna have me some fun, if it costs me my very last dime. If I wind up broke, well I'll always remember that I, had a swingin' time. (Em) I'm gonna give it everything I've got, Lady Luck please let the dice stay hot, let me shoot a seven with every shot. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva, (D7) Viva, Las (G) Vegas.

UP ON THE ROOF – (King/Coffin) – The Drifters/Carole King/James Taylor

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(G) When this old world starts getting me (Em) down, and (C) people are just too (D) much for me to (G) face. I climb way up to the (Em) top of the stairs, and (C) all my cares just (D) drift right into (G) space.

(C) On the roof, it's peaceful as can be. And (G) there the world be (Em) low can't (C) bother (D) me. Let me tell you now

When (G) I come home feelin' (Em) tired and beat, I (C) go up where the (D) air is fresh and (G) sweet. I get away from the (Em) hustling crowd, and (C) all that rat-race (D) noise down in the (G) street.

(C) On the roof, the only place I know, where (G) you just have to (Em) wish to make it (D) so. Let's go up on the (G) roof.

(C) (D) (G)

(C) At night the stars put on a show for free, and (G) darling, you can (Em) share it all with (D) me. I keep a-tellin' you.

(G) Right smack dab in the (Em) middle of town I've (C) found a para (D) dise that's trouble (G) proof. And if (G) this world starts (Em) getting you down, there's (C) room enough for (D) two.

Up on the (G) roof (Em) (C) (D). Up on the (G) roof (Em) (C) (D).

Up on the (G) roof (Em) (C) (D) (G)

UNDER THE BOARDWALK – (Young/Resnick) - The Drifters

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Oh when the (G) sun beats down and burns the tar up on the (D) roof. And your (D7) shoes get so hot you wish your (D) tired feet were fire (G) proof (G7).

Under the (C) boardwalk, down by the (G) sea, yeah. On a blanket with my (D) baby is where I'll (G) be.

Under the (Em) boardwalk, out of the sun. Under the (D) boardwalk, we'll be having some fun. Under the (Em) boardwalk, people walking above. Under the (D) boardwalk, we'll be falling in love. Under the (Em) boardwalk, boardwalk.

From the (G) park you hear the happy sound of the carou (D) sel. You can (D7) almost taste the hot dogs and (D) French fries they (G) sell (G7).

Under the (C) boardwalk, down by the (G) sea, yeah. On a blanket with my (D) baby is where I'll (G) be.

Under the (Em) boardwalk, out of the sun. Under the (D) boardwalk we'll be having some fun. Under the (Em) boardwalk, people walking above. Under the (D) boardwalk, we'll be falling in love. Under the (Em) boardwalk, boardwalk.

TOM DOOLEY – (Land/Traditional) – The Kingston Trio

TIP: Based on the true story of the 1868 murder of Laura Foster in North Carolina, allegedly by confederate veteran Tom Dooley. There are many variations.

TIP: The middle bar of each stanza contains both a (D) and a (D7). You can play this song using both chords as written, using just the (D), or using just the (D7). It sound fine either way.

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Intro: Strum (G)

(G) Hang down your head, Tom Dooley. Hang down your head and (D) cry. Hang down your head, Tom Doo (D7) ley. Poor boy, you're bound to (G) die.

I met her on the mountain. I swore she’d be (D) my wife. But the gal re (D7) fused me, so I stabbed her with my (G) knife. I left her by the roadside, I begged to be ex (D) cused. I left her by the (D7) roadside, then I hid her clothes and (G) shoes.

Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.

I dug the grave four feet long, and I dug it three feet (D) deep. I rolled the cold clay (D7) over her, and tromped it with my (G) feet. "Trouble, oh it's trouble. A-rollin' through my (D) breast. As long as I'm a (D7) livin', boys, they ain't a-gonna let me (G) rest.

Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.

In this world and one more, then reckon that’s where I'll (D) be. If it wasn't for Sheriff (D7) Grayson, I'd be in Tenne (G) see. I know they're gonna hang me, tomorrow I'll be (D) dead. Though I never even (D7) harmed a hair, on poor little Laurie's (G) head."

Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.

Take down my old violin, and play it all you (D) please. For at this time (D7) tomorrow, boys. It'll be of no use to (G) me." This here time tomorrow, I know just where I'll (D) be. In some lonesome (D7) valley, hanging from a white oak (G) tree.

Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.

Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.

THIS LAND IS YOUR LAND – (Guthrie) – Peter, Paul and Mary

TIP: In Woody’s original text the first verse that appears here is actually the third verse of the song and the popular chorus opens the song. The version appearing here is the one popularized by Peter, Paul, & Mary (although it contains Woody’s other verses as well which PP&M don’t play during their concerts). In PP&M’s rendition the opening verse is sung slowly, with pauses after the commas, followed by a single chord strike, with the strumming beginning on the final (G) before “me”. The chorus is then begun energetically.

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I've roamed and I’ve, (C) rambled and I've followed my, (G) footsteps. To the sparkling (D) sands, of her diamond (G) deserts. And all a (C) round me, I heard a voice (G) singing, saying, (D) “This land was (D7) made for you and (G) me.”

This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.

As I went (C) walking, that ribbon of (G) highway. I saw a (D) bove me, an endless (G) skyway. I saw be (C) low me, a golden (G) valley. (D) This land was (D7) made for you and (G) me. This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.

Well I went (C) walking, the sun was (G) shining. The wheat fields (D) waving, and the dust clouds (G) rolling. The fog was (C) lifting, a voice come (G) singing (it might have been Woody!), (D) “This land was (D7) made for you and (G) me.” This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.

As I was (C) walkin', I saw a (G) sign there. And that (D) sign said, “No Tres (G) passin’!” But on the (C) other, it didn't say (G) nothin’. Now (D) that side was (D7) made for you and (G) me. This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7)made for you and (G) me.

In the squares of the (C) city, in the shadow of the (G) steeple. Near the relief (D) office, I see my (G) people. And some are (C) grumblin', and some are (G) wonderin', if (D) this land's still (D7) made for you and (G) me. This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.

(D) This land was (D7) made for you and (G) me. (C) (D) (G)

LESSON 9: LICK MY LOVE PUMP

The minor chords aren't played as much as the 7th chords but play a similar role, to add a variation and accent.

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F MINOR denoted as Fm or (Fm)

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The diagram and photo depict the "full" version of the (Fm). However, in almost every case you can just forget about that note hanging out there in the 3rd fret. You can play this like an (A) but most of the time it is better to play the (Fm) as a barre using the index finger. Then as you gain experience you can add the middle or ring finger to cover that note two frets away.

NOTE: (F#m) is identical to (Fm) except moved forward one fret.

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G MINOR denoted as Gm or (Gm)

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So here's (Gm). It is identical to (Fm) and (F#m) except it is moved two frets forward.

So (Fm) is played in the 1st fret, (F#m) in the 2nd fret, and (Gm) in the third fret.

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D MINOR denoted as Dm or (Dm)

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(Dm) as we all know is the saddest of all keys. I don't know why but it makes people weep instantly . . .



(Seriously, watch this clip.)

Nothing more to say. It's played exactly as shown. It might help to plant the index finger first and "climb" left to right.

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B MINOR denoted as Bm or (Bm)

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Alright there's a couple of things to talk about with this chord.

First, I don't agree with how it's being played. This isn't a particularly easy chord to play and you can cheat by playing just the bottom three notes (the 1 - 2 - 4 dots on the diagram above) by using the index finger, middle finger, and ring finger (instead of the pinky as shown) at the 4 position. This is a more natural progression with the fingers just climbing up the fretboard. Start by nailing the index finger and the middle and ring will follow. Then, as you get more comfortable you can add the pinky above the ring finger to cover the 4th string/4th fret.

Second, I'll say this and then you can (mostly) forget it because it's not the way you should learn to play (Bm). If you compare the (D) and the "cheating" (Bm) side by side:

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and remember your finger positioning for playing (D):

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you could play the (D) by leaving your index finger right where it us and just add your pinky to the 3rd string/4th fret to complete the (Bm) chord. This is a more "convenient" way to play the (Bm), and does come in handy especially when the (Bm) follows a (D) in a song. But this is the only time you should play it this way. And if you learn to play the (Bm) with 1-2-3 as mentioned above right from the get-go you'll eventually find it just as easy to play. I guess what I'm trying to say is playing (Bm) as an extension of (D) is the easy way out early but makes things harder later on. So unless the (Bm) follows a (D), play (Bm) as 1-2-3. I think you'll also get a cleaner sounding chord playing 1-2-3 because you're using stronger fingers rather than three fingers plus the pinky.

Finally, one other argument for playing the (Bm), with three fingers walking up the fingerboard, is that this formation is repeated in other less used chords. So occasionally you'll run across these chords and say, "what the heck is this" only to realize, "oh, that's just (Bm) played on the 5th fret" or something along those lines.

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A MINOR SEVENTH denoted by Am7 or (Am7)

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There's one more minor chord I want to cover, because it's played quite frequently, but I don't have a finger photo for it. It's played as in the diagram with the middle and index finger. You can see it's an easy chord, kind of like an (A7) but with the index finger shifted into the 1st fret; or like an (Am) without the middle finger.

You may occasionally see the (Am7) indicated like this:

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which is the (Am) with the pinky extended down to the bottom string of the 3rd fret. In almost every case however you can play it like the simpler version above.

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Alright I lied, there's one more to discuss, mainly because I keep seeing it in the songs I'm sending you to practice on. I touched on it when discussing the (G).

It's called the (G-add) or the "full G" or (G/D) and it looks like this:

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As you can see it's a regular (G) with the 2nd string/3rd fret (the note right above the bottom string) covered. It's still just a (G) chord but it gives a little treble zing. But we have to call it something to differentiate it from "regular (G)".

You'll remember I mentioned (G) is like a wild card chord and goes well with most every other chord. The (G-add) is played to both give a treble emphasis to the (G) and also as a momentary flirtation when the note in the harmony is a . It is also played a lot when fingerpicking.

As to how to play the (G-add), well remember the discussion on how to play the (G) in the first place? If you play it the first way I mentioned - the way it's showed in the photo - then all you have to do is lift the ring finger from the bottom string to the one above it and use your pinky on the string just vacated. It would be much more difficult to play the (G-add) if you're playing it like suggested in the second camp.

Okay, that's it for this lesson. Here are a few more songs with these new chords in it:

ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE – Eric Idle

TIP: A little awkward to find the right note to start singing with. It’s the B note (open second string from bottom). So start the song with fingers forming (Am) but lift the ring finger to play “B” and then strike the (Am).

TIP: The (Em)-(Am)-(D7) series is the “whistling part”. After the key change at the end it’s (F#m)-(D)-(E7).

TIP: After the key change you’ll play (A) and the (F#m). Play (F#m) by simply dropping the fingers you’re using to play (A) down one string-set on the same fret.

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Some (Am) things in life are (D) bad. They can (G) really make you (Em) mad. (Am) Other things just make you swear and (G) curse. When you've (Am) chewing an life's (D) gristle, don't (G) grumble, give a (Em) whistle. And (Am) this'll help things turn out for the (D7) best.

And (G) always (Em) look on the (Am) bright (D7) side of (G) life. (Em)-(Am)-(D7) (G) Always (Em) look on the (Am) light (D7) side of (G) life. (Em)-(Am)-(D7)

If (Am) life seems jolly (D) rotten, there's (G) something you've for (Em) gotten. And (Am) that's to laugh and (D) smile and dance and (G) sing. When you've (Am) feeling in the (D) dumps, (G) don't be silly (Em) chumps. Just (Am) purse your lips and whistle - that's the (D7) thing.

And (G) always (Em) look on the (Am) bright (D7) side of (G) life. (Em)-(Am)-(D7) Come on, (G) always (Em) look on the (Am) light (D7) side of (G) life. (Em)-(Am)-D7)

For (Am) life is quite ab (D) surd, and (G) death's the final (Em) word. You must (Am) always face the (D) curtain with a (G) bow. For (Am) get about your (D) sin - give the (G) audience a (Em) grin. (Am) Enjoy it - it's your last chance any (D7) how.

So (G) always (Em) look on the (Am) bright (D7) side of (G) death. (Em)-(Am)-(D7) (G) Just be (Em) fore you (Am) draw your (D7) terminal (G) breath. (Em)-(Am)-(D7)

(Am) Life's a piece if (D) shit (G) when you look at (Em) it. (Am) Life's a laugh and (D) death's a joke it's (G) true. You'll (Am) see it's all a (D) show, keep'em (G) laughing as you (Em) go. Just re (Am) member that the last laugh is on (D7) you.

And (G) always (Em) look on the (Am) bright (D7) side of (G) life. (Em)-(Am)-(D7) (G) Always (Em) look on the (Am) right (D7) side of (G) life. (Em)-(Am)-(D7)

(Come on guys, cheer up.) [key change coming]

(A) Always (F#m) look on the (D) right (E7) side of (A) life. (F#m)-(D)-(E7)

(A) Always (F#m) look on the (D) right (E7) side of (A) life. (F#m)-(D)-(E7)

Repeat and end with (A).

AT THE HOP – (Singer/Medora/White) - Danny and the Juniors

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(G) Bah-bah-bah-bah. (Em) Bah-bah-bah-bah. (C) Bah-bah-bah-bah. (D) Bah-bah-bah-bah. At the (G) hop.

(G) Well you can rock it, you can roll it, do the stomp, and even stroll it at the hop. When the (Gm) record starts a spinnin', you calypso when you chicken, at the (G) hop. Do the (D) dance sensation that is (C) sweepin' the nation at the (G) hop.

(G) Let's go to the hop. Let's go to the hop, (oh baby). (Gm) Let's go to the hop, (oh baby). (G) Let’s go to the hop. (D) Come . . . (C) on . . . (G) Let's go to the hop.

(G) Well you can swing it, you can groove it, you can really start to move it at the hop. Where the (Gm) jockey is the smoothest, and the music is the coolest, at the (G) hop. All the (D) cats and chicks can (C) get their kicks at the (G) hop. Let's go!

(G) Let's go to the hop. Let's go to the hop, (oh baby). (Gm) Let's go to the hop, (oh baby). (G) Let’s go to the hop. (D) Come . . . (C) on . . . (G) Let's go to the hop. Let’s go!

(G) Well you can rock it, you can roll it, do the stomp, and even stroll it at the hop. When the (Gm) record starts a spinnin', you calypso when you chicken, at the (G) hop. Do the (D) dance sensation that is (C) sweepin' the nation at the (G) hop.

(G) You . . . can swing it, you can groove it, you can really start to move it at the hop. Where the (Gm) jockey is the smoothest, and the music is the coolest, at the (G) hop. All the (D) cats and chicks can (C) get their kicks at the (G) hop. Let's go!

(G) Let's go to the hop. Let's go to the hop, (oh baby). (Gm) Let's go to the hop, (oh baby). (G) Let’s go to the hop. (D) Come . . . (C) on . . . (G) Let's go to the hop. Let’s go!

(G) Bah-bah-bah-bah, (Em) bah-bah-bah-bah

(C) Bah-bah-bah-bah. (D) bah-bah-bah-bah, at the (G) hop!

BLOOD ON THE COAL - (Guest/McKean/Shearer) – The Folksmen

TIP: At the end of the chorus, the words “blood on the coal” are repeated twice, in harmony, each within the (Dm) chord. The first repeat is sung beginning with the bottom string (note E#) and the final one beginning with the 3rd string (note A).

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It was (Dm) April 27th, in the (C) year of '91. 'Bout a (Am) mile below the surface in the (Dm) warm Kentucky sun. The late shift was ending and the (C) early shift was late, and the (Am) foreman ate his dinner from a (Dm) dirty tin plate.

(Dm) Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 went (C) in the wrong hole. Now in (Am) mine number 60, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am).

The (Dm) slag pits was steamin', it was (C) seven twenty-five. Every (Am) miner worked the coalface, every (Dm) one of them alive. Train came round the corner, you could (C) hear the trestle groan. But the (Am) switcher wasn't listenin', so he (Dm) left the switch alone.

(Dm) Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 went (C) in the wrong hole. Now in (Am) mine number 60, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am).

Well the (Dm) walls began to tremblin', the (C) men began to yell. You could (Am) hear that lonesome whistle, like an (Dm) echo out of . . . well. They dropped their picks and shovels as to (C) safety they did run, for to (Am) stay amongst the living in the (Dm) year of '91.

(Dm) Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 went (C) in the wrong hole. Now in (Am) mine number 60, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am).

Now an (Dm) Irishman named Murphy said, "I'll (C) stop that iron horse," As he (Am) stood athwart its passage, and it (Dm) crushed him dead, of course. And I hope he hears the irony, when (C) e'er this tale is told that the (Am) train that took his life was burnin' (Dm) good Kentucky coal. (HEY!)

(Dm) Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 got (C) in the wrong hole. Now in (Am) mine number 60, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am). (Dm)

CIRCLE – Harry Chapin

TIP: The (CaddG) will always follow the (Am7). And if you look at the diagram, all you have to do to play the (CaddG) is add your pinky to the bottom string/3rd fret. Doesn’t really matter if you play the upper .

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(G) All my life's a circle, sunrise and sun (Am7) down. The (Am) moon rolls thru the (Am7) nighttime, till the (D7) daybreak comes a (G) round. All my life's a circle, but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years keep (D7) rollin' (G) by.

It seems like I've been here before; I can't remember (Am7) when. But (Am) I have this funny (Am7) feeling, that we'll (D7) all be together a (G) gain. No straight lines make up my life, and all my roads have (Am7) bends. There's (CaddG) no clear-cut be (D7) ginnings, and (C) so far (D7) no dead (G) ends.

(G) All my life's a circle, sunrise and sun (Am7) down. The (Am) moon rolls thru the (Am7) nighttime, till the (D7) daybreak comes a (G) round. All my life's a circle, but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years keep (D7) rollin' (G) by.

I found you a thousand times. I guess you done the (Am7) same. But (Am) then we lose each (Am7) other, it's (D7) like a children's (G) game. As I find you here again, a thought runs through my (Am7) mind: Our (CaddG) love is like a (D7) circle, let's (C) go 'round (D7) one more (G) time.

(G) All my life's a circle, sunrise and sun (Am7) down. The (Am) moon rolls thru the (Am7) nighttime, till the (D7) daybreak comes a (G) round. All my life's a circle, but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years keep (D7) rollin' (G) by.

The (C) years (the years), keep on (D7) rollin’ (keep on rollin’), (G) by. (Am7)(D7)(G)

COULD I HAVE THIS DANCE – (Holyfield/House) – Anne Murray

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I'll (A) always re (A7) member the (D) song they were (E) playin', the (D) first time we (E) danced and I (A) knew (E). As we (A) swayed to the (A7) music and (D) held to each (E) other, (D) I fell in (E) love with (A) you (E).

Could (A) I have this (A7) dance for the (D) rest of my life? Would (E) you be my partner (D) every (E) night? (A) When we're to (A7) gether, it (D) feels so (Dm) right. Could (A) I have this dance for the (E) rest of my (A) life?

I'll (A) always re (A7) member (D) that magic (E) moment, when (D) I held you (E) close to (A) me (E). 'Cause (A) we moved to (A7) gether, (D) I knew for (E) ever, (D) You're all I'll (E) ever (A) need (E).

Could (A) I have this (A7) dance for the (D) rest of my life? Would (E) you be my partner (D) every (E) night? (A) When we're to (A7) gether, it (D) feels so (Dm) right. Could (A) I have this dance for the (E) rest of my (A) life?

Could (A) I have this (A7) dance for the (D) rest of my life? Would (E) you be my partner (D) every (E) night? (A) When we're to (A7) gether, it (D) feels so (Dm) right. Could (A) I have this dance for the (E) rest of my (A) life? (D) (A)

DAYDREAM BELIEVER – (Stewart) - The Monkees

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Oh, I could (G) hide ‘neath the (Am) wings of the (Bm) bluebird as she (C) sings. The (G) six o’clock a (Em) larm would never (A7) ring (D7). But it (G) rings and I (Am) rise, wipe the (Bm) sleep out of my (C) eyes. My (G) shavin’ (Em) razor’s (C) cold (D7) and it (G) stings.

(C) Cheer up, (D) sleepy (Bm) Jean. (C) Oh, what (D) can it (Em) mean? (C) To a (G) daydream be (C) liever and a (G) homecom (Em) ing (A7) queen (D7).

(G) You once thought of (Am) me as a (Bm) white knight on a (C) steed. (G) Now you know how (Em) happy I can (A7) be (D7). Oh, and our (G) good times starts and (Am) end without (Bm) dollar one to (C) spend. But (G) how much, (Em) baby, (C) do we (D7) really (G) need?

(C) Cheer up, (D) sleepy (Bm) Jean. (C) Oh, what (D) can it (Em) mean? (C) To a (G) daydream be (C) liever and a (G) homecom (Em) ing (A7) queen (D7).

(C) Cheer up, (D) sleepy (Bm) Jean. (C) Oh, what (D) can it (Em) mean? (C) To a (G) daydream be (C) liever and a (G) homecom (Em) ing (A7) queen (D7). (G)

DEAD MAN’S CURVE – (Kornfeld/Wilson/Berry/Christian) – Jan and Dean

TIP: The D# is just D on the 3rd fret (ignore the top note). When you play it just hit the bottom 3 strings.

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Intro: (Gadd) – (G); (Gadd) – (G)

(G) I was cruisin’ in my Stingray (Gadd) late one night, when an (C) XKE pulled up on the right, and (G) rolled down the window of his (Gadd) shiny new Jag, and (D) challenged me then and there to a drag. I (G) said “You’re on, buddy, my (Gadd) mill’s runnin’ fine. Let’s (C) come off the line now, at Sunset and Vine. But I’ll (G) throw you one better if you’ve (Gadd) got the nerve, let’s (Am) race all the way (D) to Dead Man’s . . .

(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve, you best keep away. (C) Dead Man’s Curve, I can hear ‘em say: (D) “Won’t come (D#) back from (Am7) Dead Man’s (D) Curve” (D)(D7)(G)(D)

(G) The street was deserted late (Gadd) Friday night. We were (C) buggin’ each other while we sat out the light. We (G) both popped the clutch when the (Gadd) light turned green. You (D) should of heard the whine from my screamin’ machine. I (G) flew past LaBrea, Schwab’s, and (Gadd) Crescent Heights, and (C) all the Jag could see were my six tail lights. He (G) passed me at Doheny then I (Gadd) started to swerve, but I (Am) pulled her out and there we (D) were at Dead Man’s . . .

(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve. (Em)

Well, (G) the last thing I remember, Doc, I started to swerve. And (Em) then I saw the Jag slide into the curve. I (C) know I’ll never forget that horrible sight. I (D) guess I found out for myself that everyone was right: Won’t come (D#) back from (Am7) Dead Man’s (D) Curve. (D)(D7)(G)(D)

(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve, you best keep away. (C) Dead Man’s Curve, I can hear ‘em say: (D) Won’t come (D#) back from (Am7) Dead Man’s (D) Curve. (D)(D7)(G)(D)

(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve, you best keep away. (C) Dead Man’s Curve, I can hear ‘em say: (D) Won’t come (D#) back from (Am7) Dead Man’s (D) Curve (D)(D7)(G)(D) . . . (Em)

DESPERADO – (Henley/Frey) – The Eagles/Linda Ronstadt

TIP: Sorry, no pass this time with the (Am7). In this song the “full version” should be played (if possible) rather than the Easy Chord. Both diagrams appear. The “full version” is simply a regular (Am) with the pinky extended to the 1st string/4th fret.

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(G) Desperado (G7), why don't you (C) come to your (A7) senses? You been (G) out ridin' fences, for (A7) so long (D7) now. Oh, you're a (G) hard one. (G7) I know that (C) you got your (A7) reasons. These (G) things that are (Em) pleasin' you, can (A7) hurt you (D7) some (G) how. (D)

Don't you (Em) draw the queen of (Bm) diamonds, boy. She'll (C) beat you if she's a (G) ble. You know the (Em) queen of hearts is (C) always your best (G) bet (D). Now it (Em) seems to me, some (Bm) fine things have been (C) laid upon your (G) table. But you (Em) only want the (A7) ones that you can't (Am7) get (A).

(D7) Desper (G) ado (G7), oh you ain't (C) gettin' no (A7) younger. Your (G) pain and your (Em) hunger, they're (A7) drivin' you (D7) home. And (G) freedom, oh freedom (G7) well, that's just (C) some people (A7) talkin'. Your (G) prison is (Em) walking through this (A7) world all (D7) a (G) lone. (D)

Don't your (Em) feet get cold in the (Bm) winter time? The (C) sky won't snow and the (G) sun won't shine. It's (Em) hard to tell the (C) night time from the (G) day (D). You're (Em) losin' all your (Bm) highs and lows, ain't it (C) funny how the (G) feeling goes a (Am7) way (A)?

(D7) Desper (G) ado (G7), why don't you (C) come to your (A7) senses? Come (G) down from your (Em) fences, (A7) open the (D7) gate. It may be (G) rainin', (G7) but there's a (C) rainbow above (A7) you. You better (G) let somebody (Em) love you - (C) let somebody love (Am7) - you better (G) let somebody (Em) love you . . . [slow down] . . . be (Am7) fore it's (D7) too (G) late.(C)(G)

DO YOU LOVE ME – (Gordy) – The Contours

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(D) You broke my heart, (G) 'cause I couldn't dance. (A) You didn't even want me around (D). And now I'm back, to let you know, (A) I can really shake 'em down (D). (A7)-(A7)-(A7)

Do you (D) love me? I can (G) really (A) move. Do you (D) love me? I'm (G) in the (A) groove. Ah do you (D) love me? (G) Do you (A) love me. (G) Now that (Gm) I can (A) dance. (A7) Dance, dance, dance. Watch me now.

(D) Work, work. Ah, (G) work it all ba (A) by. (D) Work, work. Well, you're (G) drivin' me cra (A) zy. (D) work, work. With a (G) little bit of soul (A) now. (D) work. (G)(A)

I can (D) mash-potato. I can (G) mash-po (A) tato. And I can (D) do the twist. I can (G) do the (A) twist. Now (D) tell me baby. (G) Tell me (A) baby, do you (D) like it like this? Do you (G) like it like (A) this? Tell me. Tell me. Tell me. (A7) Tell me.

Do you (D) love me? (G) Do you (A) love me? Now, do you (D) love me? (G) Do you (A) love me? Now, do you (D) love me? (G) Do you (A) love me? (G) Now that (Gm) I can (A) dance. (A7) Dance, dance, dance. Watch me now.

(D) Work, work. Ah, (G) shake it up, (A) shake it. (D) Work, work. Ah, (G) shake 'em, shake 'em (A) down. (D) Work, work. Ah, (G) little bit of soul (A) now. (D) Work. (G)(A)

(D) Work, work. Ah, (G) work it all ba (A) by. (D) work, work. Ah, you're (G) driving me cra (A) zy. (D) Work, work. Ah, (G) don't get la (A) zy. (D) Work. (G)(A)

I can (D) mash-potato. I can (G) mash-po (A) tato. And I can (D) do the twist. I can (G) do the (A) twist. Now (D) tell me baby. (G) Tell me (A) baby, do you (D) like it like this? Do you (G) like it like (A) this? Tell me. Tell me. Tell me. (A7) Tell me.

Do you (D) love me? (G) Do you (A) love me? Now, do you (D) love me? (G) Do you (A) love me?

Now, do you (D) love me? (G) Do you (A) love me? Now, now, now.

(D) Work, work. Ah, I'm (G) working hard ba (A) by. (D) Work, work. Well, you're (G) driving me cra (A) zy. (D) Work, work. And (G) don't you get la (A) zy. (D) Work.

FERRY CROSS THE MERSEY – (Marsden) – Gerry and the Pacemakers



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(D) Life (Am7), goes on day after (D) day (Am7). (D) Hearts (Am7), torn in every (D) way (Am7).

So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love. And here I'll (D) stay (Am7)(D)(Am7).

(D) Peo- (Am7), -ple they rush every (D) where (Am7). (D) Each (Am7), with their own secret (D) care (Am7).

So (D) ferry, 'cross the (F#m) Mersey, and (G) always take me (A) there. The place I (D) love (Am7) (D).

(G) People a (A) round every (F#m) corner. (G) They seem to (A) smile and (D) say. (Em) “We don't (A) care what your (D) name is (F#m) boy. (E) We'll never turn you a (A) way.”

(D) So (Am7), I'll continue to (D) say (Am7). (D) Here (Am7), I always will (D) stay (Am7).

So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love. And here I'll (D) stay (Am7). And here I'll (D) stay (Am7). Here I'll (D) stay.

FOLLOW ME – John Denver

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It's by (Em) far the hardest (D) thing I've ever (G) done. To be (C) so in (G) love with (Am7) you and so a (D) lone. (D7)

Follow (G) me where I (Am7) go, what I (G) do and who I (C) know. Make it (G) part of you to (Am7) be a part of (D) me. (D7) Follow (G) me up and (Am7) down, all the (G) way and all a (C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.

It's (G) long been on my (D) mind, you know it's (C) been a long, long (G) time. I've (Em) tried to find the (D) way that I can (C) make you under (D) stand. The (C) way I feel a (G) bout you, and (C) just how much I (G) need you. To be (C) there where (G) I can (Am7) talk to you, when (C) there's no one else a (D) round.

Follow (G) me where I (Am7) go, what I (G) do and who I (C) know. Make it (G) part of you to (Am7) be a part of (D) me. (D7) Follow (G) me up and (Am7) down, all the (G) way and all a (C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.

You see I'd (G) like to share my (D) life with you, and (C) show you things I've (G) seen. (Em) Places that I'm (D) going to, (C) places where I've (D) been. To (C) have you there beside (G) me, and (C) never be (G) alone. And (C) all the (G) time that (Am7) you're with me, (C) we will be at (D) home.

Follow (G) me where I (Am7) go, what I (G) do and who I (C) know. Make it (G) part of you to (Am7) be a part of (D) me. (D7) Follow (G) me up and (Am7) down, all the (G) way and all a (C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.

LESSON 10 - THE "KILLERS"

There are three chords in particular that give new guitar players fits. And I must admit I was among them. But with a little practice and experience you'll learn these as well. You'll never love seeing them, but they won't scare you either.

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F MAJOR denoted as F or (F)

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So here is big bad (F). It's the first chord that beginners learn which requires four strings be covered instead of three. But it's not so bad. You'll play (F) a lot so you just have to deal with it. The secret to playing (F) is to nail the ring finger (3 in the diagram). The middle finger will then fall naturally where it's suppose to go. The index finger covers the bottom two strings in the first fret in a mini-barre. And the secret to doing that is to roll your wrist just a bit so it's the thumb side of your index finger that's pressing down on these two strings.

The (F) just takes practice. Lots of practice. Deal with it. After a while you'll play the (F) just as easily as any other chord.

And like the (C), after you get use to playing the (F) for a while you can add your pinky above the ring finger to cover the bass note string at the 5th string/3rd fret, like this:

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But you can worry about that later.

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B SEVENTH denoted by B7 or (B7)

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I will admit this is not an easy chord to play and still gives me pause. The problem is that open 2nd string. You have to get your ring and pinky positioned correctly so as to not touch the B string. The secret is to get the top three notes down first and then worry about getting the pinky on the bottom string. And the secret to doing that is the index finger. When you see a (B7) coming up in a song you want to use the index finger to "point" at the 4th string in the 1st fret. It's the only one in the first fret so it's not that hard to hit. Once you do then you can "naturally" straddle the 5th and 3rd strings with your middle and ring fingers. Then you can lay down the pinky.

If it's just a brief one or two note cover in the song, you can even forget about the pinky altogether if you can remember not to strum or strike the bottom string.

Unfortunately, when a song calls for a (B7) there's usually no way around it due to its distinctive sound. You could try playing a (Bm) instead, which sometimes you can get away with (not that the (Bm) is a picnic) but for the most case you'll just need to play the (B7). Again, deal with it.

One final comment. In many song diagrams you'll see the (B7) like this:

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While this is a suitable short cut to playing the (B7), providing you don't strike above the 5th/A string, the problem comes in how you play the chord. The easiest way is to straddle the open 2nd/B string with the middle and ring fingers, with the index finger covering the 4th/D string in the 1st fret. That is how I learned to play the (B7) and did so for the longest time. When I realized I should have been playing it as in the photo I struggled to make the adjustment. So avoid my mistake and learn to play the (B7) with four notes and not three. Sure it's a little harder but you'll be glad you did.

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B FLAT denoted by Bb or (Bb)

B MAJOR denoted by B or (B)

I've lumped these two together because they're the same chord just played on a different fret. The (Bb) is played more often than the (B), usually in conjunction with an (F).

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On first glance at the diagram you might say, "well that doesn't look so bad, let's see, that's just an (A) with your pinky in the corner." Except your pinky doesn't work that way. So you have to use your bottom three fingers instead of the middle three and use your index finger to cover the bottom string, as shown. But for some reason, the (Bb) gives people fits, including me. It's my least favorite chord to play. Maybe because it's the pinky in there, although with the pinky there's less mass squeezed into a single fret, but I just never seem to get a good sounding chord and since it takes me a second or two to get properly placed I find it hard to maintain the rhythm of the song.

But, it is what it is.

Here are a few songs with the (F) and (B7) and (Bb) to play with.

A MIGHTY WIND - (Levy/Guest/McKean) – The Folksmen, Mitch & Mickey, The New Main Street Singers

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As I (C) travel down the back roads, of this (Am) home I love so (F) much. Every (C) carpenter and (Am) cowboy, every (Dm) lame man on a (G) crutch. They’re all (F) talking about a (Em) feeling, ‘bout a (F) taste that’s in the (G) air. They’re all (F) talking about this (C) mighty (Am) wind, that’s (F) blowing eve (G) ry (C) where.

Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand. It’s (Am) blowin’ out a message to every (D7) woman, child, and (Bb) man (G). Yes a (Bb) mighty wind’s a (F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G). It’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.

From a (C) lighthouse in Barr Har (Am) bor, to a (F) bridge called Golden Gate. From a (C) trawler down in (Am) Shreveport, to the (Dm) shore of one great (G) lake. There’s a (F) star on the hor (Em) izon, and it’s (F) burning like a (G) flame. It’s (F) lighting up this (C) mighty (Am) wind, that’s (F) blowin’ eve (G) ry (C) where.

Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand. It’s (Am) blowin’ out a message to every (D7) woman, child, and (Bb) man (G). Yes a (Bb) mighty wind’s a (F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G). It’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.

When the (C) blind man sees the pic (Am) ture, when the (F) deaf man hears the word. When the (C) fisherman stops (Am) fishing, when the (Dm) hunter spares the (G) herd. We’ll still (F) hear the wondrous (Em) story, of a (F) world where people (G) care. The (F) story of this (C) mighty (Am) wind that’s (F) blowin’ eve (G) ry (C) where.

Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand. It’s (Am) blowin’ out a message to every (D7) woman, child, and (Bb) man (G). Yes a (Bb) mighty wind’s a (F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G). It’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.

Yes it’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ you (G) and (C) me. (C)

A TIME FOR US – (Kusik/Snyder/Rota) - Johnny Mathis

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(Am) A time for (Em) us, some day there'll (F) be. When chains are (C) torn, by courage (Dm) born, of a love that's (Am) free. A time when (Em) dreams, so long de (F) nied, can (Dm) flour (Em) ish. As (Am) we unveil the love we now (Em) must (Am) hide.

A (C) time for (G) us, at (Dm) last to (Am) see. A (Bb) life worth (F) while, for (Em) you and (Am) me.

And with our (Em) love, through tears and (F) thorns. We will en (C) dure, as we pass (Dm) sure, through every (Am) storm. A time for (Em) us, some day there'll (F) be, a (Dm) new (Em) world. A (Am) world of shining hope for you (Em) and (Am) me.

A (C) time for (G) us, at (Dm) last to (Am) see. A (Bb) life worth (F) while, for (Em) you and (Am) me.

And with our (Em) love, through tears and (F) thorns. We will en (C) dure, as we pass (Dm) sure, through every (Am) storm. A time for (Em) us, some day there'll (F) be, a (Dm) new (Em) world. A (Am) world of shining hope for you (Em) and (Am) me.

ALL I HAVE TO DO IS DREAM – (Bryant) - The Everly Brothers

TIP: You’ll already be playing the (C) so to play (C7) just add a pinky to the 3rd fret, 3rd string from bottom.

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Intro: (C) (Am) (F) (G7)

When (C) I want (Am) you (Dm7), in my (G7) arms. When (C) I want (Am) you (Dm), and all your (G7) charms. When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (Am). (F) Dream, dream, (G7) dream.

When (C) I feel (Am) blue (Dm7), in the (G7) night, and (C) I need (Am) you (Dm), to hold me (G7) tight. When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (F) (C). (C7)

(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or (C) day (C7). (F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G7) way.

I (C) need you (Am) so (Dm7), that I could (G7) die. I (C) love you (Am) so (Dm), and that is (G7) why, when (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (F) (C). (C7)

(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or (C) day (C7). (F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G7) way.

I (C) need you (Am) so (Dm7), that I could (G7) die. I (C) love you (Am) so (Dm), and that is (G7) why, when (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (F) (C).

AMERICA THE BEAUTIFUL – (Bates) – Traditional

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(E7) O (A) beautiful for (E) spacious skies, for (E7) amber waves of (A) grain.

(E7) For (A) purple mountain (E) majesties, above the (B7) fruited (E) plain.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God shed his grace on (A) thee.

And (D) crown thy good with (A) brotherhood from (D) sea to (E7) shining (A) sea.

(E7) O (A) beautiful for (E) pilgrim feet, whose (E7) stern impassion'd (A) stress,

(E7) a (A) thoroughfare for (E) freedom beat, across the (B7) wilder (E) ness.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God mend thine ev'ry (A) flaw.

Con (D) firm thy soul in (A) self-control, thy (D) liber (E7) ty in (A) law.

(E7) O (A) beautiful for (E) heroes proved, in (E7) liberating (A) strife.

(E7) Who (A) more than self their (E) country loved, and (E7) mercy more than (A) life.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. May God thy gold re (A) fine,

till (D) all success be (A) nobleness, and (D) ev'ry (E7) gain div (A) ine.

(E7) O (A) beautiful for (E) patriot dream, that (E7) sees beyond the (A) years.

(E7) Thine (A) alabaster (E) cities gleam, un (E7) dimmed by human (A) tears.

(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God shed his grace on (A) thee,

and (D) crown thy good with (A) brotherhood, from (D) sea to (E7) shining (A) sea.

BALLAD OF THE GREEN BERET – (Sadler/Moore) - Barry Sadler

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(C) Fighting soldiers (G) from the (C) sky. Fearless (G) men who jump and (C) die. Men who (F) mean just what they (C) say. The brave (G) men of the Green Ber (C) et.

Silver wings up (G) on their (C) chest. These are (G) men, America's (C) best. One hundred (F) men will test to (C) day, but only (G) three win the Green Ber (C) et.

Trained to live off (G) nature's (C) land. Trained in (G) combat, hand to (C) hand. Men who (F) fight by night and (C) day. Courage (G) deep from the Green (C) Beret.

Silver wings up (G) on their (C) chest. These are (G) men, America's (C) best. One hundred (F) men will test to (C) day, but only (G) three win the Green Ber (C) et.

Back at home a (G) young wife (C) waits. Her Green Ber (G) et has met his (C) fate. He has (F) died for those o (C) ppressed. Leaving (G) her his last re (C) quest.

Put silver wings on (G) my son's (C) chest. Make him (G) one of America's (C) best. He'll be a (F) man they'll test one (C) day. Have him (G) win the Green Ber (C) et (F) (C).

BEN - (Black/Scharf) – Michael Jackson

TIP: In the last verse, the first two lines are sung like the first and second verses but the third line is sung differently. It starts with (Gadd) “They . . .” which is note and not note as in the first two verses.

TIP: If it helps, imagine you’re singing to a rat.

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(G) Ben, the two of us need (D) look no more. (G) We, both found what we were (D7) looking for. (G) With a friend to call my (B7) own, I'll never be a (G) lone, and (E) you my friend will (Am) see. You've (D) got a friend in (G) me. (You’ve (C) got a friend in (G) me.)

Ben, you're always running (D) here and there. (G) You, feel you're not wanted (D7) anywhere. (G) If, you ever look be (B7) hind, and don't like what you (G) find, there's (E) something you should (Am) know: You've (D) got a place to (G) go. (You’ve (C) got a place to (G) go.)

I (Am) used to say, (D7) "I" and (G) "me". (Am) Now it's "us", (D7) now it's (G) "we". I (Am) used to say, (D7) "I" and (G) "me". (Am) Now it's "us", (D7) now it's (G) "we".

Ben, most people would turn (D) you away. (G) I, don't listen to a (D7) word they say. (Gadd) They, don't see you as I (D) do. I wish they would try (C) to. I'm (E) sure they'd think a (Am) gain, if they (D) had a friend like (G) Ben (C). A (G) friend. (C) Like (G) Ben (C). Like (G) Ben. (C) (G)

BOATS TO BUILD – (Clark) - Alan Jackson & Jimmy Buffett

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It's (C) time for a (F) change. I'm (C) tired of that (F) same ol same. The (G) same ol words, the (Am) same ol lines, the (Bb) same ol tricks, and the (G) same ol rhymes.

(C) Days, precious (F) days. (C) Roll in and (F) out like waves. I got (G) boards to bend, I got (Am) planks to nail, I got (Bb) charts to make, I got (G) seas to sail.

I'm gonna (F) build me a boat, with (G) these two hands. She'll be a (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall (G) where they will, cause I've got (C) boats to build.

(C) Sails, are just like (F) wings. The (C) wind can (F) make 'em sing. (G) Songs of life, (Am) songs of hope, (Bb) songs to keep your (G) dreams afloat.

I'm gonna (F) build me a boat, with (G) these two hands. She'll be a (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall (G) where they will, cause I've got (C) boats to build.

(C) Shores, distant (F) shores. (C) There's where I'm (F) headed for. I (G) got the stars, to (Am) guide my way, (Bb) sail into the (G) light of day.

I'm gonna (F) build me a boat, with (G) these two hands. She'll be a (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall (G) where they will, cause . . . I'm gonna (F) build me a boat, with (G) these two hands. She'll be a (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall (G) where they will, cause I've got (C) boats to build.

(G) I've got (C) boats to build. (G) I've got (C) boats to build.

THE BOXER – (Simon) - Simon and Garfunkel

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(C) I am just a poor boy though my story's seldom (Am) told I have (G) squadered my resistance for a (F) pocket full of (G7) mumble such are (C) promises. All lies and  (Am) jest, still a (G) man hears what he (F) wants to hear and disregards the (C) rest. (G) (C)

When I left my home and my family, I was no more than a (Am) boy in the (G) company of strangers in the (Dm7) quiet of a railway (G7) station running (C) scared. Laying  (Am) low, seeking (G) out the poorer (F) quarters Where the ragged people (C) go looking (G) for the places (F) only (Em) they (G) would (C) know.

Lie la (Am) lie  -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie -- la lie (G) lie lie lie (F) lie -- lie lie lie lie lie (C) lie

Asking only workman's wages I come looking for a (Am) job but I get no (G) offers. Just a (Dm7) come-on from the (F) whores on 7th Aven (C) ue. I do de (Am) clare, there were (G) times when I was so (F) lonesome I took some comfort (C) there. Ooh lah (G) lah lah lah lah (C) lah.

Then I'm laying out my winter clothes and wishing I was (Am) gone, going (G) home where the (Dm7) New York city (F) winters are not (C) bleeding me. Leading (Em) me, (Am) going (G) home. In the (C) clearing stands a boxer and a fighter by his (Am) trade and he (G) carries a reminder of (G7) ev’ry glove that laid him down or (C) cut him till he cried out in his anger and his (Am) shame I am (G) leaving, I am leaving but the (G7) fighter still (C) remains.

Lie la (Am) lie -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie -- la lie (G) lie lie lie (F) lie -- lie lie lie (G) lie (C) lie.

Lie la (Am) lie -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie -- la lie (G) lie lie lie (F) lie -- lie lie lie lie (C) lie.

CAN YOU FEEL THE LOVE TONIGHT – (John/Rice) – Elton John

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(F) There's a calm surr (C) ender, (F) to the rush of (C) day. (F) When the heat of a (C) rolling wind, (Dm) can’t be turned a (G) way. (F) An enchanted (C) moment, (F) and it sees me (C) through. (F) It's enough for this (C) restless (Am) warrior, (Dm) just to be with (G) you.

And (C) can you (G) feel the (Am) love to (F) night? (C) It is (F) where (C) we (G) are. (F) It's e (C) nough for this (G) wide (Am) eyed (F) wanderer, (Dm) that (Am) we (G) got (C) this (G) far. And (C) can you (G) feel the (Am) love to (F) night? (C) How it's (F) laid to (G) rest. (F) It's e (C) nough, to make (G) kings (Am) and (F) vagabonds, be (Dm) lieve (Am) the (G) very (C) best.

(F) There's a time for (C) everyone, (F) if they only (C) learn. (F) That the twisting kal (C) eidoscope, (Dm) moves us all in (G) turn. (F) There's a rhyme and (C) reason, (F) to the wild out (C) doors. (F) When the heart of this (C) star-crossed (Am) voyager, (Dm) beats in time with (G) yours.

And (C) can you (G) feel the (Am) love to (F) night? (C) It is (F) where (C) we (G) are. (F) It's e (C) nough for this (G) wide (Am) eyed (F) wanderer, (Dm) that (Am) we (G) got (C) this (G) far. And (C) can you (G) feel the (Am) love to (F) night? (C) How it's (F) laid to (G) rest. (F) It's e (C) nough, to make (G) kings (Am) and (F) vagabonds, be (Dm) lieve (Am) the (G) very (C) best.

CHAPEL OF LOVE – (Barry/Greenwich/Specter) – Dixie Cups

TIP: (A) will be preceded by (Em) so it will be easier to play the (A) with the middle, ring, and pinky fingers as all you have to do is drop down string-set.

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(D) Going to the chapel and we're gonna get married. (Em) Going to the (A) chapel, and we're (Em) gonna get (A) married. (D) Gee, I really love you and we're gonna get married. (Em) Going to the (A) chapel of (D) love. (A)

(D) Spring is here, the sky is blue. (Em) Birds all (A) sing, as (Em) if they (A) knew. (D) Today's the day, we'll say, "I (B) do." And we'll (Em) never be (A) lonely any (D) more (A).

Because we’re (D) going to the chapel and we're gonna get married. (Em) Going to the (A) chapel, and we're (Em) gonna get (A) married. (D) Gee, I really love you and we're gonna get married. (Em) Going to the (A) chapel of (D) love. (A)

(D) Bells will ring, the sun will shine. (Em) I'll be (A) hers and (Em) she'll be (A) mine. (D) We'll love until, the end of (B) time. And we'll (Em) never be (A) lonely any (D) more (A).

Because we’re (D) going to the chapel and we're gonna get married. (Em) Going to the (A) chapel, and we're (Em) gonna get (A) married. (D) Gee, I really love you and we're gonna get married. (Em) Going to the (A) chapel of (D) love. (A) (D)

DANIEL – (John/Taupin) – Elton John

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INTRO: (C) (F) (G) (F) (C)

Daniel is traveling tonight on a (Dm) plane. (G) I can see the red tail lights (E7) heading for Spa- (Am) -ain. Oh and, (F) I can see (G) Daniel wavin’ good (Am) bye. God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes. (G7)

(C) They say-Spain-is-pretty, though I've never (Dm) been. (G) Well Daniel says-it's-the-best place, (E7) that he's ever (Am) seen. Oh and, (F) he should (G) know, he's been there e (Am) nough. Lord (F) I miss Daniel, (G7) oh I (F) miss him so (C) much.

(F) Daniel my brother, you are (C) older than me. Do you still (F) feel the pain, of the (C) scars that won't heal? Your eyes have (Am) died, but you see more than (F) I. (Fm) Daniel you're a (C) star, (A7) in the face of the (Dm) sky (G7).

(C) Daniel is traveling tonight on a (Dm) plane. (G) I can see the red tail lights (E7) heading for Spa- (Am) -ain. Oh and, (F) I can see (G) Daniel wavin’ good (Am) bye. God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes.

Oh God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes.

DIXIE – (Emmett) - Traditional

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O, I (A) wish I was in the land of cotton. (D) Old times there are not forgotten. Look (A) away! Look away! Look (E) away! Dixie (A) Land. In Dixie Land where I was born in, (D) early on a frosty mornin'. Look (A) away! Look away! Look (E) away! Dixie (A) Land.

O, I wish I was in (D) Dixie! Hoo (B7) ray! Hoo (E7) ray! In (A) Dixie Land I'll (D) take my stand to (A) live and die in Dix (E7) ie. A (A) way, a (E7) way. A (A) way down south in (E7) Dix (A) ie!

Old Missus marry Will, the weaver. (D) William was a gay deceiver. Look (A) away! Look away! Look (E) away! Dixie (A) Land. But when he put his arm around her, (D) smiled as fierce as a forty pounder. Look (A) away, look away. Look (E) away, Dixie (A) land.

O, I wish I was in (D) Dixie! Hoo (B7) ray! Hoo (E7) ray! In (A) Dixie Land I'll (D) take my stand to (A) live and die in Dix (E7) ie. A (A) way, a (E7) way. A (A) way down south in (E7) Dix (A) ie!

There is buckwheat cakes and Injun batter, (D) makes you fat or a little fatter. Look (A) away, look away, look (E) away, Dixie (A) land. Then hoe it down and scratch your gravel, to (D) Dixie's land I'm bound to travel. Look (A) away, look away. Look (E) away, Dixie (A) land.

O, I wish I was in (D) Dixie! Hoo (B7) ray! Hoo (E7) ray! In (A) Dixie Land I'll (D) take my stand to (A) live and die in Dix (E7) ie. A (A) way, a (E7) way. A (A) way down south in (E7) Dix (A) ie.

A (A) way, a (E7) way. A (A) way down south in (E7) Dix (A) ie!

LESSON 11: ALTERNATE CHORDS AND CHORDS GALORE

We're just about done with chords! And no more to memorize!! With the ones I've shown you thus far you'll be able to play 80% of the songs out there. This lesson focuses on alternate chords, which are common chords that can be played elsewhere on the fingerboard, and the many other chords which I haven't shown you, and won't cover in any detail, because they're played so seldom.

ALTERNATE CHORDS. Ninety-five percent of the time you'll play the chords as you've learned them, in the position you've learned them, down in the first 3 or 4 frets. But the major chords can be played elsewhere up the fingerboard in a different configuration. Why would you want to play them up there in an alternate form and location? Well, every so often there will be a cadence or rhythm in which you want a little different sound, usually to accentuate the treble side of things. Here's an example from Rock Around the Clock:

We're gonna (D) rock around the clock tonight. We're gonna (A) rock, rock, rock, 'til broad daylight. We're gonna (E7) rock, gonna rock, a (E7 full) round the clock to (A) night.

(Instrumental) (A) (D) (F5) (E) (A)

When the clock strikes twelve, we'll cool off then. Start a rockin' round (A6) the (A6+) clock (A6) a (A) gain.

In the (F5) diagram below, whenever you see a number outside the box, in this case the little "5" it means that's the 5th fret. So that looks like an (F) chord but it's played way up on the 5th fret.

The (A) [pic] and the (F5) [pic] are both (A) chords but the (F5) has a higher pitch. So in the instrumental riff in the song playing the (F5) instead of another (A) gives the song a slightly different sound. If you play them both you'll hear the same chord but with a "tingle" with the (F5). Kind of the how when you sing the same note but an octave higher. Same sort of thing.

Another reason you might play an alternate chord is because it's simply easier to play the chord in a different way, higher up the fingerboard. For example, let's say try as you might you just can't get comfortable playing the (Bm). It can be played as an (F#m) barre chord on the 7th fret:

[pic][pic] These are the same chords (you'd play the one on the right either as an (A) down one string-set or as a barre with your index finger, and forget about the top three notes).

The trade off is quickly finding the right fret, which is what the fingerboard markings are for. Now some alternatives are actually harder to play than the non-alternatives but it's nice to know they can be played a different way.

Here then are some alternate chords:

[pic]=[pic](or "F on 5") [pic]=[pic] [pic]= [pic](or "F on 7", ignore the top two notes)

[pic]= [pic](A on 4th with pinky on bottom, or index finger barre on 4th fret with middle or ring on bottom string)

[pic]= [pic]("A" on 7th fret and down one string-set, or index finger barre - in either case ignoring the top three notes)

[pic]= [pic](A on 5th, ignore top note) = [pic](F on 8th fret, ignoring top note) All three are (C)

[pic]= [pic]We haven't talked about (Cm) which if you look is (Bm) played on the 3rd fret. But it can be played as an index finger barre on the 8th fret (ignoring the top 3 notes).

[pic]= [pic](B on 5th fret . . . but why?) [pic]= [pic] (Again, why?)

[pic]= [pic] (Dm7 is played like an F but without the ring finger. But if the (D) is more comfortable you could play it on the 5th fret and ignore the top string note).

[pic]= [pic](D on 5th fret. The thing is, to make the chord really sound like an (F) you want to include that rogue note at the 4th string/4th fret with your pinky and it's not easy to do. This formation is sometimes called (D/A). Still, it's an alternative to the (F) which some find difficult to master.)

[pic]= [pic](D on 7th fret)

CHORDS GALORE. Okay, we've covered quite a few chords but there are literally hundreds more: augmented chords, diminished chords, sharps, flats, and the list goes on. For example, here's a small sampling just for the family of (G) chords:

[pic]

And as you can imagine there's a similar list for each major chord. But the thing is, when you play a song containing one of these weird chords, there will be the attendant diagram to go with it. So all you've got to do is study the diagram and figure out the easiest way to play the damn thing using what you know about the major chords and alternate chords, etc. And curse the songwriter who put them in there in the first place.

In the final lesson I will show you where to go to find all the diagrams for all the chords.

That's it for this lesson, and we're done with chords.

LESSON 12: RESOURCES

In this lesson I'm going to share with you my favorite resources.

SONGBOOK. First up, and not to sound too self-congratulatory, is my own Songbook. I've been working on my Songbook for years now and in theory it will always be a work in progress as I always hope to learn new songs. The full story of how it came to be in the first place can be found in the Songbook itself but the short version is it contains songs I've culled from various sources, in print and on-line, of songs I found and wanted to learn to play. It also has pages full of chord diagrams.

CHORDIE. The other source I want to show you is an on-line site called Chordie:



Here you'll find thousands of songs, searchable alphabetically by artist or song title, and most include the chord diagrams. The website is pretty self explanatory but I want to make you aware of one feature in particular.

Let's say you find a song you like, for instance:

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But you don't like having to deal with the (F) or especially the (Bb) like I don't. Well that's the beauty of Chordie. If you look over at the right hand side you'll see a section called "Transpose Chords".

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Well all you have to do is click on this feature and choose from among the different semitones, which changes the key and the resulting chords, for example here into (G) which is much easier to play.

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Sweet!

As a general rule:

Songs in the key of: Will use these chords most often:

A (A) (Bm) (D) (E)

C (C) (Dm) (Em) (F) (G)

D (D) (Em) (G) (A) (Bm)

E (E) (A) (B)

F (F) (Gm) (Am) (Bb) (C) (Dm)

G (G) (Am) (Bm) (C) (D) (Em)

Also on Chordie under the "Resources" tab you'll find chord diagrams in large sheets. They're not quite as all encompassing as the Facoline's Ultimate Chord Diagram found in Songbook but more convenient if you're already at Chordie or on-line.

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