PROGRESSION: E-A-B-E

(l-lv-v-l, KEY oF E MAJOR)

THE CHORDS
MONDAY
E A B

@ = open-string root
O = fretted root
tJl 123 l-1-)1

TUESDAY
E A B

231 123 11333

WEDNESDAY
E A B

1333 111 1333

THURSDAY
E A B E

,1ft

12t 211 2tt 341

FRIDAY
E] A1 B7

21 2 3(.1) 213 I
SATURDAY SUNDAY
EllB A1 B1 E A B

3 '24t 1 243 1 243 231 123 I -t -.) -.)

t9
MONDAY #Track 1

RHYTHM FIGURE #1 GENRE, FolURock TONE, Acoustic or Clean Electric 0:00

MUSIC DESCRIPTION: Quarter-note rhythms are used exclusively in this (mostly) open-position rhythm figure.
Following open-position E and A chords, a fifth-string barre chord is implemented for the V (B) chord.

TIP: Perform the entire figure with downstrums. For the B chord, barre string s 24 with the ring finger of your
fret hand, elevating the lower portion of the finger off the fretboard just enough to mute string 1 with the finger's
fleshy underside.

.=96
E A B E

1 a
a

slilInt: IIII etc.

A
D

TUESDAY #Track I
RHYTHM FIGURE #2 GENRE' Country T0NE' Acor-rstic or Clean Electric 0:23

MUSIC DESCRIPTION: In this exarnple. the I-I\'-\' prorression ii gjr e1l a colu.rtrifiecl "boom-chuck" treatment in
rvhich bass notes (the "boom") are plaved on beats 1 ancl i .incl chorrl strlrms rtl-re "chuck") are played on beats
2 and zl. This technique is also called "Carter strlurnrir.rg." rr techniclue macle latnous b1, Maybelle Carter, the
matriarch of country music pioneers the Carter Fantilr.

TIP' To erticulate the root-5th (B-Ffl) bass Iine for theB chord. 1ou'll need to irnplement a paftial (two-string)
barre u,ith yourr index finger. While youl ring finger barres strings 2-;1. vour index finger shor,rld extend across
both string 5 and string 6.

) =120
E A B E

I I etc.
let ring throughout
WEDNESDAY #
Track 1

RHYTHM FIGURE #3 GENRE. R&B TONE' Slightly Distorted 0:43

M USIC DESCRIPTI0N:Fifth-string barre chords fbrrn the fbundation of this R&B-inspired rhythrn figurre. However,
.Lrher than remaining stationary, slides (in the case of the A chord, a hammer-on) are used to lrove along string
j trorl each chord's 2ncl to its 3rd. The chordal harrnonies are further emphasized with repetitions of the basic
-:
l .Lc1s.

TlP, play the entire fi_eure exclusively with the index and ling fin-sers of your fiet hand. All slides and hammer-
ps should be executed with your ring finger. which will pr-rt your index fin,tel in position to barre strings 2-'1
rr the triads that follow the fifth-string slide (for the E and B chords).

)=66
E A

i-- .

strum/pick: I I I I I I i
t_ tt
I

B E

a )

I I
-z tt . t--- -1
let ring-- --l

2t
THURSDAY #Track I

RHYTHM FIGURE #4 GENRE, Funk TONE' Clean 1:18

MUSIC DESCRIPTION: This funky rhythm figure utilizes 16th-note rhythms and simple triad shapes along strings
1-3 to outline the E*A-B-E chold progression.

TlPt To produce the percussive mutes, or "scratch chords.'' on beats 2 and ,1 of each measllre. simply reduce the
arnount of pressure that your fingels apply to the strings. litiing voLrr flngers off the fretboard slightly while still
tourching the strings and maintainin-s the shape of the r,oicir-rgs. AIso. be sure to maintain strict alternate strum-
rnin-e (down- up-down-up) throughout.

l=100
E A

<_ -

strum: +l+l+l+l+l+l+l+i
I I I I I I A
etc.

B E

2)
FRIDAY
#
Track 1

RHYTHM FIGURE #5 GENRE, Blues TONE' Clean 1:42

MUSIC DESCRIPTION: Played in 1218 rnetet'. this exanrple incorporates open-position sevenrh chords and a strict
eishth-note rhythm to create a bluesy rhythrn fi_eru-e.

TlPt To realiy emphasize the 12l8 tinre signature. strlun each eiqht note u,ith a downstrum. Also, notice that, on
beat 2 of measure 2, a high G note (fret 3. string l) is adclecl ro rhe .{7 chorc.l to firrther emphasize the clominant
clualityof thechord(GistheiTthof A7).Thisnotecanbeeasrh,tietteclb1 aclclingyourpinkyfingertostring I
u.hile your middle and ring fingers tiet the chold's other two fletted nores.

..=60
E] A]

struur: illJlllrtttl etc.

f-l --{
E u u u ! u -tr Ir - 1,

B1 E1

r ]+ +-

L L T Z

/-)
WEEK I
SATURDAY
#Track I
RHYTHM FIGURE #6 GENRE' Jazz TONE, Clean 2:20

MUSIC DESCRIPTIoN: This simple swing lhythm consists of steady quarter-note strurns of open-voiceil E, A, and
B rltrrrrirlant-seventh chords (87. N7, and B7). While the 47 and 87 chords are root-position
voicings (i.e.. their
r'oots are the lowest note of the chord-the bass note). the E7 chord f-eatures its 5th. B,
in the bass-hence. the
E- B elrold symbol.
f lP: Plal' each of the quarter notes in a staccato (short and choppl') r'hythrn, accenting the
backbeat (beats 2 and
-1t and using downstrums throughout. Accenting beats 2 and .l trimics the dLummer's
hi-hat, Iending a swing feel
to ern otherwise bland passage.

. = l2{l
ETlB A7 Bl ETIB

.# --a a _-- z
L-a

;
strum: J I I i e tC.
>

E E I a 1 1 E

SUNDAY
#
Track I
RHYTHM FIGURE #7 GENRE' Classical TONE' Acoustic 2:40

MUSIC DESCRIPTI0N: In true classical -uuitar fashion. r oLu' prck-hand fin-uers n ill be usecl in lieu of a pick for this
ii-sure. Here, open-position E and A chorcls anci a fifth-string B barre chord are alticulated
with a p-i-ru-i-r-t?t-
r-rir picking pattern (p=thumb. i=index. ru=miclclle. and a=ringt. Thrs piittern enables you to
assign one fingerper
strin-e for each chord and eliminates the need to shift fin-sers florl one string
to another.
f lP' Assign your index fingel to string 4, your micldle fin-uer to strin-e 3. ancl your ring finger
to string 2, alternat-
irls vottr thumb between string 6 (E chorcl) and string 5 (A anct B cholds). Once you get acclimateri
to the picking
pattern. moving through the chord changes will be a breeze.

.l= 80
E A B E

-) ) -_ a- -:
*R.H.: pimiamim p i n1 i a nt i rn p i n.t. i u m. i nt l, i ut i tL tjt i nt
let ring throughout

A
B- T
o
j
=: = thumh. i = inder. rr = middle, c = ring