| Acknowledgments |
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| Recording |
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| Top Ten Things You'll Learn from This Book |
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| Introduction |
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xi | |
| How to Use This Book and CD |
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xiii | |
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Standard Notation and Tablature |
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xiv | |
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xv | |
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xvi | |
| 1 Rock and Blues 101 |
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1 | (6) |
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2 | (1) |
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Blues Styles, Artists, and Evolution |
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3 | (1) |
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3 | (1) |
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4 | (1) |
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4 | (1) |
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5 | (2) |
| 2 Rock and Blues Styles |
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7 | (18) |
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8 | (2) |
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10 | (2) |
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12 | (2) |
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14 | (1) |
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14 | (2) |
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16 | (3) |
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19 | (6) |
| 3 The Pentatonic Scale |
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25 | (12) |
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26 | |
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Learning to Play the Scale |
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21 | (10) |
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Major and Minor Pentatonic Scales |
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31 | (2) |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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35 | (2) |
| 4 Inflections and Phrasing |
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37 | (16) |
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38 | (1) |
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38 | (3) |
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41 | (1) |
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42 | (1) |
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43 | (1) |
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44 | (1) |
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44 | (2) |
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46 | (2) |
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48 | (5) |
| 5 Beyond the Pentatonic Scale |
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53 | (14) |
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54 | (1) |
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Five Shapes of Pentatonic |
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55 | (5) |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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63 | (2) |
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65 | (2) |
| 6 Major and Minor Scales |
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67 | (16) |
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68 | (3) |
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71 | (2) |
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Making Music with the Major Scale |
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73 | (2) |
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75 | (1) |
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Putting the Minor Scale to Use |
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76 | (2) |
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78 | (5) |
| 7 Music Theory |
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83 | (12) |
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An Introduction to Theory |
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84 | (1) |
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85 | (3) |
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Constructing the Major Scale |
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88 | (3) |
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91 | (2) |
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93 | (2) |
| 8 Chords and Chord Progressions |
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95 | (16) |
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96 | (3) |
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99 | (1) |
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100 | (2) |
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Chord Families and Tall Chords |
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102 | (2) |
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104 | (5) |
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109 | (2) |
| 9 Arpeggios |
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111 | (14) |
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112 | (2) |
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Fingerings for Major Arpeggios |
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114 | (2) |
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Fingerings for Minor Arpeggios |
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116 | (2) |
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Fingerings for Diminished Arpeggios |
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118 | (2) |
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120 | (3) |
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Arpeggios in the Blues Progression |
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123 | (2) |
| 10 Modes |
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125 | (12) |
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126 | (1) |
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The Mode You Already Know-Ionian |
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126 | (1) |
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126 | (2) |
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128 | (1) |
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129 | (1) |
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The Fifth Mode-Mixolydian |
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130 | (2) |
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132 | (1) |
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132 | (2) |
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Applying Modes to Your Playing |
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134 | (3) |
| 11 Technique |
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137 | (10) |
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138 | (1) |
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138 | (2) |
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140 | (1) |
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141 | (2) |
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143 | (1) |
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Exercises to Improve Technique |
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144 | (3) |
| 12 Extended Techniques: Tapping and Sweeping |
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147 | (14) |
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Stretching the Boundaries |
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148 | (1) |
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148 | (3) |
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151 | (1) |
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152 | (1) |
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153 | (1) |
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The Mechanics of Sweep-Picking |
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154 | (1) |
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Sweep-Picking in Practice |
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155 | (2) |
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157 | (4) |
| 13 Guitar Tricks |
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161 | (12) |
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162 | (1) |
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Controlling Sounds on an Electric Guitar |
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162 | (2) |
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164 | (3) |
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Physics 101 and Natural Harmonics |
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167 | (2) |
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169 | (4) |
| 14 Putting It All Together: Blues |
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173 | (12) |
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174 | (2) |
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176 | (3) |
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Blues Rhythm and Chord Sets |
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179 | (2) |
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Blues Turnarounds and Ending Lines |
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181 | (3) |
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184 | (1) |
| 15 Putting It All Together: Rock and Beyond |
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185 | (14) |
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186 | (1) |
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Pentatonic Riffs and Solo Ideas |
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186 | (3) |
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Major and Minor Scale Ideas |
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189 | (1) |
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190 | (3) |
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193 | (1) |
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193 | (1) |
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194 | (3) |
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197 | (2) |
| 16 Playing by Ear |
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199 | (12) |
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Perfect Pitch vs. Relative Pitch |
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200 | (1) |
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Beginning Your Ear Training |
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200 | (1) |
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201 | (1) |
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Hearing Major and Minor Chords |
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202 | (1) |
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202 | (1) |
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202 | (1) |
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203 | (6) |
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209 | (1) |
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210 | (1) |
| 17 How to practice |
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211 | (10) |
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The Meaning of "Practice" |
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212 | (2) |
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214 | (1) |
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214 | (2) |
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216 | (1) |
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216 | (1) |
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217 | (2) |
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219 | (2) |
| 18 Sound a Gear |
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221 | (12) |
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222 | (3) |
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225 | (1) |
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225 | (4) |
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229 | (1) |
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Delay, Chorus, Reverb, and Flange |
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230 | (1) |
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231 | (2) |
| 19 Technology |
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233 | (12) |
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234 | (1) |
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234 | (5) |
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239 | (1) |
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240 | (1) |
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241 | (1) |
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Other Uses for the Home Computer |
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242 | (3) |
| 20 The Next Steps |
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245 | (9) |
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246 | (1) |
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247 | (1) |
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Approach the Guitar Another Way |
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248 | (1) |
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249 | (1) |
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250 | (2) |
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252 | (2) |
| Appendix A Resources |
|
254 | (1) |
| Appendix B Recommended Albums |
|
255 | (2) |
| Appendix C Music Reading Tutorial |
|
257 | (4) |
| Index |
|
261 | |