Track Number |
Chapter |
Description
|
1 |
Book I Chapter 1 |
Open string tuning reference
|
2 |
Book II Chapter 1 |
Simple chord progressions in the keys of A, D, G, and C
|
3 |
Book II Chapter 1 |
“Kumbaya”
|
4 |
Book II Chapter 1 |
“Swing Low, Sweet Chariot”
|
5 |
Book II Chapter 1 |
“Auld Lang Syne”
|
6 |
Book II Chapter 1 |
“Michael, Row the Boat Ashore”
|
7 |
Book II Chapter 2 |
“Home on the Range”
|
8 |
Book II Chapter 2 |
“All Through the Night”
|
9 |
Book II Chapter 2 |
“Over the River and Through the Woods”
|
10 |
Book II Chapter 2 |
“It’s Raining, It’s Pouring”
|
11 |
Book II Chapter 2 |
“Oh, Susanna”
|
12 |
Book II Chapter 3 |
A typical power-chord progression
|
13 |
Book II Chapter 3 |
A progression using A-based major barre chords
|
14 |
Book II Chapter 3 |
Chord changes to Bob Dylan’s “Lay Lady Lay”
|
15 |
Book II Chapter 4 |
Strumming an E chord in quarter notes
|
16 |
Book II Chapter 4 |
An eighth-note progression using right-hand downstrokes
|
17 |
Book II Chapter 4 |
An easy 4/4 strum in eighth notes using downstrokes and upstrokes
|
18 |
Book II Chapter 4 |
Strumming in quarter and eighth notes for different intensity levels
|
19 |
Book II Chapter 4 |
A medium-tempo R&B progression using sixteenth notes
|
20 |
Book II Chapter 4 |
Eighth-note shuffle in G
|
21 |
Book II Chapter 4 |
A boom-chick pattern in a bouncy country-rock progression
|
22 |
Book II Chapter 4 |
Separating the bass notes from the treble chord forms with Led Zeppelin-ish feel
|
23 |
Book II Chapter 4 |
A moving bass line over a chord progression
|
24 |
Book II Chapter 4 |
A common rock figure using eighth-note syncopation
|
25 |
Book II Chapter 4 |
A common rock figure using eighth- and sixteenth-note syncopation
|
26 |
Book II Chapter 4 |
Left-hand muting to simulate syncopation
|
27 |
Book II Chapter 4 |
A rhythm figure with palm mutes and accents
|
28 |
Book II Chapter 4 |
An eighth-note 5-6 progression using all downstrokes and a moving left hand
|
29 |
Book II Chapter 4 |
Fingerstyle arpeggios
|
30 |
Book II Chapter 4 |
A straight-ahead 4/4 groove in the style of The Eagles
|
31 |
Book II Chapter 4 |
A two-beat country groove with bass runs
|
32 |
Book II Chapter 4 |
A medium tempo funky groove in a 16-feel
|
33 |
Book II Chapter 4 |
A heavy metal gallop using eighths and sixteenths
|
34 |
Book II Chapter 4 |
A typical Reggae backup pattern highlighting the offbeats
|
35 |
Book II Chapter 4 |
A song in 3/4, featuring a moving bass line
|
36 |
Book II Chapter 5 |
Three examples of patterns to help build up the left hand
|
37 |
Book II Chapter 5 |
“Simple Gifts”
|
38 |
Book II Chapter 5 |
“Turkey in the Straw”
|
39 |
Book II Chapter 5 |
C major scales in double-stops
|
40 |
Book II Chapter 5 |
“Aura Lee”
|
41 |
Book II Chapter 5 |
“The Streets of Laredo”
|
42 |
Book II Chapter 5 |
“Double-Stop Rock”
|
43 |
Book III Chapter 1 |
Notes, steps, octaves, and intervals
|
44 |
Book III Chapter 1 |
Chord construction, triads, chords, and the harmonized major scale
|
45 |
Book III Chapter 2 |
Some examples of the CAGED system in action
|
46 |
Book III Chapter 3 |
Some examples of chord tones and extensions
|
47 |
Book III Chapter 4 |
Sample chord progressions
|
48 |
Book III Chapter 5 |
Identifying tonics, keys, and modes
|
49 |
Book III Chapter 6 |
Examples of dominant function and voice leading
|
50 |
Book IV Chapter 1 |
Sound quality of the electric guitar
|
51 |
Book IV Chapter 2 |
Quarter-note melodies
|
52 |
Book IV Chapter 2 |
Octave scales and arpeggios
|
53 |
Book IV Chapter 2 |
Various melodies
|
54 |
Book IV Chapter 2 |
A two-octave G major scale in 2nd position
|
55 |
Book IV Chapter 2 |
A classic walking-bass boogie-woogie riff in G
|
56 |
Book IV Chapter 2 |
Pentatonic scale played from high to low
|
57 |
Book IV Chapter 2 |
Solos
|
58 |
Book IV Chapter 2 |
A slow blues shuffle in A
|
59 |
Book IV Chapter 3 |
Lots of riffs
|
60 |
Book IV Chapter 3 |
Double-stop figures
|
61 |
Book IV Chapter 3 |
A hard rock progression mixing chords and single notes
|
62 |
Book IV Chapter 4 |
Rhythm figures and double-stops
|
63 |
Book IV Chapter 4 |
Blues licks
|
64 |
Book IV Chapter 4 |
Bluesy riffs
|
65 |
Book IV Chapter 4 |
Hammer-ons, pull-offs, and slides
|
66 |
Book IV Chapter 4 |
Various bends
|
67 |
Book IV Chapter 4 |
Vibrato
|
68 |
Book V Chapter 1 |
Striking to a beat
|
69 |
Book V Chapter 1 |
A bass-and-chord pick-strum pattern for country blues
|
70 |
Book V Chapter 1 |
Two-beat or cut shuffle feel alternates bass notes with chords
|
71 |
Book V Chapter 1 |
A pick-strum pattern in a slow 12/8 feel
|
72 |
Book V Chapter 1 |
Examples of syncopation
|
73 |
Book V Chapter 1 |
Rhythm figure with palm mutes and accents
|
74 |
Book V Chapter 1 |
Fingerstyle blues with a quarter-note bass
|
75 |
Book V Chapter 1 |
A progression in a shuffle feel
|
76 |
Book V Chapter 1 |
A driving straight-four groove
|
77 |
Book V Chapter 1 |
12/8 feel for slow-tempo blues, a la The Allman Brothers
|
78 |
Book V Chapter 1 |
The two-beat feel used for more lively blues
|
79 |
Book V Chapter 1 |
Medium tempo, funky groove in a 16 feel
|
80 |
Book V Chapter 2 |
12-bar blues and quick-four variation
|
81 |
Book V Chapter 2 |
The last four bars of a 12-bar blues with a turnaround bar
|
82 |
Book V Chapter 2 |
Slow 12-bar blues in 12/8 time
|
83 |
Book V Chapter 2 |
Straight-four progression with a variation
|
84 |
Book V Chapter 2 |
The Jimmy Reed move in G
|
85 |
Book V Chapter 2 |
The Jimmy Reed move in A
|
86 |
Book V Chapter 2 |
Minor blues progression that uses minor 7th chords
|
87 |
Book V Chapter 2 |
A four-bar intro and two-bar turnaround
|
88 |
Book V Chapter 2 |
Two-bar turnarounds
|
89 |
Book V Chapter 2 |
Slow blues ending
|
90 |
Book V Chapter 2 |
High moves in a 12-bar blues in E
|
91 |
Book V Chapter 3 |
Boogie-woogie bass lines
|
92 |
Book V Chapter 3 |
Eighth- and sixteenth-note riffs
|
93 |
Book V Chapter 3 |
Two-note riffs
|
94 |
Book V Chapter 3 |
Progression fusing chords, single notes, and double-stops
|
95 |
Book V Chapter 3 |
Keith Richards riff
|
96 |
Book V Chapter 3 |
Intro riffs
|
97 |
Book V Chapter 3 |
Turnaround and ending riffs
|
98 |
Book V Chapter 3 |
A ragtime or country-blues progression in A
|
99 |
Book V Chapter 3 |
Rhythm groove over a 12-bar blues in E
|
100 |
Book VI Chapter 2 |
Layered melodies
|
101 |
Book VI Chapter 2 |
Minuet in G
|
102 |
Book VI Chapter 2 |
Air in A Minor
|
103 |
Book VI Chapter 2 |
“America (My Country ’Tis of Thee)”
|
104 |
Book VI Chapter 2 |
Andante in G
|
105 |
Book VI Chapter 3 |
Arpeggio exercise with melody in bass
|
106 |
Book VI Chapter 3 |
Study in A Minor, with the melody in the bass
|
107 |
Book VI Chapter 3 |
Arpeggio exercise with melody in treble
|
108 |
Book VI Chapter 3 |
Study in C, with the melody in the treble
|
109 |
Book VI Chapter 3 |
Arpeggio exercise with melody alternating between treble and bass
|
110 |
Book VI Chapter 3 |
Waltz in E Minor, with the melody alternating between the bass and treble
|
111 |
Book VI Chapter 3 |
Ländler in D
|
112 |
Book VI Chapter 3 |
“Romanza”
|
113 |
Book VI Chapter 3 |
Andante in C
|
114 |
Book VII Chapter 1 |
Major scale pattern #1
|
115 |
Book VII Chapter 2 |
Ascending and descending sequences
|
116 |
Book VII Chapter 3 |
A natural minor scale in 5th position
|
117 |
Book VII Chapter 3 |
Ascending and descending melodic minor scale pattern
|
118 |
Book VII Chapter 3 |
The A harmonic minor scale in 5th position
|
119 |
Book VII Chapter 4 |
Chord progression using nine different outside forms
|
120 |
Book VII Chapter 4 |
Chord progression with nine different inside forms
|
121 |
Book VII Chapter 4 |
Outside chords in “Danny Boy”
|
122 |
Book VII Chapter 4 |
Inside chords in “Look for the Silver Lining”
|