Appendix B
Accessing the Video Clips and Audio Tracks
Sometimes, reading about a concept and trying to practice it just don’t cut it — you need to see it or hear it, too. Wherever you see the “PlayThis!” icon in this book, you’ll find references to a video clip or audio track that demonstrates various musical pieces, songs, exercises, scales, and the like. Several of the audio tracks play a tune for your reference, so you can see the printed music and hear it at the same time. This appendix provides you with a handy list of all the video clips and audio tracks referenced throughout the book.
So, where are these audio tracks and how do you get them? Like so much else in life, they’re on the Internet — at www.dummies.com/go/guitaraio/.
Discovering What’s on the Video Clips
Table B-1 lists all the video clips that accompany each chapter.
TABLE B-1 Video Clips
Track Number |
Chapter |
Description |
|---|---|---|
1 |
Book 1 Chapter 1 |
The 5th-fret tuning method |
2 |
Book 1 Chapter 2 |
Fretting correctly on the fingerboard |
3 |
Book 1 Chapter 2 |
How to pick correctly |
4 |
Book 1 Chapter 2 |
Forming an E chord step-by-step |
5 |
Book 2 Chapter 1 |
Chord progression in the key of A |
6 |
Book 2 Chapter 1 |
The motion of the downstrokes and upstrokes |
7 |
Book 2 Chapter 1 |
Chord progression using G-family chords |
8 |
Book 2 Chapter 1 |
Chord progression using C-family chords |
9 |
Book 2 Chapter 2 |
Right-hand strumming motion |
10 |
Book 2 Chapter 2 |
Playing Dm7, Em7, and Am7 |
11 |
Book 2 Chapter 2 |
Checking 1st finger position |
12 |
Book 2 Chapter 5 |
One-octave C-major scale in 2nd position |
13 |
Book 2 Chapter 5 |
Orienting the left hand for playing in 7th position |
14 |
Book 2 Chapter 5 |
The Segovia shift in the C major scale |
15 |
Book 2 Chapter 5 |
Ascending motion of the left hand and correct fingering |
16 |
Book 2 Chapter 5 |
Playing in 3rds in open position |
17 |
Book 3 Chapter 1 |
Playing octave shapes |
18 |
Book 3 Chapter 1 |
Playing in 3rds |
19 |
Book 3 Chapter 1 |
Building and playing triads |
20 |
Book 3 Chapter 1 |
Playing major scale chords in G |
21 |
Book 3 Chapter 2 |
Playing your first CAGED form — C |
22 |
Book 3 Chapter 3 |
7th chords in G |
23 |
Book 3 Chapter 3 |
Blues shuffle with 6ths |
24 |
Book 3 Chapter 4 |
Major scale chord pattern in G |
25 |
Book 3 Chapter 4 |
Playing by number in the open position |
26 |
Book 3 Chapter 5 |
G major and E minor scales and chords |
27 |
Book 3 Chapter 5 |
Playing in A Dorian |
28 |
Book 3 Chapter 6 |
Demonstrating a closing progression |
29 |
Book 3 Chapter 6 |
Secondary dominants C-A7-D7-G7 |
30 |
Book 3 Chapter 6 |
Voice leading C-E7-F-G-C |
Discovering What’s on the Audio Tracks
Table B-2 lists all the audio tracks that accompany each chapter, along with any figure numbers if applicable. You also find several backing and play-along tracks to help you with your practice.
TABLE B-2 Audio Tracks
Track Number |
Chapter |
Description |
|---|---|---|
1 |
Book 1 Chapter 1 |
Open string tuning reference |
2 |
Book 2 Chapter 1 |
Simple chord progressions in the keys of A, D, G, and C |
3 |
Book 2 Chapter 1 |
“Kumbaya” |
4 |
Book 2 Chapter 1 |
“Swing Low, Sweet Chariot” |
5 |
Book 2 Chapter 1 |
“Auld Lang Syne” |
6 |
Book 2 Chapter 1 |
“Michael, Row the Boat Ashore” |
7 |
Book 2 Chapter 2 |
“Home on the Range” |
8 |
Book 2 Chapter 2 |
“All Through the Night” |
9 |
Book 2 Chapter 2 |
“Over the River and Through the Woods” |
10 |
Book 2 Chapter 2 |
“It’s Raining, It’s Pouring” |
11 |
Book 2 Chapter 2 |
“Oh, Susanna” |
12 |
Book 2 Chapter 3 |
A typical power-chord progression |
13 |
Book 2 Chapter 3 |
A progression using A-based major barre chords |
14 |
Book 2 Chapter 3 |
Chord changes to Bob Dylan’s “Lay Lady Lay” |
15 |
Book 2 Chapter 4 |
Strumming an E chord in quarter notes |
16 |
Book 2 Chapter 4 |
An eighth-note progression using right-hand downstrokes |
17 |
Book 2 Chapter 4 |
An easy 4/4 strum in eighth notes using downstrokes and upstrokes |
18 |
Book 2 Chapter 4 |
Strumming in quarter and eighth notes for different intensity levels |
19 |
Book 2 Chapter 4 |
A medium-tempo R&B progression using sixteenth notes |
20 |
Book 2 Chapter 4 |
Eighth-note shuffle in G |
21 |
Book 2 Chapter 4 |
A boom-chick pattern in a bouncy country-rock progression |
22 |
Book 2 Chapter 4 |
Separating the bass notes from the treble chord forms with Led Zeppelin-ish feel |
23 |
Book 2 Chapter 4 |
A moving bass line over a chord progression |
24 |
Book 2 Chapter 4 |
A common rock figure using eighth-note syncopation |
25 |
Book 2 Chapter 4 |
A common rock figure using eighth- and sixteenth-note syncopation |
26 |
Book 2 Chapter 4 |
Left-hand muting to simulate syncopation |
27 |
Book 2 Chapter 4 |
A rhythm figure with palm mutes and accents |
28 |
Book 2 Chapter 4 |
An eighth-note 5-6 progression using all downstrokes and a moving left hand |
29 |
Book 2 Chapter 4 |
Fingerstyle arpeggios |
30 |
Book 2 Chapter 4 |
A straight-ahead 4/4 groove in the style of The Eagles |
31 |
Book 2 Chapter 4 |
A two-beat country groove with bass runs |
32 |
Book 2 Chapter 4 |
A medium tempo funky groove in a 16-feel |
33 |
Book 2 Chapter 4 |
A heavy metal gallop using eighths and sixteenths |
34 |
Book 2 Chapter 4 |
A typical Reggae backup pattern highlighting the offbeats |
35 |
Book 2 Chapter 4 |
A song in 3/4, featuring a moving bass line |
36 |
Book 2 Chapter 5 |
Three examples of patterns to help build up the left hand |
37 |
Book 2 Chapter 5 |
“Simple Gifts” |
38 |
Book 2 Chapter 5 |
“Turkey in the Straw” |
39 |
Book 2 Chapter 5 |
C major scales in double-stops |
40 |
Book 2 Chapter 5 |
“Aura Lee” |
41 |
Book 2 Chapter 5 |
“The Streets of Laredo” |
42 |
Book 2 Chapter 5 |
“Double-Stop Rock” |
43 |
Book 3 Chapter 1 |
Notes, steps, octaves, and intervals |
44 |
Book 3 Chapter 1 |
Chord construction, triads, chords, and the harmonized major scale |
45 |
Book 3 Chapter 2 |
Some examples of the CAGED system in action |
46 |
Book 3 Chapter 3 |
Some examples of chord tones and extensions |
47 |
Book 3 Chapter 4 |
Sample chord progressions |
48 |
Book 3 Chapter 5 |
Identifying tonics, keys, and modes |
49 |
Book 3 Chapter 6 |
Examples of dominant function and voice leading |
50 |
Book 4 Chapter 1 |
Sound quality of the electric guitar |
51 |
Book 4 Chapter 2 |
Quarter-note melodies |
52 |
Book 4 Chapter 2 |
Octave scales and arpeggios |
53 |
Book 4 Chapter 2 |
Various melodies |
54 |
Book 4 Chapter 2 |
A two-octave G major scale in 2nd position |
55 |
Book 4 Chapter 2 |
A classic walking-bass boogie-woogie riff in G |
56 |
Book 4 Chapter 2 |
Pentatonic scale played from high to low |
57 |
Book 4 Chapter 2 |
Solos |
58 |
Book 4 Chapter 2 |
A slow blues shuffle in A |
59 |
Book 4 Chapter 3 |
Lots of riffs |
60 |
Book 4 Chapter 3 |
Double-stop figures |
61 |
Book 4 Chapter 3 |
A hard rock progression mixing chords and single notes |
62 |
Book 4 Chapter 4 |
Rhythm figures and double-stops |
63 |
Book 4 Chapter 4 |
Blues licks |
64 |
Book 4 Chapter 4 |
Bluesy riffs |
65 |
Book 4 Chapter 4 |
Hammer-ons, pull-offs, and slides |
66 |
Book 4 Chapter 4 |
Various bends |
67 |
Book 4 Chapter 4 |
Vibrato |
68 |
Book 5 Chapter 1 |
Striking to a beat |
69 |
Book 5 Chapter 1 |
A bass-and-chord pick-strum pattern for country blues |
70 |
Book 5 Chapter 1 |
Two-beat or cut shuffle feel alternates bass notes with chords |
71 |
Book 5 Chapter 1 |
A pick-strum pattern in a slow 12/8 feel |
72 |
Book 5 Chapter 1 |
Examples of syncopation |
73 |
Book 5 Chapter 1 |
Rhythm figure with palm mutes and accents |
74 |
Book 5 Chapter 1 |
Fingerstyle blues with a quarter-note bass |
75 |
Book 5 Chapter 1 |
A progression in a shuffle feel |
76 |
Book 5 Chapter 1 |
A driving straight-four groove |
77 |
Book 5 Chapter 1 |
12/8 feel for slow-tempo blues, a la The Allman Brothers |
78 |
Book 5 Chapter 1 |
The two-beat feel used for more lively blues |
79 |
Book 5 Chapter 1 |
Medium tempo, funky groove in a 16 feel |
80 |
Book 5 Chapter 2 |
12-bar blues and quick-four variation |
81 |
Book 5 Chapter 2 |
The last four bars of a 12-bar blues with a turnaround bar |
82 |
Book 5 Chapter 2 |
Slow 12-bar blues in 12/8 time |
83 |
Book 5 Chapter 2 |
Straight-four progression with a variation |
84 |
Book 5 Chapter 2 |
The Jimmy Reed move in G |
85 |
Book 5 Chapter 2 |
The Jimmy Reed move in A |
86 |
Book 5 Chapter 2 |
Minor blues progression that uses minor 7th chords |
87 |
Book 5 Chapter 2 |
A four-bar intro and two-bar turnaround |
88 |
Book 5 Chapter 2 |
Two-bar turnarounds |
89 |
Book 5 Chapter 2 |
Slow blues ending |
90 |
Book 5 Chapter 2 |
High moves in a 12-bar blues in E |
91 |
Book 5 Chapter 3 |
Boogie-woogie bass lines |
92 |
Book 5 Chapter 3 |
Eighth- and sixteenth-note riffs |
93 |
Book 5 Chapter 3 |
Two-note riffs |
94 |
Book 5 Chapter 3 |
Progression fusing chords, single notes, and double-stops |
95 |
Book 5 Chapter 3 |
Keith Richards riff |
96 |
Book 5 Chapter 3 |
Intro riffs |
97 |
Book 5 Chapter 3 |
Turnaround and ending riffs |
98 |
Book 5 Chapter 3 |
A ragtime or country-blues progression in A |
99 |
Book 5 Chapter 3 |
Rhythm groove over a 12-bar blues in E |
100 |
Book 6 Chapter 2 |
Layered melodies |
101 |
Book 6 Chapter 2 |
Minuet in G |
102 |
Book 6 Chapter 2 |
Air in A Minor |
103 |
Book 6 Chapter 2 |
“America (My Country ’Tis of Thee)” |
104 |
Book 6 Chapter 2 |
Andante in G |
105 |
Book 6 Chapter 3 |
Arpeggio exercise with melody in bass |
106 |
Book 6 Chapter 3 |
Study in A Minor, with the melody in the bass |
107 |
Book 6 Chapter 3 |
Arpeggio exercise with melody in treble |
108 |
Book 6 Chapter 3 |
Study in C, with the melody in the treble |
109 |
Book 6 Chapter 3 |
Arpeggio exercise with melody alternating between treble and bass |
110 |
Book 6 Chapter 3 |
Waltz in E Minor, with the melody alternating between the bass and treble |
111 |
Book 6 Chapter 3 |
Ländler in D |
112 |
Book 6 Chapter 3 |
“Romanza” |
113 |
Book 6 Chapter 3 |
Andante in C |
114 |
Book 7 Chapter 1 |
Major scale pattern #1 |
115 |
Book 7 Chapter 2 |
Ascending and descending sequences |
116 |
Book 7 Chapter 3 |
A natural minor scale in 5th position |
117 |
Book 7 Chapter 3 |
Ascending and descending melodic minor scale pattern |
118 |
Book 7 Chapter 3 |
The A harmonic minor scale in 5th position |
119 |
Book 7 Chapter 4 |
Chord progression using nine different outside forms |
120 |
Book 7 Chapter 4 |
Chord progression with nine different inside forms |
121 |
Book 7 Chapter 4 |
Outside chords in “Danny Boy” |
122 |
Book 7 Chapter 4 |
Inside chords in “Look for the Silver Lining” |
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