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FOREWORD Since the first edition of this method was published in 1977, I have talked with thousands of guitar teachers about how the method worked for them. This feedback has been essential in building supplements to the method and a catalog with real integrity. When 1 decided to revise Book 1, [ sent out a survey to a panel of leading guitar teachers, who answered a series of questions and marked up the book. In your hands is the fruit of our labors, and a further reason why the Hal Leonard Guitar Method (published. in 8 languages) will gain wider acceptance by teachers and students. Thanks to Kirk Likes, Larry Beekman, Jim Skinger, Harold Hooper, Jim Cooney, John Campbell, George Widiger, Mike Alwin, John Dragonetti, Tony CoUova, Gary Wolk and Debi Kossoris. cJ/L.L-~/b YOUR GUITAR This book is designed for use with any type of guitar - acoustic steel··string, nylon-string classic or electric. Any of these guitars can be adapted to use in a wide variety of styles of music. Steel-string Nylon-string Bridge Electric Toggle Switch Volume Controls Pickups Tone Controls 6 TLTNIN G CD (Indicates Audio Track Number) Tuning to a Piano When you are tuning your guitar, you will adjust the pitch (highness or lowness of sound) of each string by turnlng the corresponding tuning key. Tightening a string raises the pilch and loosening it lowers the pitch. The strings are numbered 1 through 6 beginning with the thinnest string, the one closest to your knee. Tune each string in sequence beginning with the sixth string, by playine the correct key on the piano (see diagram) and slowly turning the tuning key untll the sound of the string matches the sound of the piano . 1- E 2- 8 3- G 4- 0 5- A G- E TUNING KEYS ~ ., Tuning with an Electronic Guitar Tuner An electronic tuner "reads" the pitch of a sound and tells you whether or not the pitch is correct. Until your ear is well trained in hearing pitches, this can be a much more accurate way to tune. There are many different types of tuners available, and each one will corne with more detailed instructions for its usc. Keyboard middle C I E A D 6th string 5th string 41h string G B E 3rd 2nd lsi string string string Relative Tuning To check or correct your tuning when no pitch source is available, follow these steps: • Assume that the sixth string is tuned correctly to E. • P ress the sixth string at the 5th fret. This is the pitch A to which you tune your open fifth string. Play the depressed sixth string and the fifth string with your thumb. When the two sounds match, you are in tu ne. • Press the fifth string at the 5th fret and tune the open fourth string to it. Follow the same procedure that you did on the fifth and sixth strings. • Press the fourth string at the 5th fret and tune the open third string to it. • To tune the second string, press the third string at the 4th fret and tune the open second string to it. • Press the second string at the 5th fret and tune the first str"ng to it. PLAYING POSITION There are several ways to hold the guitar comfortably. On the left is a typical seated positioJl, and on the right is the standing position. Observe the following general guidelines in forming your playing posture: • Position your body, arms and legs in such a way that you avoid tension. • If you feel tension creeping into your playing, you probably need to reassess your position . • Tilt the neck upwards- never down . • Keep the body of the guitar as vertical as possible. Avoid slanting the top of the guitar so that you can see better. Balance your weight evenly from left to right. Sit straight (but not rigid). Left·hand