Learn guitar from scratch.

This guitar course is aimed at all those people who have a

great love for guitar music, and for this reason they have
chosen to learn to play it, to distinguish themselves at social
events or family gatherings and add a pleasant touch to the
moment.

But, due to lack of time or other reasons, they have never

been able to delve deeper into learning music theory, which is
the traditional method for reading music written in sheet
music, which allows us to play the guitar or any other
instrument professionally.

What does this course aim to do?

The philosophy of this course is to facilitate learning with a

"theoretical - practical" system, but easy to understand and
execute.

We will teach you an enjoyable and simple method how to

"accompany" popular songs, with the guitar, without needing
to know music theory.

From the first lesson the student can understand the "basic
theory" of how the instrument is used, and thus assimilate
the basic techniques for playing guitar.
Methodology

We will study and learn with 33% Theory, Another 33%

Practice and Another 33% Musical Ear.

Important: There are many photographs that contain

recorded sounds played with the guitar and a set of Guide
photos.

Topic 1: How to install the strings on a guitar.

The guitar is a stringed instrument made of wood, bakelite or

metal.
 Photo 1: Wooden guitar and metallic electric
guitar.

The guitar is made up of 11 parts, but one of the main parts

is its "six strings", which are extended and tied at the upper
and lower ends of the guitar.

Photo 2: Strapped at the top of the guitar

 Photo 3: Tied to the bottom end of the guitar

Traditional guitars have six strings, when they are for

classical guitar their material is nylon.

Photo 4: Nylon ropes.

The electric or acoustic guitar uses metal material strings.

Photo 5: Metal Ropes.

Each string is named according to the musical note they

produce when played "open", that is, without pressing a fret.

The guitar strings are numbered from one to six, with the
thinnest being string number one and the thickest being
string number six.

Photo of the 6 strings on the guitar.

1.a) Placement of rope number one .

String number one is the thinnest. This string, when already

installed on the guitar, produces the sound of the musical
note E when played open, that is, without pressing any fret.

Photo 7: rope number one.

To install it on the guitar, you must first insert the tip of the
number one string into the first hole of the "Guitar Bridge"
located at the bottom of the guitar.

The way to insert it is by starting the introduction from the

top of the bridge until exiting from the bottom of the bridge.

Photo 8: First hole in the guitar bridge.

Photo 9: introduction of the rope into the upper

hole of the bridge.
After inserting the string into the first hole of the guitar
bridge, you must "Tie it" by tying two traditional knots and
secure it with a turn of the string, inside the string tie.

Photo 10: tying the rope in the first hole plus a

double tying.

After inserting the number one string into the bridge and
tying it securely, it will be pulled or extended with the help of
your hands towards the "guitar headstock" (see photo 2)
which is on the top of the guitar.
 Photo 11: String extended over the neck towards the
headstock of the guitar.

When bringing the number one string to the top of the guitar,
it should be inserted into the number one peg hole on the left
side of the neck head.

Photo 12: introducing the string to the number

one pegbox.
Immediately after having inserted the number one string, the
headstock must be rotated from its rear part where the pulley
is, turning it towards the axis clockwise so that the string is
tied and begins to be tempered or tightened by turning
slowly.

Photo 13: turn the Headstock to Temper the

number one string.

1.b) Placement of rope number two.

String number two is semi-thin. This string, when already

installed on the guitar, produces the sound of the musical
note SI when played open, that is, without pressing any fret.

Photo 14: rope number two.

To install it on the guitar, the tip of the number two string
must first be inserted into the second hole of the "Guitar
Bridge" located at the bottom of the guitar. The way to insert
it is by starting the introduction from the top of the bridge
until exiting from the bottom of the bridge.

Photo 15: second hole in the guitar bridge.

 Photo 16: introduction of the rope into the upper
hole of the bridge.

After inserting the string into the second hole of the guitar
bridge, you must "Tie" it by tying two traditional knots and
secure it with a turn of the string inside the string tie.

Photo 17: Tie the rope in the second hole

After inserting the number two string into the bridge and
tying it securely, it will be extended with the help of your
hands towards the "guitar headstock" which is at the top of
the guitar.

Photo 18: string extended over the neck towards the

headstock of the guitar.

When bringing the number two string to the top of the guitar,
it should be inserted into the number two headstock hole on
the left side of the neck head.

Photo 19: Introducing the string to the

number two pegbox.
 Photo 20: turn the headstock to tune the
number two string.

1.c) Placement of string number Three.

String number three begins to be semi-thick. This string,

when it is already installed on the guitar, produces the sound
of the musical note SOL when played open, that is, without
pressing any fret.
 Photo 21: rope number three.

To install it on the guitar, you must first insert the tip of the
number three string into the third hole of the "Guitar Bridge"
located at the bottom of the guitar. The way to insert it is by
starting the introduction from the top of the bridge until
exiting from the bottom of the bridge.

Photo 22: Third Hole in the Guitar Bridge.

 Photo 23: Insertion of the rope into the upper
hole of the bridge.

After inserting the string into the third hole of the guitar
bridge, you must "Tie it" by tying two traditional knots and
securing it with a turn of the string inside the string tie.

Photo 24: Tie the rope in the third hole plus a double
tie.
After inserting the number three string into the bridge and
tying it securely, it will be extended with the help of your
hands towards the "Guitar Headstock" which is at the top of
the guitar.

Photo 25: String extended over the neck towards the

headstock of the guitar.
When bringing the number three string to the top of the
guitar, it should be inserted into the number three headstock
hole, which is on the left side of the neck head.

Photo 26: Introducing the string to the number

three pegbox.

Immediately after having inserted the number three string,

the pegbox must be rotated from the rear part where the
pulley is located, turning it towards the axis clockwise so that
the string is tied and we adjust it by turning it slowly.

Photo 27: Turn the headstock to tune the number three

string.
1.d) Placement of rope number four.

String number four is semi-thick. This string, when already

installed on the guitar, produces the sound of the musical
note RE when played open, that is, without pressing any fret.

Photo 28: rope number four.

To install it on the guitar, the tip of the number four string
must first be inserted into the fourth hole of the "Guitar
Bridge" located at the bottom of the guitar. The way to insert
it is by starting the introduction from the top of the bridge
until exiting from the bottom of the bridge.

Photo 29: fourth hole in the guitar bridge.

Photo 30: Insertion of the rope into the upper hole of the
bridge.
After inserting the string into the fourth hole of the guitar
bridge, you must "Tie it" by tying two traditional knots and
secure it with a turn of the string inside the string tie.

Photo 31: rope tie in the fourth hole plus a double tie.

After inserting the number four string into the bridge and
tying it securely, it will be pulled or extended with the help of
your hands towards the "guitar headstock" at the top of the
guitar.
 Photo 32: string extended over the neck towards the
headstock of the guitar.

When bringing the number four string to the top of the guitar,
it should be inserted into the number four peg hole on the
right side of the neck head.

Photo 33: introducing the string to the number four

pegbox.
Immediately after having inserted the number four string,
you must turn the pegbox from its rear part where the pulley
is, turning it towards the axis clockwise so that the string is
tied and begins to temper or tighten when turned slowly. .

Photo 34: turn the headstock to tune the number four string.

1.e) Placement of String number Five.

String number five is thick. This string, when already installed on the guitar,
produces the sound of the musical note LA when played open, that is, without
pressing any fret.

Photo 35: rope number five.

To install it on the guitar, first insert the tip of the number five string into the
fifth hole of the "Guitar Bridge" located at the bottom of the guitar. The way to
insert it is by starting the introduction from the top of the bridge until exiting
from the bottom of the bridge.

Photo 36: fifth hole in the guitar bridge.

Photo 37: Insertion of the rope into the upper hole of the bridge.
After inserting the string into the fifth hole of the guitar bridge, you must "Tie
it" by tying two traditional knots and secure it with a turn of the string inside
the string tie.

Photo 38: rope tie in the fifth hole plus a double tie.

After inserting the number five string into the bridge and tying it securely, it
will be pulled or extended with the help of your hands towards the "guitar
headstock" which is at the top of the guitar.
 Photo 39: String extended over the neck towards the headstock of the guitar.

When bringing the number five string to the top of the guitar, it should be
inserted into the number five headstock hole on the right side of the neck head.

Photo 40: Introducing the string to the number five pegbox.

Immediately after having inserted the number five string, the pegbox must be
rotated from its rear part where the pulley is, turning it clockwise so that the
string is tied and begins to temper or tighten as it is rotated slowly. .

Photo 41: turn the headstock to tune the number five string.

1.f) Placement of String number Six.

String number six is very thick. This string, when already installed on the
guitar, produces the sound of the musical note E when played open, that is,
without pressing any fret.

Photo 42: string number six.

To install it on the guitar, first insert the tip of the number six string into the
sixth hole of the "Guitar Bridge" located at the bottom of the guitar. The way to
insert it is by starting the introduction from the top of the bridge until exiting
from the bottom of the bridge.

Photo 43: sixth hole in the guitar bridge.

Photo 44: Insertion of the rope into the upper hole of the bridge.
After inserting the string into the sixth hole of the guitar bridge, you must "Tie
it" by tying two traditional knots and securing it with a turn of the string inside
the string tie.

Photo 45: rope tie in the sixth hole plus a double tie.

After inserting the number six string into the bridge and tying it securely, it will
be pulled or extended with the help of your hands towards the "guitar
headstock" at the top of the guitar.
 Photo 46: string extended over the neck towards the headstock of the guitar.

When bringing the number six string to the top of the guitar, it must be
inserted into the hole of the number six headstock, which is on the right side of
the neck head.

Photo 47: Introducing the string to the number six pegbox.

Immediately after having inserted the number six string, the pegbox must be
rotated from its rear part where the pulley is, turning it towards the axis
clockwise so that the string is tied and begins to temper or tighten as it is
rotated slowly. .
 Photo 48: turn the headstock to tune the number six string.

Topic 2: Equipment you need to take this course.

We suggest the student or reader invest in some basic equipment, which will
help them speed up learning the guitar and master certain techniques,
necessary for their better development in this area.

Equipment to purchase:

a) A Guitar

b) A Pick or Nail

c) A tuning fork or acoustic tuner

d) A whistle or wind tuner

e) A capo or arm

f) A support

g) A case

EQUIPMENT FUNCTION:

2.a) The Guitar

It is preferably suggested to invest in a classical guitar, if you don't want to

spend a lot. The classical guitar does not need to be connected to electrical
power, it can be taken anywhere.
 Photo 49: classical guitar.

The classical guitar has "nylon strings", the fingerboard is wider than that of the
acoustic or electric guitar.

Photo 50: classical guitar nylon strings for beginners.

It is not advisable to play with metal strings when you are a beginner, because
the fingers of the left hand become injured or injured, this happens because
they have not reached their normal callus on the fingertips, which is normal and
necessary to develop in the fingers of the left hand, so as not to feel pain when
playing "guitar chords".

Photo 51: Calluses on the fingers

The acoustic guitar is thinner in its fingerboard than the classical guitar and
uses metal strings and its sound when playing is very similar to that of an
electric guitar, but because it uses metal strings it is not advisable to learn to
play on them.

Photo 52: acoustic guitar.

 Photo 53: metal strings of acoustic guitar.

The electric guitar, its fundamental difference, is that it works as long as you
have a sound amplifier and with good power to be heard by everyone. The 6
strings it uses are made of metal and its frets and fingerboard are thinner than
the classical guitar and acoustic guitar.

Photo 54: electric guitar.

Photo 55: Metal strings of electric guitar.
2.b) Uñeta or Púa.

They can be purchased made of plastic or fiberglass, these

help produce a stronger, clearer and more even tone than
when played with the right hand or the nails of this same
hand.

Those made of plastic are preferable because they break the

strings less. Thin picks make picking faster, easier and
smoother.

Photo 56: Thin Plastic Pick or Pick.

Thick fiberglass picks produce and create a slower, harder
and louder sound.

Photo 57: Thick fiberglass spike or spike

.
Tip: It is necessary to cut the fingernails of the fingers of the
left hand, to obtain better sound, more clarity; This makes it
easier to place your fingers on the strings so that the chord
can be heard better.

On the contrary, the right hand should ideally have nails, but
not so long, to create a stronger sound in the
accompaniments.

Photo 58: Short Nails

2.c) The Tuning Fork or Acoustic Tuner

The Tuning Fork is a very useful instrument to help us tune

the guitar. This object has been used since ancient times, and
has always been suggested as the most economical and
easiest way to tune any stringed instrument.

It has two bars that vibrate when struck, and produce a

sound frequency of a musical note. Normally it is the note
"E", that is, the first and sixth strings of the guitar.
 Photo 59: old acoustic fingerboard (it was
longer).

Photo 60: Modern Acoustic Tuning Fork (it is the size

of a hand).

2.d) The Whistle or Wind Tuner

It is more expensive than the tuning fork, but it is more

complete and, at the same time, simple and easy to use. It
produces the six basic sounds of the guitar strings, and there
are others that produce the entire scale of musical notes,
which are:
 Photo 61: Old Wind Tuner (it was the size of your
hand).

Modern Wind Tuner (it is the size of a finger).

OTHER TUNERS USED

- Electronic whistle tuner, with all the musical notes of any

instrument.

- Web whistle tuner, using a computer program or computer.

2.e) The Capo or Arm

The Capo is a bar that is placed on the fretboard of the guitar,

it traps the six strings at the fret that the musician desires.
The capo is made of metal on the upper part and rubber or
cork on the lower part. It can fit any fret, it is clamped.

Its Main Function is to allow the guitarist to raise a half or

full tone when playing without having to change chords or
notes in the score.

Method of use : it is placed on the neck of the guitar under

pressure. The metal capo replaces the guitar nut. One of its
advantages is that it allows us to slide from the upper fret to
the lower fret, thus achieving a half-tone rise per fret.

It is commonly used when the guitarist wants to match the

tone of a person's voice, when accompanying them in a song,
without having to change chords.

Photo 63: Capo on the first fret going up half a step

Photo 64: Capo on the second fret going up

a tone
2.f) Support

A guitar is a very delicate and fragile instrument.

During times when you are not using the guitar, you can
place it on a stand or pedestal made of iron or reinforced
plastic to avoid damaging it. There are different styles and
some are light and others hard.

Guitar resting on its stand.

2.g) The Case

It is a guitar transporter, it is useful, because it is designed

with the exact measurements of a guitar, to be comfortable
both for it and for the musician.

Cases can be found in synthetic leather material, fortified

Bakelite case or plastic liners.

Guitar inside its plastic case.

Topic 3: Parts of a Guitar.

The guitar is made up of eleven parts, all of which fulfill an

important function within the instrument, which are:

3.a) The Clavijero

It is located at the top of a guitar and rests on the head of the

neck. They are normally shaped like keys, their fundamental
mission is to hold and tension the six strings of the guitar,
using a screw mechanism that rotates on its axis, which
contains a hole where the tip of the string is inserted.

When the string is inside the pegbox, you have to turn it until
it is taut, thus its tuning or sound changes little by little, from
low to high or vice versa.
Front headstock and back headstock.

3.b) La Cejuela

Traditionally, it measures about four point six centimeters

long. Most of the time it is bone white.

The material with which it is made is solid synthetic plastic,

and it is embedded at the beginning of the fingerboard.

It has six symmetrically separated slots where the six strings

of the guitar rest. Its main function is to prevent the strings
from touching each other when playing a melody, so as not to
cause a bad sound.

Cejuela.
 Photo 70: Acoustic nut.

3.c) The Mast

It is the long, vertical wooden support that the guitar has, to

which the fingerboard is attached. In addition, it is attached
to the body or body of the guitar. The six strings and the
head of the guitar also rest on the neck, where the six pegs
are attached.
Photo 71: front mast

Photo 72: side mast

3.d) The Tuning fork

It is normally the darkest and most wooden piece, which is

located on the front of the neck.

On the fingerboard there are eighteen or more metal plates

very similar to the nut called "frets", and they are placed at
an asymmetrical distance from each other.

Photo 73: Front fingerboard

 Photo 74: Horizontal Tuning
Fork.
3.e) The Frets

They are embedded in the fingerboard, they are around

eighteen or more metal bars that measure approximately four
point six centimeters long, their main function is to separate
the musical notes between fret and fret.

The fingers press the strings in the middle of the fret and
create a musical note. If two or more strings are pressed at
the same time, they create a musical chord. Its tone will be
low if the upper frets are used and its tone will be high if the
lower frets are used. lower.

Photo 75: Upper frets

Photo 76: Frets.

3.f) The Mouth

It is located in the middle of the guitar, it is the circular hole

through which the sound comes out and its function is to
amplify the sound generated by the strings or their vibration
when played. Some guitars have artistic decorations around
the soundhole, and this art is called a "rosette."

Photo 77: Front Guitar

Soundhole..
 Photo 78: mouth and total rosette.

3.g) The Ropes

Traditional guitars have six strings, when they are for

classical guitar their material is nylon and when they are for
electric or acoustic guitar, their material is metal.

Each string has a name according to the musical note they

produce when played "open", that is, without pressing a fret.
The guitar strings are numbered from one to six, with the
thinnest being string number one and the thickest being
string number six.

Photo 79: The strings and their

numerical location.
 Photo 80: guitar strings in packages.

3.h) The Bridge

It is located at the bottom of the guitar, below the soundhole.

It is an elongated and thick piece that measures around
eighteen centimeters long, in the middle there is a thicker
support of around eight point two centimeters long, where the
six strings of the guitar are tied or held.

Depending on the brand and style of guitar, the size and

material of the bridge may vary.

Photo 81: Bridge of a guitar

Photo 82: bridge for tying the strings of a

guitar

3.i) The Sides

They are curved in shape and therefore allow for easier
playing since they fit on the musician's leg when playing
seated.

Photo 83: right side of a guitar

Photo 84: left side of a guitar

3.j) The Box or Body

It is also called a resonance box and is what allows the sound

generated by the strings to be amplified when they vibrate.
Its upper cover is called "Harmonica Cover" and its lower
cover is called "Rhythmic Cover". The body size depends on
the type of guitar.

Photo 85: The box or front body.

Photo 86: The box or front body.
3.k) The Striker

Normally they only carry it on the acoustic or electric guitar

and it is used to play with the right hand, which generates an
acoustic drum sound that when the musician already has
experience sounds very harmonious.

Photo 87: acoustic pickguard.

 Photo 88: Complete Acoustic
pickguard.
3.l) Guitar with All its Parts.

Photo 89: complete guitar.

Topic 4: Guitar Pre-Tuning

The guitar has six strings and each of them sounds according
to a musical note already established by world music
standards, the notes are:

Rope #1 The finest Note My Sharp tone

Rope #2 Medium Fine Note Yes Medium High
Rope #3 Medium Fine Sol note Medium High
String #4 Medium Serious Note Re Medium Serious
Rope #5 Medium Serious Note The Medium Serious
String #6 The most serious Note My Grave Tone

It is important to memorize that when no string is pressed

with the fingers of the left hand, the string is said to sound
"open."
 Photo 90: E strings playing in the air.

Photo 91: LA strings playing in the air.

As a helpful tip, always have a spare set of strings on hand in
case they break when tuning or playing. Next we will tighten
the 6 strings of the guitar until they are tense in a tone
approximate to the note of each string.

Note: This part is a continuation of topic 1, here we will

tighten the 6 strings after having placed them on the guitar.

4.a) Tense rope number six.

Photo 92: Tensing string number six, leaving it ready

to be tuned.
 Photo 93: Tensing rope number six.

Note: Listen to the sound of the string tightening by clicking

on photo 92.

4.b) Tense rope number five.

Photo 94: Tensing string number five, leaving it ready to be

tuned.
 Photo 95: Tensing rope number five.

Note: Listen to the sound of the string tightening by clicking

on photo 95.

4.c) Tense rope number four.

 Photo 96: Tensing string number four, leaving it
ready to be tuned.

Photo 97: Tensing rope number four.

Note: Listen to the sound of the Rope Tightening by clicking

on photo 97.

4.d) Tense rope number three.

 Photo 98: Tensing string number three, leaving it ready to
be tuned.

Photo 99: Tensing rope number three.

Note: Listen to the sound of the string tightening by clicking

on the photo.

4.e) Tense rope number two.

 Photo 100: Tensing string number two, leaving it ready to
be tuned.

Photo 101: Tensing rope number

two.

Note: Listen to the sound of the string tightening by clicking

on photo 101.
 4.f) Tense rope number one.

Photo 102: Tensing string number one, leaving it

ready to be tuned.

Photo 103: Tensing rope number one.

Note: Listen to the sound of the Rope Tightening by clicking

on photo 103.
ema 5: Basic Method of Guitar Tuning.

To tune the guitar it will always be FIRST WITH STRING

number SIX, which is the note E. In track 4 we leave the sixth
string prepared or tensioned (see photo 92), this will help us
to start tuning this string.

5.a) Tuning the Sixth String

With the help of the ACOUSTIC TUNING FORK, we will hit it

on a solid base (wall, metal or table) and it will immediately
generate the sound of the low E note. If you have a good
musical ear and do not have a tuning fork, use your voice,
intoning the MI GRAVE NOTE with your THROAT.

With the help of the HEADHEAD, tighten the six string until it
SOUNDS EQUAL TO THE E NOTE OF YOUR THROAT, OR THAT
OF THE TURFBOARD.

You have to hear that the sound is already solid and

consistent, not loose or weak, it will improve as the string is
tightened.

Having achieved the above, you can now consider the string
number six or note "E" in tune.
 Photo 104: Tuning the open sixth string

Photo 105: Click on the photo and you will hear the tuning
sound.

5.b) Tuning the Fifth String.

Next, we move on to tune string number five or the note "A",
with the help of the pegbox it will be slowly tightened until
reaching the tone or sound that the sixth string generates
when it is pressed at the "fret number five".

Photo 106: Pressing the fifth fret of the sixth string to tune
the fifth string.

Photo 107: Click on the photo and you will hear the tuning
sound.
5.c) Tuning the Fourth String.

Then we move on to tune the number four string or note "D",

with the help of the pegbox it will be slowly tightened until
reaching the tone or sound that the fifth string generates
when it is pressed at the "number five fret".

Photo 108: Pressing the fifth fret of the fifth string to tune the
fourth string
Photo 109: Click on the photo and you will hear the tuning
sound.

5.d) Tuning the Third String.

Then we move on to tune the number three string or "G"

note, with the help of the tuning machine it will be slowly
tightened until reaching the tone or sound that the fourth
string generates when it is pressed at the "number five fret".
Photo 110: Pressing the fifth fret of the fourth string to tune
the third string.

Photo 111: Click on the photo and you will hear the tuning
sound.
5.e) Tuning the Second String.

Then we begin to tune the number two string or "Si" note,

with the help of the tuning machine it will be slowly tightened
until reaching the tone or sound that the third string
generates when it is pressed at the "number four fret".

Photo 112: pressing the fourth fret of the third string to tune
the second string.

Photo 113: Click on the photo and you will hear the tuning
sound.
5.f) Tuning the First String.

Next we tune the number one string or note "E" which with
the help of the pegbox will be slowly tightened until reaching
the tone or sound that the second string generates when it is
pressed at the "number five fret".

Photo 114: pressing the fifth fret of the second string to tune
the first string.
Photo 115: Click on the photo and you will hear the tuning
sound.

Photo 116: This is what the six strings sound like when tuned
in their basic method.

Click on the photo to hear the complete tuning sound.

Topic 6: Professional Guitar Tuning Method.

First you must acquire or buy a guitar whistle tuner, it has six
holes that, when blown one by one, give the tone of each
string of the guitar and the only thing you have to do is
tighten each string with the help of the headstock and imitate
the whistle sound of each string until the two sounds are
identical.

Sometimes the six notes are marked in the "Alphagram"

system, that is,

The Letter E which is the note E,

The letter A which is the note LA,

The letter D which is the note RE,

The letter G which is the note SOL,

The letter B which is the note SI.

Later we will explain the letters of all the musical notes.

Photo 117: Wind Tuner.

6.a) Tuning the Sixth String

**First you will blow the wind tuner where the note E BASS is
located.

Photo 118: Blowing in MI Grave

** Then you will tighten the SIX string with the help of the
pegbox until it matches the sound of the Whistle in the note E
LOW, this is where the string will be fully tuned.

In this method you should not tighten any frets, that is, the
string will sound open.

Photo 119: Click on the photograph to hear the tuning of the

Sixth string with the Whistle.
6.b) Tuning the Fifth String

**First you will blow the wind tuner where the note LA GRAVE
is located.

Photo 120: Blowing in LA Grave

** Then you will tighten the FIVE string with the help of the
pegbox until it matches the sound of the Whistle in the note
LA GRAVE and that is where the string will be fully tuned. In
this method you should not tighten any frets.

Photo 121: Click on the photograph to hear the tuning of the

Fifth string with the Whistle.

6.c) Tuning the Fourth String

**First you will blow the wind tuner where the D GRAVE note
is located.

Photo 122: Blowing in RE Grave

** Then you will tighten the FOURTH string with the help of
the pegbox until it matches the sound of the Whistle in the D
GRAVE note and that is where the string will be fully tuned. In
this method you should not tighten any frets.

Photo 123: Click on the photograph to hear the tuning of the

Fourth string with the Whistle.
6.d) Tuning the third string

** First you will blow the wind tuner where the note G HIGH
is located.

Photo 124: Blowing in Acute SOL.

** Then you will tighten the THIRD string with the help of the
pegbox until you are able to match the sound of the whistle
on the note GREAT G and that is where the string will be fully
tuned. In this method you should not tighten any frets.

Photo 125: Click on the photo to hear the tuning of the third
string with the whistle.
6.e) Tuning the second string

** First you will blow the wind tuner where the B HIGH note
is located.

Photo 126: Blowing in high SI.

** Then you will tighten the SECOND string with the help of
the pegbox until you are able to match the sound of the
whistle on the note SHARP B and that is where the string will
be fully tuned. In this method you should not tighten any
frets.

Photo 127: Click on the photo to hear the tuning of the

second string with the whistle.
6.f) Tuning the first string

** First you will blow the wind tuner where the note E is
located.

Photo 128: Blowing in MI Acute.

** Then you will tighten the FIRST string with the help of the
pegbox until it matches the sound of the whistle on the note E
HIGH and that is where the string will be fully tuned. In this
method you should not tighten any frets.

Photo 129: Click on the photo to hear the tuning of the first
string with the whistle.
Topic 7: How each hand is used on a guitar.

7.a) Left hand

It is important to know that each finger of the hand performs

an important mission when playing the guitar, not all fingers
are used.

To make it more understandable, each finger is assigned a

code and they are in numbers:

Photo 130: Left Hand

The left hand places the fingers in the middle of the frets
when we want to sound a "chord or individual notes", to
accompany or play guitar solos. The fingertips press the
string in the middle of the fret, depending on the desired note
or chord.

In order not to tire your hand, you should not use too much
force, especially at the beginning, which is when blisters
begin to appear on the fingertips, which later transform into
small calluses, which, unfortunately, are necessary to create
a clean sound on the guitar.

Photo 131: Left Hand Fingers Pressing Frets.

 Photo 132: Left hand fingers create chord.

Exercises for the left hand

You must bend the four fingers of your left hand and release
or open them one by one in an orderly manner, first the little
finger, ring finger, middle finger and index finger and then
close them, first index, middle finger, little finger and ring
finger.

Photo 133: Exercise one of the left hand.

The idea is to do it many times and quickly to achieve
elasticity and speed when placing the chords and their
changes.

Photo 134: Exercise two for the left hand.

 Photo 135: Exercise three of the left hand.

7.b) Right Hand

The use of the right hand is to play accompaniments

with different techniques and the basic bass of each
chord. It is important not to forget that the right hand
is used as support for the left hand at the moment
when this hand is generating a chord or note.

Like the left hand, the right hand has codes on each
finger and they are executed in letters, which are:

Photo 136: Right Hand

We will use these letter codes to execute scales,
accompaniments, arpeggios and basses, in each of the
most common techniques.

The right hand is used "alone" only when the strings

are played open.

Photo 137: Right hand touching the air.

Exercises with the right hand

You must open and bend the four fingers of your right
hand and open them at the same time repeatedly.

Photo 138: Exercise 1 of the "open" right

hand.
 Photo 139: Exercise 2 of the "Bent" Right
Hand
 Photo 140: Exercise 3 of the Closed Right
Hand.

Then you will have to start opening them one by one

from the thumb, index, middle, ring and little fingers to
be able to make ARPEGIOS.

Photo 141: Exercise 4 of the Right Hand

"Arpeggios".
7.1) Sub-Topic: musical accompaniment techniques to
use with the right hand:

7.1.a) Open hand technique:

The "index, middle and ring fingers" are used with a

separation or opening of five millimeters between each one
and the movement of the right hand is downward touching
the three strings at the same time with the top of the three
nails.

The sound of the strings that this technique produces is

similar to the sound of the piano.

Its musical sign is:

Photo 142: Open Hand Sign

 Photo 143: How to play with an open hand.

Photo 144: Click on the photo and you will hear the
sound of the open hand.
7.1.b) Closed hand technique :

The "index, middle and ring fingers" are used, with the fingers
closed and simulating scratching upwards, touching the three
strings at the same time with the lower part of the three
nails.

The sound of the strings that this technique produces is

similar to the sound of the harp.

Its musical sign is:

Photo 145: Closed Hand Sign.

Photo 146: How to play with a closed

hand.
 Photo 147: Click on the photo and you will hear the sound
of the closed hand.

7.1.c) Arpeggio technique :

The "index, middle and ring" fingers are used, and each
finger plays one of the first three strings, one by one in
an ascending or descending manner and gives the
sound effect of a classical harp. It depends on the
chord to know if they are string one, two, three or two,
three, four.

Its musical sign is:

Photo 148: Arpeggio sign.

Photo 149: How to play with the Arpeggio.

Photo 150: Click on the photo and you will hear

the sound of the Arpeggio.
7.1.d) Bass Techniques :

The basses on the guitar are the low notes or strings

number four, five and six, which accompany the rhythm
(techniques a,b,c).

According to its chord, the "thumb, index and middle"

fingers are used. The fingers that play the bass are
those of the right hand when a chord is played with the
left hand. The bass should be played first and then the
chord with rhythm.

There will always be TWO basses that will sound with a

chord and it depends on the chord to decide if it will be
the SIXTH string with the FIFTH, or the FIFTH string
with the FOURTH. Its musical sign is x, y, z, like this:

String #6 = X

String #5 = Y

String #4 = Z
 Photo 151: Click on the photo and you will hear
the bass of the sixth string.

Photo 152: Click on the photo and you will hear

the bass of the fifth string
 Photo 153: Click on the photo and you will hear
the bass of the fourth string

7.1.e) Pick or Nail Technique:

The pick or nail is made of plastic and is twice as big as
a fingernail. It is held with the "thumb and index"
fingers of the right hand and is used to create a
stronger sound in techniques a, b, c and d. It also
serves to refine guitar solos, with individual notes.

Photo 154: arpeggio with pick and click on the

photo to listen to it.

Photo 155: Guitar Pick

Topic 8: The Alphagram and Musical Symbols.

8.a) What is the Alphagram?

It is a method to read musical notes without having to use

the Staff. It was designed in the Anglo-Saxon system, it is
used by musicians who play guitar or other instruments,
because it is easy to execute when "accompanying" when
playing a song.

Its methodology is to use seven letters of the alphabet, to

which the seven notes of the basic musical scale have been
assigned, which are:

Photo 156: ALPAGRAM

These seven musical letters can be accompanied by the
musical signs that are traditionally placed on the musical
notes in the traditional staff.

8.b) What are Musical Symbols?

Music in general has a very large number of symbols that

accompany the musical notes on the staff, but on this
occasion we will explain only the most basic and common
ones in the use of the guitar to accompany songs.

The most common musical signs are:

Photo 157: The

Sustained
 Photo 158: Flat.

Photo 159: Minor.

Photo 160:
Seventh.

Photo 161:
Major Chord
 .

Photo 162:
Silence or Separator.

Photo 163:
Opening and Closing of the Compass.

8.c) Explanation of musical signs.

1) On the piano

Photo 164: The piano scale

On the piano the black key is a half tone,

If your main note is D white color the D sharp (D#) is the

bold note up and if we want D flat (Db) the note is the bold
note down.

Photo 165: D Major

Photo 166: Re Sharp.
 Photo 167: D Flat.

2) On the guitar

The musical notes in the guitar hexagram have the same

sequence as the piano. After C (C), there is C sharp (C#),
before G (G), there is FA sharp (F#), etc.

On the guitar the sequence is the same, only you have to

take into account, and never forget, the musical notes of each
"open" string, since that is where the order of the musical
notes begins, on each string with its eighteen frets. .

Example 1: The 6th string is E "open", FA is pressing the 6th

string at the first fret; F sharp is by pressing the sixth string
at the second fret; G is by pressing the sixth string at the
third fret.
Example 2: The fifth string is A "open", A sharp is pressing
the fifth string at the first fret; IF is by pressing the fifth
string at the second fret; C is by pressing the fifth string at
the third fret and so on.

Photo 168: The Scale on

the Guitar

One fret is half a tone.

The normal D note is on the FIFTH FRET,

Photo 169: D Major.

If we want to play D sharp (D#) we will go up one fret and
press FRET SIX.

Photo 170: Re Sharp.

If we want to play D flat (Db) we will go down one fret, that
is, the FOURTH FRET.

Photo 171: D Flat.

Topic 9: The Pentagram and its Symbology

Next we will learn the basics about the staff and its
symbology, to understand and read the musical theory of a
score.

9.a) What is the Pentagram?

It is a set of five parallel lines with four spaces between them.

On these lines and between the spaces we will write the
musical notes accompanied by their respective symbols that
will indicate their time, rhythm, and compass.

Photo 172: The Pentagram

9.b) What are musical notes?

They are the figures that are placed on the staff and each
figure has a name defined according to its location on the
staff, which are:

Do Re Mi Fa Sol La Si

Photo 173: The Note

Scale

9.c) What are musical figures?

They are those that represent the musical time of the song.
Traditionally there are eight which are:

Square, Round, White, Quarter Note, Eighth Note, Sixteenth

Note, Full Note and Half Note

Each of these figures contains a musical time and is different

in all of them, as seen in the following table:

Photo 174: Figures of the notes and

their Times.
9.d) What are dividing lines?

These musical notes are separated in an orderly manner on

the staff with dividing lines, which are repeated throughout
the staff.

They indicate how many notes of the staff and which musical
notes are within the measure from start to finish repeatedly,
and is graphed with two vertical lines, one at the beginning
and the other at the end.

Photo 175: Dividing Lines in the

Pentagram
Topic 10: Let's Learn to Play with Time, Rhythm and
Musical Compass .

In this course to learn how to accompany songs with a guitar,

it is necessary to know what are the musical tempos, musical
rhythms and musical rhythm?, to understand in a more
professional way how to accompany songs with guitar.

10.a) What is TIME?

Time is that musical pattern that tells us the speed of the

music at which you want to play a song.

Example of speed in times: Slow, Moderate, Fast, etc.

Slow: Romantic Songs.

Moderate: Pop Songs.

Quick: Rock or Mexican Corridos.

10.b) What is RHYTHM?

It is that musical genre in which you want to perform a song.

Example of rhythms: Rock, Pop, Cumbia, Salsa, Ranchera,

Bolero, Waltz, Tango, etc.

10.c) What is COMPAS?

The beat is a way of dividing a piece of music into equal

repetitive parts.

Examples of Compasses are: a) 4X4, b) 3X4 and c) 2X4.

etc...

10.c.1.) Four by four time signature:

Photo 176: 4 X 4 Compass Graph.

How to accompany yourself with this compass

Important Note: To do this exercise let's use the E Major

Chord from Lesson 32, photo 200.

The way to play this measure, on a guitar, is first a bass

(strings 6, 5 or 4) and three times the chord, which is the
sound generated by placing the fingers of the left hand in the
middle of the frets, and it is repeated with the second bass
(strings 6, 5 or 4) and the chord three times.

Photo 177: Click on the photo and listen to the

4X4 Compass
10.c.2) The three-four time signature

Photo 178: 3 X 4 Compass Chart.

How to accompany yourself with this compass

Important Note: To do this exercise let's use the E Major
Chord from Lesson 32, photo 200.

The way to play this measure on a guitar is first a bass

(strings 6, 5 or 4) and twice the chord, which is the sound
generated by placing the fingers of the left hand in the middle
of the frets, and repeat with the second bass (strings 6, 5 or
4) and the chord twice.

Photo 179: Click on the photo and listen to

the 3X4 Compass

10.c.3) Two-four time signature

Photo 180: 2 X 4 Compass Chart.

How to accompany yourself with this Compass

Important Note: To do this exercise let's use the E Major

Chord from Lesson 32, photo 200.

The way to play this measure on a guitar is first a bass

(strings 6, 5 or 4) and once the chord, which is the sound
generated by placing the fingers of the left hand in the middle
of the frets, and repeat with the second bass (strings 6, 5 or
4) and the chord once.

Photo 181: Click on the photo and listen to

the 2X4 beat
Topic 11: Basic guitar chords

11.a) Chord of the Note "C"

A.1) C MAJOR (C)

We will use the following fingers of the left hand to create the
sound of the C Major chord, which are: the index finger (1)
on the second string of the first fret; the middle finger (2) on
the fourth string of the second fret; the ring finger (3) on the
fifth string of the third fret; leaving the Little finger, which is
(4), exposed or without using it.

Photo 182: C MAJOR in Hexagram.

 Photo 183: C MAJOR chord

Photo 184: Click to hear how C MAJOR sounds

A.2) C MINOR (Cm)

We will use the following fingers of the left hand to create the
sound of the C Minor chord, which are: the index finger (1)
which will be the finger extended on or above the number
three fret, or firmly pressing the fifth string on the number
three fret, pressing all six strings; the middle finger (2) on
string one of the fourth fret; the ring finger (3) on the fourth
string of the fifth fret; and the Little Finger (4) on the third
string of the fifth fret.

Photo 185: C MINOR In Hexagram.

 Photo 186: C MINOR chord.

Photo 187: Click to hear what C MINOR sounds like

A.3) DO SEVENTH (C7)

We will use the following fingers of the left hand to create the
sound of the C Minor chord, which are: the index finger (1) on
the second string at the first fret; Middle finger (2) on the
fourth string of the second fret; the ring finger (3) on the fifth
string of the third fret; and the Little Finger (4) on the third
string of the third fret.

Photo 188: DO SEPTIMA In Hexagram.

 Photo 189: C SEPTIMA chord.

Photo 190: Click to hear what DO SEPTIMA sounds like

11.b) Chords of the note "RE" .

B.1) D MAJOR (D)

We will use the following fingers of the left hand to create the
sound of the D Major chord, which are: the index finger (1)
on the third string of the second fret; the middle finger (2) on
the first string of the second fret; the ring finger (3) on the
second string of the third fret; leaving the little finger, which
is (4), exposed or not using it.

Photo 191: D MAJOR in Hexagram.

 Photo 192: D MAJOR chord.

Photo 193: Click to hear how D MAJOR

sounds.
B.2) D MINOR (Dm)

We will use the following fingers of the left hand to create the
sound of the D Minor chord, which are: the index finger (1)
on the number one string of the first fret; the middle finger
(2) on the number three string on the second fret; the ring
finger (3) on the number two string at the third fret; and the
little finger (4) will be exposed without using it.

Photo 194: D MINOR In Hexagram.

 Photo 195: D MINOR chord..

Photo 196: Click to hear what D MINOR sounds like

B.3) RE SEVENTH (D7)

We will use the following fingers of the left hand to create the
sound of the D Septima chord, which are: the index finger (1)
on the second string of the first fret; the middle finger (2) on
the third string of the second fret; the ring finger (3) on the
first string of the second fret; and the little finger (4) will be
exposed without using it.

Photo 197: RE SEVENTH In Hexagram

 Photo 198: D SEPTIMA chord.

Photo 199: Click to hear what RE SEPTIMA sounds like

11.c) Chords of the Note "E".

C.1) E MAJOR (E)

We will use the following fingers of the left hand to create the
sound of the E Major chord, which are: the index finger (1) on
the third string of the first fret; the middle finger (2) on the
fifth string of the second fret; the ring finger (3) on the fourth
string of the second fret; leaving the Little finger, which is
(4), exposed or without using it.

Photo 200: E MAJOR in Hexagram.

 Photo 201: E MAJOR chord.

Photo 202: Click to hear what E MAJOR sounds like.

C.2) E MINOR (Em)

We will use the following fingers of the left hand to create the
sound of the E Minor chord, which are: the open index finger
(1) will not be used; the middle finger (2) on the number five
string of the second fret; the ring finger (3) on the number
four string on the second fret; and the little finger (4) in the
air because it will not be used.

Photo 203: E MINOR In Hexagram.

 Photo 204: E MINOR chord..

Photo 205: Click to hear what E MINOR sounds like

C.3) MY SEVENTH (E7)

We will use the following fingers of the left hand to create the
sound of the E seventh chord, which are: the index finger (1)
on the third string of the first fret; the middle finger (2) on
the fifth string of the second fret; the ring finger (3) on the
fourth string of the second fret; and the little finger (4) on the
second string of the third fret.

Photo 206: MY SEVENTH In Hexagram

 Photo 207: E SEVENTH chord.

Photo 208: Click to hear what MI SEPTIMA sounds like

11.d) Chords of the Note "FA".

D.1) F MAJOR (F)

We will use the following fingers of the Left hand to create the
sound of the F Major chord, which are: the Index finger (1)
extended on the first fret and pressing the sixth string of the
sixth fret; the middle finger (2) on the third string of the
second fret; the ring finger (3) on the fifth string of the third
fret; the Little Finger (4) on the fourth string of the third fret.

Photo 209: FA MAJOR in Hexagram.

 Photo 210: F MAJOR chord.

Photo 211: Click to hear what F MAJOR sounds like.

D.2) F minor (Fm)

We will use the following fingers of the Left hand to create the
sound of the F Minor chord, which are: the Index finger (1)
will extend at fret one and press the sixth string at fret one;
the middle finger (2) in the air without touching anything; the
ring finger (3) on the number five string on the third fret; and
the Little Finger (4) on the fourth string of the third fret.

Photo 212: F MINOR In Hexagram.

 Photo 213: F MINOR chord..

Photo 214: Click to hear what F minor sounds like

D.3) FA SEVENTH (F7)

We will use the following fingers of the Left hand to create the
sound of the F Seventh chord, which are: the Index finger (1)
will extend at fret one and press the sixth string at fret one;
the middle finger (2) on the third string of the second fret;
the ring finger (3) on the number five string on the third fret;
and the Little Finger (4) in the air without touching anything.
 Photo 215: FA SEVENTH In Hexagram

Photo 216: FA SEVENTH chord.

Photo 217: Click to hear what FA SEPTIMA sounds like

11.e) Chord of the note "SOL".

E.1) G MAJOR (G)

We will use the following fingers of the left hand to create the
sound of the G Major chord, which are: the index finger (1)
on the fifth string of the second fret; the middle finger (2) on
the sixth string of the third fret; the ring finger (3) on the first
string of the third fret; the little finger which is the (4) in the
air without using.

Photo 218: SUN MAJOR in Hexagram.

 Photo 219: G MAJOR chord.

Photo 220: Click to hear what SOL MAYOR sounds like.

E.2) G. MINOR (Gm)

We will use the following fingers of the left hand to create the
sound of the G minor chord, which are: the index finger (1)
extended at the third fret, pressing the sixth string; the
middle finger (2) in the air as it will not be used; the ring
finger (3) on the number five string of the fourth fret; and the
little finger (4) on the fourth string of the fourth fret.

Photo 221: SUN MINOR In Hexagram.

 Photo 222: G MINOR chord.

Photo 223: Click to hear what SOL MINOR sounds like

E.3) SUN SEVENTH (G7)

We will use the following fingers of the left hand to create the
sound of the G seventh chord, which are: the index finger (1)
on the first string of the first fret; the middle finger (2) on the
fifth string of the second fret; the ring finger (3) on the sixth
string of the third fret; the little finger which is the (4) in the
air without using.

Photo 224: SUN SEVENTH In Hexagram

 Photo 225: SOL SEVENTH chord.

Photo 226: Click to hear what SOL SEPTIMA sounds like

11.f) Chord of the note "LA".

F.1) THE MAJOR (A)

We will use the following fingers of the left hand to create the
sound of the A major chord, which are: the index finger (1)
on the fourth string of the second fret; the middle finger (2)
on the third string of the second fret; the ring finger (3) on
the second string of the second fret; leaving the little finger,
which is (4), exposed or not using it.

Photo 227: THE MAJOR in Hexagram.

 Photo 228: A MAJOR chord.

Photo 229: Click to hear how LA MAYOR sounds.

F.2) THE MINOR (Am)

We will use the following fingers of the left hand to create the
sound of the A minor chord, which are: the index finger (1)
on the second string of the first fret; the middle finger (2) on
the fourth string of the second fret; the ring finger (3) on the
number three string of the second fret; and the little finger
(4) in the air because it will not be used.

Photo 230: THE MINOR In Hexagram.

 Photo 231: A MINOR chord..

Photo 232: Click to hear how A MINOR sounds

F.3) THE SEVENTH (A7)

We will use the following fingers of the left hand to create the
sound of the A major chord, which are: the index finger (1)
on the fourth string of the second fret; the middle finger (2)
on the third string of the second fret; the ring finger (3) on
the second string of the second fret; and the little finger (4)
on the first string of the third fret.

Photo 233: THE SEVENTH IN HEXAGRAM

 Photo 234: LA SEPTIMA chord.

Photo 235: Click to hear what LA SEPTIMA sounds like

11.g) Chord of the note "SI".

G.1) IF MAJOR (B)

We will use the following fingers of the left hand to create the
sound of the B major chord, which are: the index finger (1)
will extend over the number two fret and press the number
five string; the middle finger (2) on the fourth string of the
fourth fret; the ring finger (3) on the third string of the fourth
fret; and the little finger (4) on string two of the fourth fret.

Photo 236: IF MAJOR in Hexagram.

 Photo 237: B MAJOR chord.

Photo 238: Click to hear what B MAJOR sounds like.

G.2) B MINOR (Bm)

We will use the following fingers of the left hand to create the
sound of the B minor chord, which are: the index finger (1)
will extend over the number two fret and press the number
five string; the middle finger (2) on the second string of the
third fret; the ring finger (3) on the fourth string of the fourth
fret; and the little finger (4) on the third string of the fourth
fret.

Photo 239: B MINOR In Hexagram.

 Photo 240: B MINOR chord..

Photo 241: Click to hear what B MINOR sounds like

G.3) IF SEVENTH (B7)

We will use the following fingers of the left hand to create the
sound of the B seventh chord, which are: the index finger (1)
on the fourth string of the first fret; the middle finger (2) on
the fifth string of the second fret; the ring finger (3) on the
third string of the second fret; and the little finger (4) on the
first string of the second fret.

Photo 242: IF SEVENTH In Hexagram

 Photo 243: B SEVENTH chord.

Photo 244: Click to hear what SI SEPTIMA sounds like

Topic 12: Basic Musical Circles for Accompaniment

What is a Musical Circle?

They are those musical notes or chords that carry a basic

logic of tuned changes, and that are used to accompany
songs in a basic and easy-to-execute way.

For example, they are used under the name "the first of C",
"the second of C", and "the third of C", although in the end,
they are really the basic guitar chords that we have studied in
previous lessons, such as, "the first of C" is C major; "the
second of C" is G Major; "the third of C" is D major.

The way to accompany ourselves with these circles is by

using the "three types of compas" that we studied previously
and that are in lesson 29, topic 10, photos from 176 to 181.

They must use the Bass techniques as seen in Photos 151,

152, 153. in each Circle.

Important Note: Let's practice these circles with the three

measures in order to accompany songs.

12.a) DO Circle

A1) THE FIRST OF C (it is C Major) Photo 245. Bass: 5 and 6

A2) THE SECOND OF C (is G Major) Photo 246. Lows: 6 and
5.

A3) THE THIRD OF C (it is F Major) Photo 247. Lows: 6 and 5.

12.b) MI Circle .

B1) THE FIRST OF MI (it is MI Mayor) Photo 248. Lows: 6 and

5.

B2) THE SECOND OF ME (it is SI seventh) Photo 249. Lows: 5

and 6.
B3) THE THIRD OF ME (it is THE Mayor) Photo 250. Lows: 5
and 6.

12.c) Circle of SOL.

C1) THE FIRST OF SOL (it is SOL Major) Photo 251. Lows: 6
and 5.
C2) THE SECOND DE SOL (is D Major) Photo 252. Lows: 4
and 5.

C3) THE TERCERA DE SOL (it is C Major) Photo 253. Lows: 5

and 6.
Topic 13: Practice with Popular Songs.

13.a) Song 1: The King Compass: 2 X 4 and 3 X 4

Rhythm: RANCHERA. Time: SLOW AND MODERATE.

Author: JAJIMENEZ Interpreter: VICENTE FERNANDEZ

* FIRST STANZA*

1st. of SUN MAJOR. (2X4 Compass) (Time: Slow)

(Basses: 6 and 5) Photo 254.

I KNOW WELL THAT I'M OUT ,

BUT THE DAY I DIE,

I KNOW YOU WILL HAVE TO

2nd of G MAJOR. (Measure 2X4)(Time: Slow)(Basses:4

and 5) Photo 255.
CRY CRY.... AND CRY..., CRY... AND CRY.. "

YOU WILL SAY THAT YOU DID NOT LOVE ME

BUT YOU'RE GOING TO BE VERY SAD,

AND SO YOU'RE GOING TO WHAT

*FIRST CHORUS*

1st. of G MAJOR. (Compas 3X4)(Time: Moderate)

(Basses: 6 and 5) Photo 256.

GIVE..... WITH DI-

3rd. of SUN MAJOR. (3X4 Compass) (Time: Moderate)

(Lows: 5 and 6) Photo 257.

-NERO OR NO MONEY,

I ALWAYS DO WHAT I WANT

AND MY WORD IS THE

2nd of SUN MAJOR. (3X4 Compass) (Time: Moderate)

(Basses: 4 and 5) Photo 258.
LAW.....

I HAVE NO THRONE OR QUEEN,

NOR ANYONE WHO UNDERSTANDS ME,

BUT I'M STILL THE

1st. of SUN MAJOR. (3X4 Compass) (Time: Moderate)

(Basses: 6 and 5) Photo 259.

KING.....

* SECOND VERSE *

1st. of SUN MAJOR. (2X4 Compass) (Time: Slow)

( Lows: 6 and 5) Photo 260.

A STONE ON THE ROAD,

HE TAUGHT ME THAT MY DESTINY

IT WAS ROLLING AND

2nd of SUN MAJOR. (2X4 Compass) (Time: Slow) (Bass:

4 and 5) Photo 261.
ROLL, "ROLL AND ROLL, ROLL AND ROLL"

THEN A MULLETER TOLD ME,

YOU DON'T HAVE TO ARRIVE FIRST

BUT YOU HAVE TO KNOW

*SECOND CHORUS*

1st. of SUN MAJOR. (3X4 Compass) (Time: Moderate)

(Basses: 6 and 5) Photo 262.

ARRIVE.... WITH DI-

3rd. of SUN MAJOR. (3X4 Compass) (Time: Moderate)

(Lows: 5 and 6) Photo 263.

-NERO OR NO MONEY,

I ALWAYS DO WHAT I WANT

AND MY WORD IS THE

2nd of SUN MAJOR. (3X4 Compass) (Time: Moderate)

(Basses: 4 and 5) Photo 264.
LAW.....

I HAVE NO THRONE OR QUEEN,

NOR ANYONE WHO UNDERSTANDS ME,

BUT I'M STILL THE

1st. of SUN MAJOR. (3X4 Compass) (Time: Moderate)

(Basses: 6 and 5) Photo 265.

KING.....

* END *

13.b) Song 2: Yo no fue Compás: 2 X 4

Rhythm: RANCHERA. Time: MODERATE.

Author: C.VELAZQUEZ. Performer: PÈDRO FERNANDEZ

* FIRST PART*

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 266.
IF THEY COME TO YOU

2nd of SUN MAJOR. (2X4 Compass) (Time: Moderate)

(Basses: 4 and 5) Photo 267.

TAR, BAD THINGS OF

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 268.

MY, SEND EVERYONE TO YOU

2nd of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 4 and 5) Photo 269.

LAR, AND TELL THEM I'M NOT

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 6 and 5) Photo 270.
I WENT,------ I ASSURE YOU THAT

2nd of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 4 and 5) Photo 271.

I WAS NOT THERE, THEY ARE PURE STORIES THERE ARE

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 272.

OVER THERE, YOU HAVE TO ME

2nd of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 4 and 5) Photo 273.
BELIEVE ME, I SWEAR TO YOU

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 6 and 5) Photo 274.

I DID NOT GO.......

*SECOND PART*

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 275.

IF THEY COME TO YOU

2nd of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 4 and 5) Photo 276.

TAR, BAD THINGS OF

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 6 and 5) Photo 277.
MY, SEND EVERYONE TO YOU

2nd of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 4 and 5) Photo 278.

LAR, AND TELL THEM I'M NOT

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 6 and 5) Photo 279.

I WENT,------ EVERYONE TELLS ME WHY

2nd of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 4 and 5) Photo 280.
THERE, YOU HAVE A FACE LIKE I DON'T

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 281.

I WENT, THEY TELL YOU, IF I

2nd of SUN MAJOR. (2X4 time signature) (Time:

Moderate) (Basses: 4 and 5) Photo 282.

VI, YOU HAVE TO BELIEVE ME

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 283.

MY, YOU HAVE TO BELIEVE ME

2nd of SUN MAJOR. (2X4 measure) (Time: Moderate)

(Basses: 4 and 5) Photo 284.
MY, I SWEAR TO YOU THAT I DON'T

1st. of SUN MAJOR. (2X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 285.

I WAS,. NO NO, --- NO NO-- I WAS NOT.....

* END *

13.c) Song 3: You are the culprit

Compass: 4 X 4

Rhythm: BOLERO.

Time: MODERATE.

Author: L. And M. OF......

Performer: LUIS MIGUEL.

* FIRST PART*

1st. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 286.
YOU ARE THE GUILTY,

OF ALL MY ANGUSTIES

AND ALL MY WHAT---

2nd of MY MAJOR. (4X4 time signature) (Time:

Moderate) (Basses: 5 and 4) Photo 287.

--BRANTOS, YOU FILLED MY LIFE

OF SWEET CONCERNS

AND BITTER DESEN--

1st. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 288.

--SONGS. HIS LOVE IS LIKE A SCREAM

WHAT I CARRY HERE IN MY BLOOD

AND HERE IN MY HEART--

2nd of MY MAJOR. (4X4 time signature) (Time:

Moderate) (Basses: 5 and 4) Photo 289.

--ZON, AND I AM EVEN IF I DON'T WANT TO

SLAVE OF HIS EYES

YOUR TOY

3rd. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 5 and 6) Photo 290.

LOVEOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
OOOOOOOOOVE

2nd of MY MAJOR. (4X4 time signature) (Time:

Moderate) (Basses: 5 and 4) Photo 291.

ORRRRRR
DO NOT PLAY WITH MY

1st. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 292.

SORRY, NOT EVEN WITH MY FEELINGS

WHAT IS THE ONLY THING YOU HAVE---

2nd of MY MAJOR. (4X4 Compass) (Time: Moderate)

(Basses: 5 and 4) Photo 293.

--GO, YOU ARE MY HOPE

MY LAST HOPE

UNDERSTAND ONE

3rd. of MY MAJOR. (4X4 time signature) (Time:

Moderate) (Basses: 5 and 6) Photo 294.

VEEEEE
2nd of MY MAJOR. (4X4 time signature) (Time:
Moderate) (Basses: 5 and 4) Photo 295.

EZZZZZ.

YOU DESIRE ME--

3rd. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 5 and 6) Photo 296.

PEAR.....

IT KILLS ME I MISS IT--

1st. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 297.

QUECE... AND UNTIL LIFE

2nd of MY MAJOR. (4X4 time signature) (Time:

Moderate) (Basses: 5 and 4) Photo 298.
DIERA. TO OVERCOME FEAR

FROM KISSING HER TO

1st. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 299.

YOU.......

YOU DESIRE ME--

3rd. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 5 and 6) Photo 300.

PEAR.....

IT KILLS ME I MISS IT--

1st. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 301.

QUECE... AND UNTIL LIFE

2nd of MY MAJOR. (4X4 time signature) (Time:

Moderate) (Basses: 5 and 4) Photo 302.
DIERA. TO OVERCOME FEAR

FROM KISSING HER TO

1st. of MY MAJOR. (4X4 time signature) (Time:

Moderate)(Basses: 6 and 5) Photo 303.

YOU.......

* END *