Credits and Sources
How to Read This Sheet
Section titled “How to Read This Sheet”This sheet is for looking up. For every song, tune and study the course prints or names, it says who wrote it and which recording or book it comes from, and which sources its notes or chords rest on. For each song it also says which sections are printed and which are not. The other pages of the course send you here for their credits.
Every fact on this sheet was read in a source that was opened, and nothing is added from memory. Where a thing has not been checked, this sheet says so in the same words as the course. No lyric, no word of a song used as a cue and no sung melody is printed: a section of a song is named by its name and its measures.
Course Overview says:
All rights in the songs remain with their writers and publishers; the full credits, and the sources for each section, are in Credits And Sources. Nothing in this course has yet been play-tested: nobody has checked an arrangement or a chart against its recording with a guitar in hand.
A credit is not a permission.
Each section of a song has one of six marks:
- agreed: two independent published sources give the same chords in the same order;
- the sources differ;
- one source;
- not compared;
- not sourced;
- not chords on the recording: by the transcriptions, the guitar plays something that is not chords (one section of “Smells Like Teen Spirit”, where they write a two-note figure for the guitar).
Only an agreed section is printed, and not every agreed section is: one that the course’s shorter form does not use is left out, and its row says so. Two pages that copy each other count as one source. Where both sources of a printed section are the work of a website’s users, the entry says so.
Each entry gives its facts in a table or in plain sentences. A source is named by what it is, and a website by its name (Songsterr, dylanchords, Hooktheory). This sheet prints no web address, with one exception, under the study by Giuliani.
”Knockin’ on Heaven’s Door” (its four-measure chord progression)
Section titled “”Knockin’ on Heaven’s Door” (its four-measure chord progression)”First printed in Session 7.
| Credit | Name |
|---|---|
| Written by | Bob Dylan |
| Recorded by | Bob Dylan |
| Album | The soundtrack album Pat Garrett & Billy the Kid (1973) |
| Section | Status | Sources | Printed or not, and why |
|---|---|---|---|
| The four-measure progression (G and D, Am, G and D, C) | agreed | the publisher’s songbook (three printings); dylanchords; Songsterr tab; Hooktheory; a user’s chord chart on Ultimate Guitar | Printed: the songbook and dylanchords name the second chord Am7; three sources have plain Am, and the chart prints Am |
| Verse, refrain, verse, refrain, 8 measures each | agreed | the publisher’s songbook; Songsterr tab | Printed |
| The ending: the recording fades over the progression’s first two measures | agreed | the publisher’s songbook; Songsterr tab | Not printed: the chart’s three-measure ending is written for the course |
| Introduction | the sources differ | Songsterr tab; a user’s chord chart on Ultimate Guitar; a printed edition with a piano part | Eight measures in the tab and in the user’s chart, two in the printed edition, none in the two songbooks: not printed |
By the sources the recording is about 69 to 70 BPM. It is offered for playing along in Session 8. Nobody has checked the recording’s pitch against a guitar, so the metronome is the fallback.
”Roop Tera Mastana” (refrain chords, simplified, with a capo)
Section titled “”Roop Tera Mastana” (refrain chords, simplified, with a capo)”First printed in Session 11.
| Credit | Name |
|---|---|
| Music | S. D. Burman |
| Lyrics | Anand Bakshi |
| Sung by | Kishore Kumar |
| Film | Aradhana (1969) |
| Section | Status | Sources | Printed or not, and why |
|---|---|---|---|
| Refrain | agreed | Musicmitr chart, written in C sharp; the chart written in C that stands on at least seven pages (earliest: Tabandchord, October 2012) | Printed: the same order a half step apart; both are hobby charts, and it is not certain that the two were made separately. Its last chord is major in these two charts and minor in three others: printed as the two-string E5 shape, which is neither major nor minor, with the doubt stated and the E and Em shapes offered |
| Stanza | the sources differ | Musicmitr chart, written in C sharp; the chart written in C that stands on at least seven pages (earliest: Tabandchord, October 2012) | Its first two lines are agreed; the rest is in one chart, whose copies differ: not printed |
| Introduction and interludes | the sources differ | the IndianGuitarTabs thread of 2005; Torrins | Two charts, which differ: not printed |
The order of the refrain’s chords comes from two charts that agree: the chart written in C that stands on at least seven pages, and the chart written in C sharp on Musicmitr. Both are hobby charts, not a publisher’s edition. The judgement on them is “probably independent”, with medium confidence; it is not certain that the two were made separately.
The charts do not agree whether the last chord of the refrain is major or minor: the two this course follows make it major, and three others make it minor. Nobody has checked it against the recording. So measures 7 and 8 of the chart are the two-string E5 shape, which has neither the note that makes the chord major nor the one that makes it minor. If you want the full chord, try the E shape and the Em shape against the recording and keep the one that fits.
The chart’s Capo line reads “Capo: fret 4”. No source settles what pitch the recording is at: two notation pages give C sharp as the song’s scale, and the most-copied guitar chart is written in C. Whether its home note is C sharp (capo 4), C (capo 3) or between the two needs a player with a tuner. So the chart is not offered for playing along. How long each chord lasts is this course’s reading: the two charts give the order of the chords, not their lengths.
”Planet Caravan” (verse chords, simplified)
Section titled “”Planet Caravan” (verse chords, simplified)”First printed in Session 14.
| Credit | Name |
|---|---|
| Written by | Geezer Butler, Tony Iommi, Ozzy Osbourne and Bill Ward |
| Recorded by | Black Sabbath |
| Album | Paranoid (1970) |
| Section | Status | Sources | Printed or not, and why |
|---|---|---|---|
| Verse | agreed | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab | Printed as plain Em and D, one measure each, for 16 measures: the course’s simplification of the chords the book names, and the course’s length (24 and 22 measures on the recording) |
| Introduction, and the four measures between the verses | agreed | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab | The same figure with no voice: not printed, the course form does not use them |
| Guitar solo to the fade | the sources differ | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab; a technique guide | The order is agreed (an E chord, then a D chord, one measure each); the three name the chords differently: not printed |
The printed transcription is a book of the album Paranoid in notation and TAB, read from page images by two readers. Its publisher is not confirmed.
Plain Em and D, one measure each, are the course’s simplification of the chords the book names. The length of the course form and its written ending are the course’s too. No play-along is offered: the recording runs faster than the highest tempo this course sets for the down-up strum. Nobody has checked the recording’s pitch.
”Blood Brothers” (verse and chorus chords)
Section titled “”Blood Brothers” (verse and chorus chords)”First printed in Session 26.
| Credit | Name |
|---|---|
| Written by | Steve Harris |
| Recorded by | Iron Maiden |
| Album | Brave New World (2000) |
| Section | Status | Sources | Printed or not, and why |
|---|---|---|---|
| Verse | agreed | the album’s printed tab book; Songsterr tab; Hooktheory page | Printed: the book and the tab write power chords on these four roots; the open chords are the course’s fuller version |
| Chorus | agreed | the album’s printed tab book; Songsterr tab; Hooktheory page | Printed |
| The last two verses | the sources differ | the album’s printed tab book; Songsterr tab | Not the printed verse (in the book every fourth measure is D5 alone), and the two sources differ in part: not printed |
| Introduction, and the same figure between sections and in the outro | not compared | the album’s printed tab book; Songsterr tab | Read once in each and not compared measure by measure: not printed |
| Guitar solos, interlude and middle | one source | the album’s printed tab book | Not printed |
The book and the tab write power chords on the four roots; the open chords Em, G, C and D are the course’s fuller version of them. The chart is written in 6/8 by the course’s choice, where the printed book and the tab write 6/4. The strumming pattern, the shorter form and the ending are the course’s.
By the sources the recording is in standard tuning and in E minor. Nobody has checked that with a tuner.
”Smells Like Teen Spirit” (introduction and chorus chords, in the Push Study’s pattern)
Section titled “”Smells Like Teen Spirit” (introduction and chorus chords, in the Push Study’s pattern)”First printed in Session 31.
| Credit | Name |
|---|---|
| Written by | Kurt Cobain, Krist Novoselic and Dave Grohl |
| Recorded by | Nirvana |
| Album | Nevermind (1991) |
| Section | Status | Sources | Printed or not, and why |
|---|---|---|---|
| Introduction | agreed | Hal Leonard’s “Nevermind” (Guitar Recorded Versions), page 4; Hal Leonard’s Easy Guitar Play-Along Volume 11, page 51 (the same publisher); Songsterr tab | Printed: one two-measure progression, F5 and Bb5, then Ab5 and Db5, six times: 12 measures |
| Chorus | agreed | Songsterr tab; Hooktheory page | Printed: the same progression six times: 12 measures. Both sources are user-contributed and the chart’s paragraph says so; no publisher’s page for the chorus was seen |
| Pre-verse, verse, pre-chorus | not chords on the recording | Hal Leonard’s “Nevermind” (Guitar Recorded Versions), page 4; Songsterr tab | A two-note figure for the guitar, not chords: not printed |
| Post-chorus | the sources differ | Songsterr tab; Hooktheory page | Not printed |
| Guitar solo, outro and the recording’s ending | one source | Songsterr tab | Not printed |
| The strumming pattern of the recording | not compared | Hal Leonard’s two editions; Songsterr tab | Not printed: the chart uses the course’s own pushed pattern and says so. By these sources the second chord of a measure is struck on the ’&’ of 3 on the recording |
The introduction is agreed by the publisher’s transcription and a tab. The chorus is agreed by two sources that are both the work of a website’s users, and no publisher’s page for the chorus was seen. In the verse the publisher’s transcription and the tab write a two-note figure for the guitar, not chords, so nothing of it is printed.
The chart uses the pushed pattern of the “Push Study”, which is this course’s own and is not the rhythm of the recording. The recording’s own pattern was not compared, and it is not printed.
By the transcriptions the recording is in standard tuning and in F minor. Nobody has checked that with a tuner.
”Paranoid” (verse and interlude chords, simplified)
Section titled “”Paranoid” (verse and interlude chords, simplified)”First printed in Session 32.
| Credit | Name |
|---|---|
| Written by | Geezer Butler, Tony Iommi, Ozzy Osbourne and Bill Ward |
| Recorded by | Black Sabbath |
| Album | Paranoid (1970) |
| Section | Status | Sources | Printed or not, and why |
|---|---|---|---|
| Verse | agreed | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab; Hooktheory; a band score; a technique guide; an anthology edition | Printed: its fourth measure is printed as D5 for two beats and E5 for two, the short G5 left out: the course’s simplification, said on the chart |
| Interlude (the passage after the verse) | agreed | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab; Hooktheory; a band score; an anthology edition | Printed: the held chords are played as palm-muted eighth notes: the course’s simplification |
| Bridge | agreed | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab; Hooktheory; a band score | Not printed: the course form does not use it |
| Introduction and outro | agreed | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab | Not printed: the course form does not use them. The band score has the introduction too |
| The verse chords with no voice, and the guitar solo | agreed | a printed transcription book of the album (page images read by two readers; publisher not confirmed); Songsterr tab | Not printed: the course form does not use them |
The printed transcription is a book of the album Paranoid in notation and TAB, read from page images by two readers. Its publisher is not confirmed.
Two things are simplified, and both are the course’s doing. The verse’s fourth measure is printed as D5 for two beats and E5 for two, and the short G5 at the start of the measure is left out. In the interlude the held chords are played as palm-muted eighth notes. One transcriber’s note says the recording is tuned a little above concert pitch; nobody has checked it.
Traditional Tunes
Section titled “Traditional Tunes”Three tunes, in the order the course meets them. Two readers read each tune’s page independently and agree on it.
Recordings of these tunes differ from the printings in small ways, and may be in another key, so no recording is named and none is offered for playing along.
”Amazing Grace” (traditional; the course’s arrangement in G): Session 5
Section titled “”Amazing Grace” (traditional; the course’s arrangement in G): Session 5”| Fact | Detail |
|---|---|
| The tune | The hymn tune known as “New Britain” |
| Composer | No known composer |
| Read in | E. O. Excell’s hymnal Make Christ King (Chicago, 1912), No. 251 |
| Key | G, the key the hymnal prints: not moved |
| The title | That of John Newton’s hymn (1779), which is usually sung to this tune. No words are printed |
| The course’s own | The chords and the guitar arrangement |
”Down by the Salley Gardens” (traditional air; the course’s arrangement in D): Session 15
Section titled “”Down by the Salley Gardens” (traditional air; the course’s arrangement in D): Session 15”| Fact | Detail |
|---|---|
| The tune | The Irish air “The Maids of Mourne Shore” |
| Composer | No known composer |
| Read in | Herbert Hughes, Irish Country Songs, volume 1 (Boosey & Co., 1909), pages 37 and 38, where this form of the air is sung to words by W. B. Yeats. No words are printed |
| Key | Moved from D flat to D |
| The course’s own | The guitar arrangement and the chords |
”Greensleeves” (traditional; the course’s arrangement in A minor): Session 28
Section titled “”Greensleeves” (traditional; the course’s arrangement in A minor): Session 28”| Fact | Detail |
|---|---|
| The tune | A traditional English tune |
| Composer | No known composer |
| Read in | William Chappell, Popular Music of the Olden Time, volume 1 (London, about 1859), page 230, where it is headed “Tune of Green Sleeves. Oldest copy” |
| Key | Moved from E minor to A minor |
| The course’s own | The arrangement and the chords |
One rhythm is made even: where the printing has a long note, a short note and a middle-length note on three counts, you play three even eighth notes. The last note of the tune, in measure 16, is held one count longer than printed. The raised notes G sharp and F sharp are part of the tune as printed.
The Study by Giuliani
Section titled “The Study by Giuliani”Giuliani: “Andantino”, Op. 50 no. 1. First printed in Session 11 (measures 1 to 16) and in Session 14 (measures 17 to 32).
| Fact | Detail |
|---|---|
| Composer | Mauro Giuliani (1781 to 1829) |
| The piece | The first piece of Le Papillon, Op. 50, marked Andantino |
| Copyright | The music is in the public domain |
| The notes follow | The Mutopia Project’s typeset no. 1329, by Stephen Rhen (licence: Creative Commons Attribution 3.0) |
| Except in three places | The lower note on beat 3 of measure 5, the lower note on beat 3 of measure 14, and the last eighth note of measure 30, which follow a Paris print published by Henry Lemoine & Cie (plate numbers V. D. et D. 523 and 13758 H.) |
The typeset’s licence asks that changes be stated, and this entry states them in full. The TAB and the fingering of both hands were made for this course: neither the typeset nor the print has any fingering. No recording is named.
The licence: https://creativecommons.org/licenses/by/3.0/
Four studies are held in reserve: Carulli, Op. 241; Sor, Op. 60 no. 1 and Op. 44 no. 2; and Aguado, a study in A minor. They are named in Fingerstyle Studies, and the first three also in Whats Next; nothing of them is printed. The first editions of the Carulli and of the two Sor studies have not been opened.
Written for This Course
Section titled “Written for This Course”Every piece, study, exercise and task in this table was written for this course. None of them is a song, and each is named for what it is.
| Piece, study, exercise or task | First session |
|---|---|
| ”Seventh-Chord Blues in A” | Session 2 |
| ”Stop-Time Study in E” | Session 3 |
| ”Seventh-Chord Blues in E” | Session 4 |
| One chorus of your own over the Blues in E | Session 4 |
| ”Two-Octave Study in G” | Session 7 |
| ”Sixteenth-Note Strum Study in E minor” | Session 8 |
| ”Capo Study in A Shapes” | Session 9 |
| ”Evening Sevenths” | Session 10 |
| ”Turnaround Study in C and G” | Session 13 |
| Four measures of your own in G major | Session 13 |
| Eight measures of your own over Em and D | Session 14 |
| ”Staff Melody in C” | Session 16 |
| ”Root-Finder Study” | Session 17 |
| ”Shuffle Blues in A” | Session 20 |
| ”Fifth-Fret Phrases” | Session 21 |
| ”Your Own Blues Chorus” | Session 22 |
| ”Slur Study in A minor” | Session 23 |
| ”Fifth-Fret Chord Study” | Session 25 |
| ”Six-Eight Strum Study” | Session 26 |
| ”Push Study” | Session 29 |
| ”Fifth-Fret Rock Study” | Session 32 |
| ”Eight Measures of Your Own” on an unseen chart | Session 33 |
| ”Arpeggio Set” | Session 34 |
“Evening Sevenths” and the “Six-Eight Strum Study” are not songs. “Evening Sevenths” is written in the manner of a slow film ballad: a slow tempo, one chord to a measure, and major and minor seventh chords. The six chart cards of “Eight Measures of Your Own” on an unseen chart were written for this course. The example chart in Learning A Song was made up for that handout: it is not a song.
Where this course prints a block of the beginner course again, the line above it names the beginner session it comes from, and its credits are those of the beginner course.
Songs for Listening Only
Section titled “Songs for Listening Only”Where the sources do not agree on a song’s main section, the course names the recording and prints nothing.
| Song | Recorded or sung by | Album or film, and year | Written by | Named in |
|---|---|---|---|---|
| ”Yeh Dosti” | Kishore Kumar and Manna Dey | The film Sholay (1975) | Music: R. D. Burman. Lyrics: Anand Bakshi | Session 13 |
| ”Iron Man” | Black Sabbath | The album Paranoid (1970) | Geezer Butler, Tony Iommi, Ozzy Osbourne and Bill Ward | Session 17 |
| ”Running Free” | Iron Maiden | The album Iron Maiden (1980) | Steve Harris and Paul Di’Anno | Session 20 |
| ”Neele Neele Ambar Par” | Kishore Kumar | The film Kalaakaar (1983) | Music: Kalyanji–Anandji. Lyrics: Indeevar | Session 25 |
| ”Zindagi Kaisi Hai Paheli” | Manna Dey | The film Anand (1971) | Music: Salil Chowdhury. Lyrics: Yogesh | Session 26 |
| ”Wasted Years” | Iron Maiden | The album Somewhere in Time (1986) | Adrian Smith | Session 31 |
No song sung by Manna Dey alone is printed: for none of them could two published sources be found that agree on the chords.
What Has Not Been Checked
Section titled “What Has Not Been Checked”Nobody has yet done these:
- Play-tested any arrangement, chart or course piece. Every one of them says “Not yet play-tested.”
- Checked with a tuner the pitch or tuning of any recording: “Knockin’ on Heaven’s Door” (Dylan, 1973); “Roop Tera Mastana” (home note C sharp or C, so capo 4 or 3); “Planet Caravan”; “Blood Brothers”; “Smells Like Teen Spirit”; “Paranoid”, which one transcriber says is a little above concert pitch.
- Checked against the recording whether the last chord of the refrain of “Roop Tera Mastana” is major or minor.
- Counted the sections of “Roop Tera Mastana” on the recording.
- Opened two sources: pages 5 to 7 of the “Nevermind” transcription book, for a publisher’s reading of the chorus of “Smells Like Teen Spirit”; and the title page of the “Paranoid” transcription book, whose publisher is not confirmed.
- Found a publisher’s edition of “Roop Tera Mastana”: none was found.
Where the course is corrected after a player or a reader has checked one of these, this sheet is corrected with it.