Getting Starting with Playing Guitar - YourGuitarSage | Erich Andreas | Skillshare

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Getting Starting with Playing Guitar - YourGuitarSage

teacher avatar Erich Andreas, Your Guitar Sage

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

30 Lessons (4h 39m)
    • 1. 30,000 Foot Overview of Guitar

    • 2. Choosing an Acoustic Guitar

    • 3. Choosing an Electric Guitar

    • 4. Anatomy Of The Acoustic Guitar

    • 5. Anatomy Of The Electric Guitar

    • 6. Basic Definitions That You Need To Know

    • 7. Proper Posture and How to Hold The Pick

    • 8. Intro To The Physics of Sound

    • 9. The Pick Rest (Basic Picking Technique)

    • 10. Basic Fretting Technique

    • 11. Naming the Notes on the Fretboard

    • 12. How To Read Tablature

    • 13. Dexterity Exercise 1

    • 14. Stacatto Vs Legato

    • 15. How To Read Chord Stamps

    • 16. Tuning With A Tuner

    • 17. Basic Chord Technique

    • 18. The 9 Essential Chords

    • 19. Curled Knuckle Technique

    • 20. Advice and Encouragement

    • 21. Changing Chords

    • 22. Basics of Rhythm

    • 23. Basic Strum Technique and Exercises

    • 24. Picks and How The Gauge Effects Your Playing

    • 25. If You Are Still Having Issues With Strumming

    • 26. Why Do You Want to Play Guitar

    • 27. Practice Schedule How To Practice

    • 28. Guitar Care 101

    • 29. Faster Chord Changes with Inventory Trick

    • 30. Big Strumming To Sharpen Your Strumming Skills

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About This Class

Eliminate All the Major Struggles When Getting Started With Playing Guitar

This course is the most "Direct and To the Point" course for ANY guitar player to watch and learn.

Finding 2 Hours of Quality Guitar Lessons that can be accessed anywhere for FREE and at any time of the day is hard to come by these days.

This free course solves all of those problems.

Follow the Videos in the Exact Same Order and You Will See a Huge Positive Difference in Your Playing

  • Over 2 hours of Video and PDF attachments for most Lectures
  • Access this course 24/7, Mac or PC, Iphone,┬áIpad and Android

Establishing solid core practice habits helps the speed of your results and also the quality of your results.

You'll Go From First Time User, Picking Up the Guitar, to Chord Transitioning AND Everything in Between Including the 9 Most Essential Chords

  • Erich Andreas is Consider a Top 5 Online Guitar Teacher
  • With more than 260,000 Youtube subscribers and over 61 Million views his teachings have been able to reach Millions of people all around the world

The built in learning center allows you to track which videos you have or have not seen or watched. This is a great feature that gives the student the ability to learn at their own pace.

Still undecided? Check out the value that's in this course.

23 Lectures equals out to be 6 hours of one-on-one lessons with Erich. That holds a value of $600 ($100/hr) and you get all of these videos, lectures, and PDFs for FREE.

  • Nearly 30 years of guitar experience both teaching and playing
  • Incredible $600 value for Free

Meet Your Teacher

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Erich Andreas

Your Guitar Sage


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1. 30,000 Foot Overview of Guitar: All right, my friends, I'm so glad that you're here. And before we actually get our hands on the guitar or we actually start learning anything I want to give you a 30,000 foot overview on guitar music. Understanding the guitar, etcetera. A basic overview general generalization of what we're going to be covering. If someone had given me this video in the beginning of my learning of the beginning of my career of playing guitar of learning guitar, it would have helped out so much I had to learn so much of this stuff by myself and through other players. And what have you on? In fact, this one video alone? I would love every guitar player in the world to hear before they start playing, because it will really keep them on track, and it will help them. It will be a the backbone of what it is that they need to to come back to when they get frustrated. And that sort of thing that we're gonna be covering a few things in this video. So please indulge me. Indulge yourself because this is information that's gonna help out. Okay, so first off, what? I mean by this 30,000 foot view of guitar. Well, think about yourself. Is being in an airplane when you take off, This could be in your own city, your own state, that sort of thing. And you see your own city from this 30,000 foot 10,000 or, you know, much higher than you've been before. Just driving around in the car, walking that sort of thing. And it allows you to see the city in a way that you you've never seen it before. Yes, you're not gonna see the detail. So you're not gonna have that. And that's what we're gonna be doing throughout the course is we're gonna be learning these details. But having this, you know, this view of the city from this 30,000 foot view really helps to to make sense of everything from a from a big picture. Okay, um, or seeing a map. Okay. Same thing here, and, um really, we can summarize all of our learning. In my opinion, we can summarize it into three different things, and it's fretting, hand picking, hand and theory or just knowledge. In general, we could just call it that knowledge. You know, when we talk about music theory. We're talking about the ins and outs of music and how it works. OK, Another very integral part and part that I teach a lot in the course. So very important, but really weaken break everything down to those three things. So this is something I really want you to remember, because if you remember that you remember that it's only these three little categories, okay? They're not necessarily little, but we can always put him in three different categories. It will really help you wrap your mind around particular topic where you can say, OK, I need to ignore the left hand right now we need to ignore the right hand right now and just need to focus on the left hand or vice versa. Or just this theory. I just need to understand this. I don't need to be able to play it. I just need to be able to conceptualize it first. Okay, Now you have some of the things that I want to go over with you in. This is also some of the myths that, um that you're going to experience that you're going to hear people say that you're going to think are true. And I'm telling you, these myths are myths. And I know that because I've been playing for over 30 years. I've been teaching for over 30 years, and there's a lot of things here that we need to understand going into this. Okay, so I've got my little list here that I'm looking at it. I want to make sure that I don't forget anything. But some of the things are you're too old to play too old to begin. Okay, Um and I'm gonna go over these fairly lightly, because again, this is supposed to be just an overview. Um, no rhythm. That's what, Another one or that your tone deaf or they have no coordination or that your fingers are too fat, too short or that you're born with that talent. Okay, so I address several of these in the course already, but let's address each one of these very quickly. So being too old is, um I almost want to say ridiculous. I don't You know, if you feel some of these myths, I'm not making fun. I'm just saying I'm wanting you to understand. Just dispel them because they're ridiculous. All of those air. Ridiculous. They just don't. They just don't add up. I've never seen them at up. And I've seen I've seen folks overcome all of these myths. Okay, that's why they're not. That's why their mitts and they're not They're not truisms. Okay? So, being too old, uh, the brain is designed to to learn at any age, okay. And, um, as we get older, we actually can get more focused on things often times. Okay, So the whole myth of being too old is out and too old is different for everybody. I have folks saying they're 20 years old. Are they too old to start? I have folks that are starting their seventies and eighties and not even questioning it. So it's literally the age. Things off the table. No rhythm. Rhythm is a learned thing. Just like anything else. Yes, Some folks, we're going to be better it rhythm rhythm than others. And, you know, some of that may have to do with DNA or genes and that sort of thing. But the more you focus on that, the more you back yourself into a corner. So if you don't want to play guitar, if you don't want to be good at rhythm, then believe those things otherwise, don't believe him. Okay, so rhythm is a learned thing, just like ah, tone, playing by ear, that sort of thing. It's a learned thing. How do I know it's a learn thing? Because I've learned it I've always had and a love for music. So I think because of that love, I was always listening to music differently than maybe someone who wasn't in love with music. Maybe someone's in love with physical art, and they observe things in a certain way. And then they're able to paint things in a certain way that I'm not able to because they're observing their mawr of cute to to visualization. You know, where's with May? It's always been here, you know, I've always heard things a certain way, and that's why some folks we're going to be better that rhythm and at playing by ear and that sort of thing. But it's all developed. It can all be developed, and there's nothing that Trump's practice OK, um, no coordination. No one has coordination in the beginning of playing guitar. You just don't OK. It would be equivalent to handing a baby an iPad, and I'm talking about a baby. I'm talking about a newborn, um, you know, or Rubik's Cube or something like that. They don't even know they have arms. Okay, so there could be able to manipulate things. Okay, you've ever seen a newborn? They don't even know they have arms. So about six months old, So everything is learned. And any myths that you hear about people being born with this there, that talent, it's it's just not true. Otherwise, they would been born with it. They would have been able to do these great things. Jimi Hendrix, Eddie Van Halen, all these guys, these great guitar players, girls, guys all. They would have been able to do this at a very young age. 123 years old. Doesn't matter if they were born with it. They had it when they were born. Otherwise, it's a skill that's developed, and that's good news for folks like us on. And folks like them because they can always get better. You and I can always get better. It's a learned thing. It's all a learned things, so be encouraged in. Okay, fat finger, short fingers. Um, and these are again. Also, everybody feels like they have fat fingers. They've have short fingers, they have uncoordinated hands. And what have you in the beginning? That's the way it is. Do you know why? Because you haven't played guitar before of you were to pick up the base or the drums or the flute or juggling or tight rope walking or something like that that you haven't done before. You're going to not be good at it because you haven't done it before. So it's a great place to start is where everybody starts. There is nobody who didn't start at the beginning. So you're starting at the right place. Okay, so be encouraged at that. Don't believe about no coordination. ITT's a total crock. Okay, short, fat fingers. You can work around that with technique. Okay, so even if you think you have short fat fingers or short fingers on Lee or fat fingers only , um, some of the greatest jazz players have fat short fingers. So there you go. On the whole no talent that, you know, I hear this one a lot. No talent or, you know, they got to be born with talent. It's the same thing if we were. If you know, some of this could be argued. But the more you argue it, the more you trap yourself into not being good at a particular something. So I don't even entertain the idea of talent. You know, people use that term pretty loosely, and I think pretty destructively because the idea of talent means you know something that you just ah gift or something that you just have initially when, in fact, when you talk to any of these great anything great players great singer's great tightrope walkers, jugglers, whatever you'll find out that they practice a whole lot. In fact, most of them dedicate their life to it. So it's not a coincidence that folks that dedicate their lives to a particular something are better than folks that think that it's all a matter of talent and they just never get better. Okay, good or bad, it doesn't matter. The talent it is, it is. It has everything to do with practice. OK, so those are some of the myths that I want you to really truly believe me. I've been doing this a long time. I've worked with a ton of students. You've got to believe me. Do not believe these. If you do, you might as well not even get started because it's gonna be destructive to you. It's gonna keep you back from your goals toe. Trust me here, even if you don't quite believe me, I promise you that throughout the course you're going to see that Eric was 100% right and that you're learning and you're getting better and better every day. Okay, so let's Ah, a few other things that I want to talk to you about is, um, two things. Your fingers are gonna hurt, and you are going to get frustrated 100% of the time. Every student who plays right in the beginning that fingers hurt and they get frustrated. They feel pain in their in their arms. Okay, when I say pain, we're not talking about a nail through the hand we're talking about, You know, basic fatigue, like lifting weights or doing sit ups or something like that. Okay, you're working muscles that you haven't worked before, and you're doing him in a way of it's very repetitive. Eso when things hurt, take a little bit of a break. Come back to it. But just like anything, when you go to the gym, if you haven't been to the gym in a long time, you've never been to the gym and you go to the gym and you lift weights. It hurts. It's just going to because you're using muscles that haven't been used before. So, uh, if it didn't hurt, that would be very weird. So I get it all the time. I get these questions from folks all the time. Well, guess what? It would be very strange of your hands didn't hurt if your muscles didn't hurt in the beginning because you're getting acclimated to these new routine. So when it happens, No, that's normal. Keep going. Take a break when you need to. It's okay. Fingertips are definitely going to hurt, especially of using steel string guitars. Folks say how do I not have them hurt? Don't play guitar. That's I don't make him not hurt. Otherwise, if you're playing guitar, they're gonna hurt. You. Go to the gym, you're gonna be tearing muscle down. That's the whole point. To grow muscle. It's gonna hurt. So, uh, take your time with playing and go light. You know, when you're playing, you're gonna play a little bit lighter. And I talk about that throughout these videos. Okay, So, um, what are some things that you can do here? Number one. Take your time. Okay? There's nothing that beats practice. So when you come to a video and you're having some difficulty in this on for the whole process the 30,000 foot view, take your time. Hey, what that means is, if you're on a particular video in your practicing, take a lot of time doing it, get to know it. They just like you would get to knowing, get to knowing, getting to know a person. OK, Do you want to get to know, Take your time with them, enjoy the ride. And don't try to always rush to the next video. You're not going to get anywhere faster doing that. It really has to do with, really, That would be like trying to being in a right relationship and trying to make it go faster . You know anything about relationships? You're trying to make a relationship happen. If you're trying to go fast, it's the kiss of death. It just doesn't work It's about finding that Kwan finding that bounds and really just taking your time. Okay, so those some of the things that you could do And here's the thing, man, Why did you want to play guitar in the first place? Well, because it's fun, right? Because you enjoy the process. So remember that 30 years later, I still find the guitar fun. And when I don't, sometimes I'll say, What am I doing? What I need to change this up. It's needs to be fun, because guitar should always be fun. Sometimes it's very challenging, but the challenge is fun. Okay, so let it always be fun. If it's not fun, change something up, slow down that sort of thing. So some of the things that you could do is is to slow down, right, slow down, enjoy that process and practice more. Okay, so in summary, my friends, you can play guitar as well as any amazing guitar player out there or mediocre. You could play mediocre Lee. Their word I don't know it is now you can play in a beginner level. Whatever it is that you want to play at you can do has to do with instruction, which hopefully I can help you with. And it has to do with practice in the more you practice, inevitably, the better you become. So with all that being said, be encouraged, you can be anything that you want to be playing guitar. This is not just the pep talk, in fact, is not a pep talk It all. It's just truth. If it peps you up and give in, kicks in the butt, gets you to practice, that's even better. But really, it is all about understanding that you can do anything that you want on this instrument. I could even do more than I'm doing. I'm t doing a lot of teaching and a lot of videos and writing a lot of books and that sort of thing. But the more that I practice, the better I get. Okay, so my friends, I'm excited that you're here. Let's dig in. Let's learn, take your time. Enjoy the ride 2. Choosing an Acoustic Guitar: today, let's talk about choosing an acoustic guitar. So this is whether you're borrowing this from a friend or probably purchasing it from a store or online. Let's talk about what it is that you need to know. So I get this question all the time from folks because there's a lot to know. There's a lot of marketing that's involved with buying a guitar. There's pretty guitars, there's ugly guitars, and there's anything in between. And obviously, you know, if we don't know what to look out for the guitar, we typically will pick something by price or will pick it because it looks cool. It looks pretty right, but there's some other variables that would really need to know here. And I can break this down really into three variables. And if you just remember these three variables all the time, whenever you're purchasing it guitar, whether it's an acoustic or electric, uh, it's going to help a lot. Now there are some things that we need to know that's different about the acoustic than the electric. That's what I'm gonna do, a video for you on electric as well. However, let's talk about the three things that you need to know. And those three things are budget sound and feel. Okay? No, in no particular order there, although budget should probably come first. Onley. Because if you like the sound of an instrument that's a $10,000 instrument or a $2000 instrument, and that's out of your price range than budget should have been the first thing we talked about, right? So let's start from there. Okay, so what I always like to tell folks is they'll say, What kind of guitar should I buy? They'll say, What's the best? Well, obviously, when you're talking about the best number one, there isn't a best guitar. There might be a better guitar, and of course, someone needs to decide whether that's better or not. It's not like it's not like there's some way to do this other than maybe reviews or what people say It's something's reputation, Okay, but with all that being said, you can you can have a guitar that maybe less money. That's a great guitar and some great, very expensive guitar that really isn't very good. So price is important in that when you're going to try a new guitar, you want to be able t walk in and know which guitars that you should play. Okay, so we're talking about going into a store store at this point. But let's say you're budgets $500 you're going into the store to pick a new acoustic guitar . There's not much of a need for you to play 1000 or $2000 guitar unless it's just to see if there's any difference. Okay, and, um, and that's good. That's good to get that education by trying some other guitar, some or expensive guitars. But truth be told, if you only have $500 you can get a great guitar, but you need to just play the $500 guitars and then I don't keep it from playing many, many, many guitars that you may not have the time to do. Okay, so with all that being said, you take, you go in, you have your budget and you walk into the store. You said, Hey, I'm looking for this price range. Can you show me some guitars? They're going to show you some guitars. You're going to get a great education being at a music store and talking about these things with folks that know more about guitars than you. You know, Woods, what it is that more money is going to get you or might not get you those variables. Okay, so let's say you're going into a store. You have several guitars to choose from. What is it that you're looking for with it with the acoustic guitar? Well, first off, you've got the feel. And secondly, you have sound okay. And so what we mean by the feel of the guitarist, how does it feel when it's sitting on your lap? How does it feel when you're actually fretting something? Okay, when you're fretting Accord now, you don't have necessarily have to be a guitar player yet to do this. In fact, chances are you're not going to be. When you're doing this, you're gonna be a new player. But if you were to play several different guitars and you start messing with notes and playing some chords and that sort of thing, you're going to see that one guitar may play better than another. So that's what we're talking about by feel or just the physical size of it. This is a jumbo body, so it's very big. Then we have dread, not which is your typical, you know, country style looking guitar. That's just your basic size. It's much smaller. Okay, uh, then you have parlor, which is even smaller than that. It was originally designed for women, but I've owned partly guitars and men play them. It's a great smaller sized guitar. You've got 3/4 size, half size, quarter size, smaller guitars for smaller, smaller hand, smaller, smaller folks, kids. So that's another thing that you'll want to consider is the size and the way it feels. So go into a store. You got your price range. Try a bunch out. How did they feel If something just steals absolutely terrible to you, then even if the sound sounds good, you probably aren't going to be very comfortable with it. So move on if you have that choice. Okay, so how does it feel in your hands? You may want to bring another guitar player with you or asked the employees at the store that you're at. Whether this guitar feels good plays good, that sort of thing compared to others, because it's good to get the advice from a player who has been playing for a while as well . OK, so now let's talk about sound. And let's also talk about maybe some other variables that you may want to consider if you have more money. Okay, so sound, obviously. How does it sound to you? You may. You may go in saying, Well, I don't know how the guitar should sound. That's right. That's fine if you don't know how the guitar should sound. But you know what a burrito should taste like, right? Or you know what? Uh, what? Something should taste like a drink or food, right? And that's a matter of taste. So the same thing is true. When it comes to guitars, one person will say, Oh, this guitar sounds way better than this guitar. Well, how does it sound to you? Cause that's really, truly what matters. Try to really stay out of the the banter that goes on between guitar players, where they're arguing about brand names on sounds and that sort of thing. It's good to take it with a grain of salt and listen to You have a bunch of people just raving about one particular guitar and maybe a good idea to listen to that. Otherwise you'll want to decide for yourself. How do you like the sound? So play a bunch of guitars, the ones that feel good play them even if you're just playing a few different chords or some you just noodling around or have another. Have your friend play or an employee at the store play. You know, they're always happy to do that and listen to them, and you may like 11 more than another. Okay, so sound feel and budget. Those are the three things you really, really need to remember. Now, if you really want to drill down and go further some great names and acoustic guitars or Gibson Martin tailor, those are probably the top three. Ah, larva is a great one. Siegel is a great one. Breedlove. There's so many different acoustic guitar manufacturers out there now that that really is quite overwhelming. So really again. What we're talking about is it's kind of like art. What sounds good to you? What's in your price raise? What do you like? Hopefully what you're getting from this video is don't worry, OK, go into the store and what resonates with you. If one doesn't resonate, wait and go back the next day until something does resonate with you. But chances are if you're playing several guitars, one is going to resonate with you. It's going to say, Take me home, Okay, it does with me all the time. The guy. I've got a lot of guitars so, but let's talk about some a few of those other variables that you may want to consider. So usually when you're when you're buying guitars and you'll see guitars for 500 1000 in 2000 and then they get much more expensive after that, if you're talking about an instrument that's not vintage Okay, um, you know this this electric guitar back here is a vintage instrument. It was made in 1965. So because of its age and its rarity, it's going to cost a lot more money. Does it play, you know, way different than, say, a guitar that's a lot less that is built to the same specifications, probably not as much as this cost. So if this is a $15,000 guitar, which it is, um, you're buying a lot of that is the age, okay, It's not gonna be 15 times as good sounding as $1000 guitar, and it's not gonna play 15 times is better. So remember that So, really, when we're talking about instruments, electric or acoustic, you're paying for vintage instruments. And those are very expensive because they're just become rarer. Okay, there is some truth that the older and instrument is especially acoustics, that they start opening up because the pores on the on the would start opening up and they resonate better. So there's that. Okay, but really, what you're paying for? If you're with your, you know, paying about 1000 or under $2000 you're not talking about vintage instruments. Typically, at that point, you're gonna be paying for the name brand. This is a Gibson and Gibsons have great names because they have great reputations. They use great woods. They spend a lot of times with their with their guitars, but a lot of manufacturers do, but the things that you're gonna be spending money on when you're talking about acoustic is typically the wood, and it's typically the body would. A solid top guitar means that the wood is made of solid wood not made of laminate, which is when they stack pieces thinner pieces of wood on top of each other, which makes it not sound as resident, more expensive guitars will have more solid pieces. So the ribs, the back of the guitar, they're gonna have more solid pieces as opposed to the guitar is gonna have more laminate and mawr cheaply made materials. They're going to be more affordable. Okay, so there is some degree of truth to you. Get what you pay for. But with all that being said, don't I have I have some amazing $500 guitar? Some amazing $200 guitars have one guitar that that's in my other room there. That's an electric $100 travel guitar. It's a great sounding guitar plays great. So with all that being said, don't get too overwhelmed by the money budget. Feel and sound. Okay, go buy those three going to the store, be confident and find the guitar that you fall in love with. All right, let's keep going 3. Choosing an Electric Guitar: Now what we're talking about choosing an electric guitar. We have some of the same variables that we would have with an acoustic guitar, and that is the name brands. The quality of the woods are easily vintage. Instruments are going to be more expensive. But there are some definite things that we want to think about when we're talking about an electric guitar in regards to its style, because electric guitars can vary widely in the sounds that they produce and in the way that they feel so we can apply the same principles that we talked about. The acoustic guitar except the wood on the body of an electric guitar is almost always going to be solid in some way unless it's a hollow body guitar or something like that, which is what we call a semi acoustic. But the feel or the budget is number one, and then the the feel and the sound again, OK, now, usually when it comes two electric guitars, the price ranges for them are going to be similar to acoustics, maybe even a little bit cheaper overall, because there's a little bit more work that goes into making an acoustic guitar okay, but when we're talking about electric, go in with a budget, okay? Play some that feel good to you, and then listen for the sounds. Now you could almost flip those other those two in that when it comes to the electric guitar, the sound has so much to do with the body style with the pickups thes airport pickups. There's so much to do with that, okay? And so a little bit of research is necessary when it is that you're going to buy an electric on what most people do is they have a few folks that they listen to that had their favorite guitar players. And they say, I want that guitar, and that's a great way to think about it in regards to have you see Jimmy Page playing a Les Paul a lot and you love that sound or a Telecaster used the Telecaster a lot as well. If you love that sound than chances are when you play it, you're going to love that sound two. Or it's gonna get you closer to what you want. Okay, so going by what your favorite guitar players use is also a really great thing to do now. A disparaging difference between most guitars, electric guitars is whether has single coil or double quote pickups what we call hum bucker pickups, and you could tell the difference in this way. Single coil pickups basically cover one finger. OK, they're the size of one finger. If you see guitars that have two pickups here, then you're going to have a different style. For instance, this is a Gibson SG, and you could see that the pickups cover more than one finger. In fact, it's to about two fingers, and this is what we call ah hum bucker pickup and just a real short history on that the single coil pickups can produce. Most often. They produce a A hum. Okay, which is just inherent of that technology back in the day, okay, And then somebody came along and said, I'm gonna produce this pickup. Were basically there's two single coils in there and they cancel out the hum. Okay, you don't We don't need to get to deepen their other other than they're higher output. So they produce a mawr rock n roll type sound than, say, the single cool types. Ciao, pickups. They produce a heavier sound, and they get rid of that hum that we're talking about. Okay, so there's some basics for you. Um, some other things to think about is you have either neck through, you know, like either a neck that is glued on or, in the case of, say, like Fender Stratocaster tres they're bolted on. Some folks have a preference for that. I don't, uh, you know, typically, the glued on next are going to be more expensive. There's a little bit more craftsmanship involved in that, but it's really up to you. I have lots of guitars with both on next. A lot of them with glued on next, and I'd never, ever think about that. I just play them and they sound great. So So don't get too overwhelmed by that again when it comes to buying a guitar, the three most important things our budget feel and sound to say that over and over again. Because if you stick to that, you're going to be good. Okay, um so play the guitar, play it through some different amps, half somebody else who really knows what they're doing. Play through it and give you their opinion of it. because you could take this guitar, play it through a great sounding AMP. And it's gonna sound great. Okay, put it through a bad sounding AMP. You're gonna think we'll start. It sounds so well. Well, it also has to do with the amplifier. OK, but don't get too overwhelmed with this. If you buy something that has a great reputation, let's say, review. They'll say you're buying something off of Amazon or online somewhere. It has great reviews, and everybody's saying It's awesome. You're probably going to be in good shape. So a certain point you gotta let go and just just bite the bullet and buy something, Okay? You can always buy more guitars later. Trust me, you can always to that later. I've bought a lot of many, many guitars over my lifetime. Probably at least 100 I would guess. Over my life, eso bought and sold. So with all that being said, your mantra budget feeling sound, uh, accused are the hum bucker pickups are going to produce that more rock and roll sound the thinner pickups which called single coal or going to provide mawr of ah ah ah softer sound . Although they both can rock out, and they both can get soft. So depending on what you're running it through, so bite the bullet, just go out and get a guitar. And you know something that may have good reviews or something that is being represented well, from from somebody at a store. And then again, you're the judge here. And if you like the way it sounds, you like the way it feels and its within your price range. It's probably the guitar for you, so let it speak to you and get that electric guitar and let's get to plan. 4. Anatomy Of The Acoustic Guitar: Let's look at the anatomy of the acoustic guitar today. So whether you're talking with your friends or you're talking to a guitar repair person or you're going to purchase a guitar or any myriad of other reasons why it's really important that we know our way around the guitar just like we would know our way around a city. So let's go over some bits and pieces here so you can think about the guitar as your own body in that this is the body. This is the neck and this is the head. OK, the head or the head stock. Okay. And bomblets, let's work away from the head stock up. Okay, we should Most people will say this is down the neck because if you're holding it like this , then you're swallowing. That's going down, right? But this is going up the neck because we're going up in pitch, right? So this is always going up the neck. Remember that? Okay, but let's talk about the head stock or the head of the guitar. Most people will call it the head stock, and you see these guys here, those are called are tuning pegs, right? And those obviously have the string around them, and when we tighten them or loosen them, that will tighten. Listen, strength. Sometimes you'll have six. Or I should say three and three or you have six on one side, like on electrics from a lot of electric guitars Have that most acoustics. It'll be three and three. Okay, It's also called the String Tree. That's what this is right here and in these air your posts. So you're tuning posts. We you string the string through underneath this little plate. Here is something called the trust Rod, and although you don't see it there, most acoustics and electrics will have a rod of steel that runs through the whole length of the guitar and can be adjusted inside here. I advised most folks to not touch that and let a professional do that. I've been playing for many years, and I still don't like to do it myself just because there are folks that really know what they're doing out there. I prefer to play guitar and not work on guitars. Okay, just time wise and because I don't know what I'm doing like a great luthier would be. However, that doesn't mean, you can't do it. And back in the day when I was a teenager, I used to mess a lot with my Qatar's and adjust. But I also have the time to do that. So I messed something up. I could take a few hours and adjust that anymore. I don't like to do that, you know. So working our way up the neck, this point right here is called the nut. Okay? And you t And that could be anything for plastic. Teoh, copper, bone, brass. It could be all sorts. Things okay? And the more dense that is, the brighter your guitar sounds, the louder your guitar sounds. OK, Now, these little things that you're saying folks will refer to those as frets, also known as fret wires. And it's a little raised piece of steel right there. And that's what this string rests on to create the different pitches going up and down the neck. The markers are just that. They're markers. And you could think about him as lines in a road. Okay, They don't tell you anything. Musical, really? This one right here tells you the octave. That's all right. You don't know what that is That's OK, but that's the only thing that may tell you. Basically, if this is an e thin, this is any appear as well. But other than that, these air just markers and they just tell you where you're at on the fretboard. So I could easily look down and grab this Fred here. And I know that that's the fifth fret without having to count so many frets easy enough, right? So it's basically just lines on the road, their suggestions, and they help you to work your way around the fretboard. If they weren't there, you'd be sitting there trying to If you were working up the neck, you'd have to count all the time and the beat would be gone, and the phrase would be gone in the moment would be gone, and you would have messed up. So this would help. This helps you move around the fretboard very quickly and very easily, okay. And also, from my vantage point here, I can actually see dots as well. So you probably have something similar on your guitar where you can just look straight down and see those dots because you may not be facing the guitar like this right now. I can't see the front of my frat board so I can just look and see those dots easily. Okay. Obviously, this is the neck which comes into the body here. This is called the top of the guitar. It's called the back, and these are called the sides. Okay, um, we want to go one further. This is these are called the ribs sound hole inside of the brace ings. And some folks are very particular about the types of bracing that guitars have. Some of them will make him more resonant of will make him stronger, That sort of thing. This is called the pick guard. Some guitars have, um some guitars don't most do, obviously, the strings and then to our bridge. Okay. Now, on acoustic guitars, we have a bridge and the whole thing together here. You know, this is what we call the bridge. But really, the whole thing is the bridge. Okay, These are basically just buttons toe. Hold your string in. Okay. Some people call them buttons. Some people calling pegs. Um, nothing to particular there. These our our our our guitar strap holders. So this is where we would put our guitar strap on. Some folks will have these on their guitars, but not these always. Okay? And the reason being is, the way folks used to oftentimes strapped their guitars up is they would have a strap going right here over their neck, and then, instead of attaching here, they would attach it to the top of the head stock with, like a shoe laser, a piece of rope or string or that sort of thing. Most folks don't suggest that, because when you're playing and you're putting any sort of tension at all on the neck, it's bending the neck and obviously been to too much that could harm the guitar. But even if you bent it a little bit, it's gonna slightly put the guitar attitude like this, just talking the neck just a little bit. So if you have the strap here, it's not interfering with the tonality of the neck whatsoever. Okay, all right, so that's a basic brief overview of the anatomy of the guitar. So what you want to do is kind of quiz yourself now and check out the attachment that that's there and grabbed the guitar pick it up and see if you can name everything. If you can't go over it, look at the notes and then try it again because this is really important. When you're talking to other folks about your guitar and you're not saying the thing up here, you're saying, Hey, the D string. It's slipping within the nut a little bit or it's not moving at all. Can you? Can you fix that? You know, it's gonna make you sound more intelligent and you're just gonna be ableto gnome or about the guitar. All right, let's keep going. 5. Anatomy Of The Electric Guitar: Let's take a look at the anatomy of the electric guitar. So very much like the accused to guitar. But we have a few other bells and whistles. So obviously head, stock, neck and body just like before we got our tuning pegs and we've got our our posts. May we got our tree here, Which on this particular guitar, basically what that does is it pulls the strings down. So it puts him at a level so that it hits the peg correctly. Without it, basically, it would be too high. And when you're bending strings in that sort of thing, sometimes the strength and pop out of the nut or it can just not get enough contact where it has a really good sound. Okay, so there needs to be that connection. It needs to be sitting in the nut really well for that to happen. Okay. So again, let's go over some basic so that we got the nut got the frets. Which of these little wires? And we've got the front markers and same thing with the top. Okay, top of the neck. This is a both on next. So I mentioned that earlier, right? We've got the bolt on their got places are buttons where we were, where we put the strap on for the guitar. We've gotta pick guard, which in this case, it covers a great part of the guitar, these air called pickups and what these disease, Elektronik Lee take the sound of the guitar and turns it into voltage, which goes through the cable. And then that goes to the AMP. Or your pedal board and then to the AMP. But basically, that's how toe amplify a guitar. It has to have pickups in some way or another or a microphone, but usually pick ups on electric cars. The bridge. This little guy here is called a Whammy bar, a Wang bar tremolo all different names for that. A lot of colloquialisms for that. These small little sections here that are on the bridge itself are called saddles, and there are six individual ones and they can be adjusted. I'm usually on electric guitars that can be adjusted on acoustic guitars, not as much. Usually you get what you get with your bridge. Now, if this didn't have the tremolo would have what's called a stop tail piece, which is where It's just basically stuck to the guitar in some way or another either strapped down, um, or bolted or that sort of thing. OK, this is called the tremolo, and it allows me to bring the pitch of the guitar down. Oh, okay. So we can use, um I don't have a pick here, but at the moment, right. But you get the idea you could do some really fun things with it, that sort of thing. Okay, that's what that does. If you don't have one. That's totally fun. All right, this is our input. Jackers are quarter inch input, Jack. It's called quarter inch because that's the size of the plug There, the back of the guitar. If you were toe open up this plastic section here, you're gonna find the inner workings of the tremolo system. You see some springs back there, the springs where they're holding onto a brace, which is screwed into the guitar so it doesn't move, and then you're going to see the springs attached to the bridge or the tremolo system. And that's what holds everything in place there. Underneath the pick guard, you're gonna find the inner workings of the wires that switches the potential, Mama Tres These knobs here are called potentially Ah, mater's also known as pots P O T s. And then we have our switches. Okay, So depending on the guitar, most guitars over no, from one guitar to another is going to be different in its configuration. So these are very loose rules, OK? Usually you're gonna have some sort of volume on the guitar. Okay. And that's what that does is any pickup configuration that I have here is gonna turn that up. Okay, we've got a pickup selector, which, in this case here picks either just this pick up these two pickups thes two pickups or just this pickup. Okay, so what we call a five way selector now, this is a new old guitars in 1965 and they hadn't come out with a five way selector yet. It's just a three way selector, but you kind of get in between the two and pick both pickups. But nowadays, Stratocaster is this is this is a Fender Stratocaster. Uh, we'll have a five way switch. The newer ones do. Okay. Is that what that does is it allows me to switch through the different pickups so that I can have different tones. So, for instance, so you can hear just from that little bit What I'm doing there is that I'm changing the sound according to the pickups. What's the right pick up to be on? It's up to you again. I wanna try to emphasize this to you and I'll probably do it in many, many, many videos Is that you're the artist So depends on the song. Depends of your copying somebody. What? Pick up where they on or depends on what sound you're going forward. We're going for a bright sound. You'll want to be closer to the bridge if you want a darker sound have be closer towards the neck, OK? And we could also use our tone knobs. Now, in this case, it has to tone knobs and that will allow me to mix some of these pickups. But essentially what we're gonna do is we're just gonna talk about tone in general. Basically, what tone knob does is it either brightens or darkens your sound. So we have this nice bright sound right now way you can hear the town on that pick up, but let's do this one because I usually don't am not in the first position, you could hear a little subtle change there, but this one, you'll hear a lot. And this is this is in the fourth position. This is the position that I use all the time with a strap. And I have these wide open. I have everything on 10. The volumes on 10 both this tone knobs on 10. So listen, this guy just that tone up here like I'm putting a pillow over the speaker. And so jazz players love that kind of darker sound. Where's rock players like that brighter sound. But again, you're the artist. So what you do with all this is really up to you. They're kind of like paintbrushes or different paints, and so you can do different things with them. So there is no right way is just We're just trying to work our way around the instrument right now, so we have a basic idea off what's going on. All right, let's keep going 6. Basic Definitions That You Need To Know: Let's discuss some definitions that you're really gonna need to know an order to play guitar. Okay, so we're not gonna pick up the guitar and play just yet because there's a few things that we just really need to know. I've got my notes here, so you'll probably see me glancing down. I'm gonna be scanning the same document that you're gonna be looking at. That's attached to this video, but really important that we get these definitions down. Okay, so the distance between one fret and the next OK, is called 1/2 step. Okay. From one. From here to here, it's called 1/2 step. So if we're moving from 12 that's 1/2 step distance. Okay, Basically 1/2 step distance that the smallest movement that you can make on the guitar from one to the next. Fresh. Okay, if we're moving to frets, that's called a whole steps. The two halves make a whole right. So 12 122 2/2 steps make a hole. So that that dips distance. There is a whole step. Okay, We're gonna be using these a lot later, so I do want you to remember it And then obviously after this video want you to make sure that you go through all those definitions and make sure that you know them well, Okay. Ah, sharp is when we raise a note. Okay, We can use this as a noun or adjective or verb. There's many different ways that you can use this eso we won't go over all of those. But in a nutshell. A sharp is when we raise something. Okay? When we raise a note up in pitch. So let's say we're going from We're gonna have step up. Uh, hey, I'm sharpening that note. Okay? We can use the word sharp in many different ways. Same thing with word flat and flat is when we moving note down. You think about it like pressing a balloon down. That's how to know the difference between the two sharp is when we go up and flattens when we go down. So we're lowering a note from let's say this note here down. Okay, I'm flattening that note. Okay. Really important that we know that the the whole steps in half steps were going to be using a lot later. Okay, Now, we said that the distance between one threatened. The next is 1/2 step, right? Well, another word for distance When we're talking about music. Okay, we're talking about the distance between two musical notes is called an interval gay. We're used to using that word when we're talking about time and interval of time. But we're talking about music we're talking about. We're not talking about time. We're talking about pitches or musical notes, okay? And so later on, you're going to see that there's all sorts of definitions and they're easy to learn. They're not overwhelming. So when I said all sorts don't don't get overwhelmed. It's really easy. I promise you, you're going to get all of this, all right? I wouldn't be doing this if I didn't believe that you're going to get all of this, Okay? Just one step at a time. So the distance between one note and the next, or any note is an interval. Okay, that's kind of the broad spectrum of that. And then we have half steps in the whole steps and 1.5 steps in two steps and so on. Okay, Accord is three or more notes played at the same time. Okay, If I just take the guitar and I do this, that's a court. Because I just hit six strings. And the definition of accord is three or more notes now, usually as a rule of thumb, we'd like those courts to sound harmonic. We would like them to sound pleasant. Okay, Uh, but they don't have to. This could be a cord cords. Whether my hands on the guitar, not three notes whether the good to the guitar is tuned or not, it is Accord if you're playing three or more notes, okay. And later on, we're gonna learn some definitions for those courts to determine whether accord is major or minor. Okay, Now, an arpeggio is when we take accord any chord. And here's accord. It's a C chord to be exact. And arpeggios when we take that cord and we break it up on it doesn't matter what order we do this in a way, you know, we could do this in any order. We could finger pick it. That is an arpeggio of some sort. Because we're just taking the cord. Were playing in different parts. Okay, again, major and miners. We talked about this earlier. Basically, you're going to see a definition there that you're not quite going to get you because we're talking about the major scale. We're talking about intervals. We're talking about a first and 1/3 and fifth. It's not gonna make too much sense to you right now, but I will define it later on, says, Really, you don't have to know anything other than there is a court called a major and a court called the Minor the most commonly used chords or those two chords. So we're gonna be using them a lot. And basically, for right now, the only thing I want you to get from it is that a major chord typically sounds happier, and a minor chord typically sounds a little bit Saturday. So, for instance, E. Major sounds like this on E minor. Sounds like this. It's a little bit sadder sounding. Here's E. Here's a major on. Here's a minor. It sounds a little sadder, okay, and that reason is that there's a note in there that's getting smaller or in interval distance. That's getting smaller, is going from a major interval to a minor interval, and that's why we call the cord major or minor. All right, so there's all the definitions that we need to for right now. Okay? We're gonna be learning a lot more. We're going on, but step by step slow and steady. Wins this race, I promise you. Okay, so do not get overwhelmed. If you're feeling overwhelmed, just take a little bit of a break and then come back when you're ready. Okay? Check out the pdf that's attached to this video. And make sure you go over those definitions. Read the whole thing down. There's some of it. You're probably not going to get right now. Totally. Okay. We're gonna be using this document for other bits and pieces later on. Let's keep going. 7. Proper Posture and How to Hold The Pick: this lesson of proper posture and how to hold the pick is probably one of the number one lessons that you can learn in regards to how it's going to affect your plane. Okay, Now, obviously, you can have perfect posture and beholding the pick perfectly. And there's still other things that we're gonna need to learn. Okay, so obviously we're we've got We have many things to learn. It's gonna be a blast. Okay, But holding the guitar and holding the pick are two things that are very, very important. Okay. And we're gonna talk about some different styles. Okay, So first off, when you're holding the pick the way you want to hold the pick, you can see that this is a triangle somewhat of a triangle and their pics of different shapes. Here. I've got some different ones here, but we'll just use our basic pick here. You're going to see this 99% of the time. Basically, what you want to do is you want to hold this between your first finger and your thumb, and you want to hold it toe where the long part of the pick is pointing away from your hand okay. Some people will hold the pick with their their thumb and second fingers. Some people will hold it with all three fingers. Some people will hold it between your thumb and their first knuckle. I would not suggest doing that suggests using your first finger and your thumb or some variation thereof. Basically, because what you're able to do things, Ah, lot more accurately playing like this. Then you would be playing like this. Okay, this is kind of like you're just gripping it. You can't really move around too much can't move the pick around, whereas with your fingers, you can manipulate the pick, so it's scooch in. If it's scooch in on you while you're playing, you're gonna have to grab it with the other hand and move it around. Whereas if it's on your fingertips, you could take the other fingers and move them around to get the pick where it should be. So I highly suggest doing that. It's going to feel awkward at first, and you're going to hear me say that a lot throughout the program because everything feels awkward when you're just doing it for the first time. First time you rode a bike. It was awkward. The first time you ate solid food, it was awkward. The first time he ate food, it was awkward. Okay, everything's awkward in the beginning. So just remember that. And if you feel like hey, I'm a klutz, this pick keeps falling out of my hand. Guess what did with Jimi Hendrix and Eddie Van Halen and every other great guitar player since the beginning of time. So you're in good company. All right. So don't worry about it is gonna happen. And one thing that you can do a great thing that you can do, especially in the beginning, is you can carry a pick around with you everywhere. Bring it with you everywhere. Put it in your pocket religiously. Put it in your wallet. Whatever and constantly have it in your hand. You could be at the office. You could be at school. Wherever you're at, you can have it with you walking around the mall. You could have that pick in your hand because what it's gonna do is going to make you aware , just like holding a pencil or if you've ever tried to brush your teeth with your other hand or any sort of thing like that. Whatever you practice, you get good at. So it's gonna feel awkward at first. If I brush my teeth with my left hand. It feels awkward, but if I did it all the time, it wouldn't okay, Or if I held I walked around all day holding a toothbrush in my hand, My left hand. When I go to brush my teeth, it would feel more comfortable because I'm doing this and I'm holding on to it. And I'm not really thinking about it too much. So number one thing you can do is in the beginning. Here is holding onto that pic a lot. Okay. And whatever hand that you're that you're doing this with, Okay, let's talk about posture. And we're talking about picking the strings and all that a little bit later on. Let's talk about the posture cause posture is very important. You can see that the posture that I've got right now is basically where the guitar, the rib here is resting on my right thigh and I'm a righty. OK, so I'm playing the guitar with my strumming with my right hand and my left hand is fretting the guitar. So this is just a very classic. Probably 99% of the folks out there when they play guitar doing this. If they're not standing okay, they're standing than they've got a strap, and the guitar is gonna be generally in the same place. Okay, now this is what we call like just traditional or folk style. There's one other method that I'll talk about, which is the classical style, which is basically when we take the guitar, we put it on the left thigh. If we are a righty, OK, opposite of your lefty. And so Theo idea here is that the guitarist at MAWR up at an angle, and it's a little bit awkward with this guitar because it's a jumbo body, and normally the guitar would sit up mawr if I had say, like a a dread not or or a Spanish nylon string guitar, which is what classical guitar is. And so the reasoning behind this stance is that you've got this leg. You got your left leg, your right leg in your chest, holding the guitar so I can literally take my hands off the guitar, and it's not going anywhere okay, It's more solid. And it allows us to really be able Teoh, grasp the cords easier. Okay, Now, with all that being said, you have to keep your backs straighter. And that could be a little bit tiring. Whereas if you hold the guitar like this, you can slouch a little bit. Not that I would suggest that I would still suggest keeping your back more straight. Now, don't make it uncomfortable. But again, everything is new here. So you're gonna play guitar, you're gonna be holding the guitar, and it's gonna feel weird for you, and and you're gonna say, Gosh, my back hurts a little bit. You know, it's not like you've lifted something and pulled a muscle, but you will be using muscles that you may not normally use while you're watching TV or or eating or that sort of thing. So you're holding yourself in a different way, So the posture is really important. Whether you're doing this traditional folk style or classical is really up to you. I would bet that you would probably choose this method just because it's more comfortable over a long period of time. It's what I use 99% of the time. Now, the caveat to this is we have one leg holding and one arm holding this, but the guitar is still a little shaky. So if I don't have my hand on the neck, then it's still a little bit shaky on what tends to be. The problem for beginners is that they grab this guitar like a shovel because they don't want that next to go down or up. They don't want the guitar to fall, so they'll hold the guitar like this and wrap their thumb around the neck. And that is somewhat of a kiss of death. When it comes to playing chords and melodies and what have you? We'll talk more about that later on. So even though this is probably going to be better off for you, you're probably not gonna be too comfortable with that. You're probably going to sit like this, and that's okay. Just make sure that you've got the guitar snug, snuggling fit under arm here and then so where the guitar is not gonna go anywhere. Okay, now it's going to feel awkward at first, and because of that, here's another thing that you can do in the beginning. Really important in the beginning is to bring that guitar all over the house with you. Or if you're going to school or can bring it to your work or something like that where you could just sit with it for some time. That would be good to how long depends the more you do it, the better you get. And that's true for everything that we're gonna be talking about with guitar here. So folks will say, How long should I do this? The more the better, the less the worst. Okay, so the more you do something, the better you're gonna get. Just get the timing about how long you should do something out of your head and just think the more that you do it the better. Okay, with that being said, sit around the house with the guitar in the beginning, OK, if you're just working through a few of these videos and you have a few nights before moving on to some of the other exercises, that it's just sit with the guitar, sit within on the couch while you're watching TV, gonna sit If you're talking on the phone or maybe you're doing some work, you know, and you can sit with the guitar. Reason being is it's going to feel awkward at first. It is for everybody. Okay, so good news. It's not just you, it's everybody. It's gonna feel awkward at first. Okay, So better to get used to this would be kind of like holding a spoon, you know? So if you were to hold the spoon for the first time, it's gonna feel awkward. But if you gave a spoon to a kid and they just walked around with it everywhere, they're gonna feel more comfortable actually using it. So when you do get to playing guitar, it's gonna feel a lot better if you've actually just sat with it for some time. Okay, So the two takeaways for you in this this video in this lesson is you want to carry a pick around with you everywhere, and you wanna have it in your hand at all times. You can even take it on the side of the guitar or the side of a desk, and you can just kind of just do some basic picking, even though we haven't got to that yet. But reason being is, if you have it in your hands, you're gonna be feeling a lot better about It's just going to start feeling more natural as time goes on is everybody I've ever experienced. Every student I've ever taught it feels awkward for them at first and they say it. And so I'm telling you, you're gonna feel that way. Chances are and have that guitar with you at all times sitting on the couch for hours, watching TV, talking with your friends, talking with your family, whatever, as long as it's in sitting in your lap like this, you're gonna feel more custom to it, and you're going to start getting more in tune with it. And then we get to our exercises on picking. What have you gonna feel a lot more comfortable? All right, let's keep going. 8. Intro To The Physics of Sound: Let's talk about the physics of sound. Now, wait a minute, Eric. You said we're gonna learn how to play guitar. I don't want to learn science Have done that already? Well, I promise you, we're only going to scratch this service on how the physics of sound works and then how it relates to the guitar. And just knowing this little bit will be very helpful. I promise you. Otherwise, I would not have included this video. Okay, so let's talk basics of sound. First, some of this you probably remember from school, but when an object vibrates, it vibrates. Air particles and those air particles hit your ear drum, which vibrates her ear drum. And then we have the perception of sound okay, similar to our other senses, with the sense of sound. We need to have something that's vibrating that vibrates the air that then vibrates our ear drums. And that's how we perceive sound. Now the bigger a body is the anything the bigger a guitar string is. The bigger an animal is, the bigger a person is. Doesn't matter. The lower the pitch that they can make. Okay, so vocal cords and those sorts of things. That's why men typically have deeper voices than women, typically because their vocal cords are longer so the smaller and objects on the opposite side they're smaller, and object is typically the higher it vibrates, which means the pitch goes up. So pitches that that vibrate at slow speeds tend to be low on pitch. So this would be lower. Thing would be going up here is higher, and then this string would be higher than the low strength. And if you look at him, this string is much thicker than that string, Okay? And then we're moving up the fretboard. We also are shortening our string link, so when we pick a guitar, we'll pick a string on a guitar. What's happening is it's vibrating between the nut and the bridge. Okay, so when we pluck it, I can place my fingers right here on the string, on the strings, all of them, and it doesn't affect the sound. But as soon as I go past the nut, then it gets muted because were interrupting the vibration of the string. Okay, so when we pluck, a string is vibrating between the nut and the bridge, so the whole length of the string. And as we press string down on the frets, then what happens is the pitch goes up because we're shortening. Every time we do that, we're shortening the string length. And remember, we said that the smaller body is the higher pitch it is right. That's why we call this going up the neck, because we're going up in pitch. Okay. All right. So put that string is vibrating between these two points when we put our finger down. Basically, what's happening is we're taking the string and we're interrupting it, but we're not muting it. What we're doing is repressing it down onto the fret. Okay, now, we haven't learned that technique yet. We will. OK, that's coming up next. But essentially, what's happening is we're pressing that string down, and it's being depressed on two. The fret that in front of that finger. OK, so this is this is zero, and this is the first fret that if I put my finger here, I'm pressing the string down and the string is right there on that fret. Okay, It's being pressed down and held out as if it were the nut. And that's why we can play it waken have our finger here. We're not interrupting the sound now. I went a little bit past the fret. Now we start interrupting the sound again because we have something soft that's muting the string, our finger. But when we pluck the string while we're fretting it, what's happening is that string is being pressed down on the fret, which is hard, and the bridge is hard and so we get a nice vibration sound there. But if we move our finger over the fret now we start getting that muted sound and it gets interrupted. Okay, so really, that's all that we need to talk about in regards to the physics of sound. Basically that we have vibration and we're talking about pitch. And obviously the stronger the wave lengths are, or the the particles that are hitting your ear, the loud or something is so an object that's moving. Lots of there is going to be louder. And that's how we perceive volume. Okay, so well will be addressing that to some degree within the course. One more we're talking about, You know, maybe X accenting a note or something like that. We may play it louder, slightly harder, and then that would we would perceive that a slightly louder All right, let's keep going. 9. The Pick Rest (Basic Picking Technique): the pick. Rest is a basic picking technique that is absolutely indispensable to guitar players, especially in the beginning. But understanding the foundations of it will really, truly help make you aware of the guitar while you're playing. Unlike just about any exercise Will Dio. And unfortunately, this exercise is not taught by a lot of guitar teachers, probably because they think it's so simple. But yet it's such a necessary part. Not only is it not really very simple in the beginning for beginners, but it's absolutely crucial toe understanding how to approach the strings. So we're gonna cover that. Okay, now, the idea of picking the strings may seem very natural and very easy. I'm sure you've done it. You've taken a pick and you hit the strings to some degree before, and that's great. But in this case here, what we're doing with the pick rest is we're doing more of a controlled type of pick, and you're going to see that you may have a little bit of an issue with this because I've seen many other students have issues with it, and because of that, that's good news. If you end up having an issue with it. That's great news. If you don't have an issue with it, that's great news to then then this will be very easy for you. But for folks that have a problem with the pick rest, what that means is were are were ready, tackling technique and getting to something that's gonna make you a superior player literally just because of this. Okay, now here's the deal. Usually when people go to pick a string, they'll kind of whack at it like this, or sometimes they'll pick up or they will use their thumb. What happened? We're gonna use a pick, and hopefully throughout the program here, you're going to use a pick as well. You don't have to, but it will really help with the volume of the guitar, and it will help with your tone. OK, because if you use your finger your fingertips without using the nails, it tends to dull with sound a little bit. Most pros don't do that. Don't do that, Okay, there's a handful of guitar players over the many, many years that have done that. Obviously, if you have nails or some sort of finger picks or something, you can. You can also finger pick. But just using the fingers themselves is not very common. It's not say you can't do it, but hopefully you're using a pick for this exercise. Okay? And even if you're planning on on doing mainly finger picking, I would suggest that you use a pick as well get good at both. It's important to do both to be a versatile player, and there's times where you're really going to need to do it. There's times where you'll probably want to do finger picking, but make sure that you that you at least do this exercise and understand how to use a pick . Okay, so the idea is we're you know, obviously you know how to use a pick and that you can just kind of hit the strings, but we're gonna do something more controlled, and it's gonna go like this. Basically, you're gonna take your pick and you're gonna place it. You're gonna rest it on the second string. OK, Now, instead of just kind of picking out like this away from the guitar or picking up on, basically I'm coming up at an angle instead of just straight down or up. I'm kind of coming away from the guitar, and that's how a lot of people pick a lot of times pluck away like that. But what we want to do is we wanna pluck straight down toe where when we pick pick actually rests. So watch this. So I'm picking on. I'm letting the pick automatically slip off of the second string. So it's applying pressure right now, and I'm kind of pulling away just a little bit so that the tip of the pick will slip off of that string, producing a sound for that second string and then letting the pick fall where it may. In this case, I'm kind of holding the pick at an angle, maybe a 45 degree angle. This is not exact science here, as long as it's at an angle so that the pick naturally rests on that first string. That's what we're looking for. If you're missing it, sometimes go ahead and try to do um or, ah, a steeper angle. Okay, just like that on. And then what I want you to do is I want you to go through each string doing this so obviously the first string we don't have a string to rest on, so you don't have to do that. So started this second string theory idea is here is you're not trying to do this really super fast. You're just really trying to observe What I really want you to do is just take your time to look and observe with your eyes with your ears with the field. So the tactile feel of what that feels like for the pick to hit that next string, you could feel it resting. Hopefully, what it's going to do for you is going to take a lot of, um, obligation of this hand to stay in control. It's gonna take that away where you don't have to do it because of pick. Rest is a technique that wants developed really well allows you to not have to think, lets you go on autopilot with your picking toe, where you don't have to be concerned with. Am I going to hit run into another strength? You're not going to cause you're using this? I think this picking technique Okay, Once you do the second string, I want you to go to the third string on practice that a bit. How much. Just do it to where it feels comfortable. Toe where you're not making mistakes while doing it. Okay, you don't have to spend hours doing this. If you were to spend a solid five or 10 minutes doing this with really concentrated effort , it would probably get the job done. OK? And you're gonna do all the strings. Go to go to Forego 2526 Okay, then. Now, here's where it starts getting more interesting. Now, what I want you to do is do two strings at a time, and then you'll do three strings, four strings and five strings. So here's how it's going to be different in this case here, I'm gonna pick strings three into, Uh, the object here is that you want to pick both strings, so it has somewhat of a one sound. We were trying to stay away from this sound way here. The notes individually were more going for on your gonna notice that this starts becoming a little bit more difficult when we start adding this second string. Okay, when we had two strings or at a second string to the first train, Okay, so you're going to start noticing this. And when you do, that's good, because it's going to make you more keen. It's gonna make you more aware like, Oh, wow, I'm over shooting that or I'm getting that sound that Eric was talking about getting that sound. I don't want to get that. I want to have more of a solid. And if you start doing that and you find that your hitting that third string well, then what you need to do is you need to compensate. You need to adjust. And that means either you're going to be lighter with your touch or you're gonna be at more of an angle. Nonetheless, whenever you're doing this, this is great news because you're getting your technique adjusted. Okay, this is basically like your your tweaking, the knobs of an amplifier something. Did you get the sound just right? But you're doing this with your picking technique and guess what? When it comes to playing guitar picking is half of the games, half of the battle, right? Fretting is the other half of the battle. Obviously, we've got our theoretical knowledge. We need to know what's going on, but in regards to actually playing the guitar, actually physically doing something. 50%. 50%. Okay. So absolutely crucial that you understand how to do this and that this feels good to you because it's gonna absolutely makes such a huge difference when you're doing any sort of picking strumming or anything. Okay, so you're gonna do the two strings until that feels comfortable. Now, you notice I've got my fingers kind of tucked underneath that first string. Totally acceptable to do that. You don't have to you if you want to rest your fingers on the pick guard like that are on the face of the guitar. You could do that on the top of the guitar. Uh, totally fine. If you do that, or if you want to just have your hand kind of floating in the air, you can do that as well. Now most people will find that that's a little harder because you don't have a pivot point . You don't have a nangk er something to hold down to make that sound better. Okay, They you notice just now I did two notes, and so I adjusted my technique right away. Now, this is something that I don't practice anymore. And In fact, you just won't have to over sometime. But right in the beginning. Absolutely super important. OK, so you're gonna do two strings than three strings. And remember, whenever you do in this exercise, there has to be a string to rest on every single time. So for the too, you know, you're gonna have three into four and 355 and 46 and five. OK, but you won't do one and two, and then you'll do three strings, four strings and five strings. Okay, We won't do six drinks, cause we don't have a place to rest after that. But the point of this is that you really want to get It's going to get you light with your touch in regards to picking. And it's just gonna be just the right amount. Really? What? We're looking for one or playing guitar, both left and right hand as we're looking for just the right amount. Okay? It's not too much that were that were pressing down. It's not too hard that we're picking. It's not too light that were fretting not to light. That we're picking is just the right amount. And this is how you're going to learn that in regards to your picking. All right, So you know what your homework is due? This with one string, two strings, three strings, four strings and five strings. Take your time with this. The more that you concentrate, the more that you just kind of rest in your playing and really have fun with this. And with each lesson that you go through, just take your time and enjoy the ride. If you do that, you're You're gonna be an absolutely exceptional guitar player if you're always trying to get to that place that you're not at yet is going to be very frustrating cause I've been playing for over 30 years now and I'm still not at the place that I want to be at. But I don't think about it like that anymore. I used to, and it would frustrate me very much anymore. I really just enjoy the process is some plan. I see that I'm becoming a better player even 30/30 years later, I see that I'm becoming a better player. Always getting better as long as I'm practicing. If I put it down, I can see me slipping backwards. in regards to my technique. I still got it up here, but the technique. So you always have to practice, so make sure that you do these exercises before the next video and let's keep going. 10. Basic Fretting Technique: Okay, so now that we have this pick rest in our stellar picking techniques underway, now we need to get to fretting the guitar. Now, the really great thing about this and the last lesson is these two techniques you're going to be using in every single genre from here on out, Okay. I mean, every single time you apply your hands to the guitar, you're going to be either picking. We're going to be fretting or doing both, probably at the same time. And so these two videos air literally the most crucial videos in regards to developing your basic technique. And your basic technique is really everything. It's your advanced technique. It's your intermediate technique. Your basic technique is your core, you know, and it's what we're gonna be building everything off of. So I really want you to focus on what it is that we're gonna be doing in this lesson, cause it's really going to serve you very, very well. All right, So now when I'm sitting down with students and I'm talking about this, there's a few things that I like to mention to them in regards to the basic fretting technique. Now, right now, just like a child has learning an Alfa better or learning a new skill or you learning a new skill, cause you are in this case, there's a lot of information that you're going to have to think of at first. I say a lot. It's really not a lot a couple things that you're gonna have to think about and you're gonna have to be cognizant and aware of as we're doing them. But as you go on, you're not gonna have to think about them anyone anymore. So the best. My best advice to you in regards to what I'm going to show you here is don't try to take a short cut, really Take your time in this lesson and let it sink in and let the techniques start happening. But use all the techniques that I'm gonna all the bits and pieces that I'm gonna tell you hear, allow them to sink in and really take them to heart until it starts becoming more natural. Okay, when you see your favorite guitar player playing, they're not thinking they don't look like they're thinking right there, just playing all over the neck, and right now you're it's gonna look very the opposite to you in that you're gonna have really have to concentrate and work on these bits and pieces. But I promise you that if you do that right now, that will fade away. And it will just become part of who you are as a player. Okay, so let's talk about it. There's really what I say. There's four things that to me are crucial in regards to friend. And the 1st 1 is to play on your fingertips when we're talking about our fingertips. We're not talking about this right here, okay? Even though most people would consider that the fingertip, what we're talking about is the very front of your finger. So if you're looking at your fingers like this, the very tips, in fact, one think that I will do with students new students is I will take a Sharpie pen and I literally take a dot and put it on their fingers right at the tip, just like that. Okay. Anything lower than that. You know, if I were to be down here something like that, that's not gonna be so good. Because when you do that, number one, if I'm looking at my hand. Now I can see those dots looking straight up at me and they're looking up at me. Then I know I have my fingers in the wrong place, so they should be down onto the strength. So what I like to tell my students is take that dot right there and put that on the fret. Okay, so the difference is you could see my hand is like that, as opposed to flat. You know, it's more of a curled technique. That's the only way we could get it. There's to curl that finger. Okay, so putting the dots on your fingers will be very helpful. It'll remind you constantly, at least in the beginning. Hey, play on your fingertips. Absolutely important. Now there's several reasons why we want to do that. One, the pad of your fingers much softer. So you're gonna have to press a lot harder to get that fret or to get that string to press down to the fret. Remember when we picked the guitars? Did the string is vibrating between the nut and the bridge, but when we press the string down, we're pushing it down against the fret. That's in front of it. So if I press this down, then that fret right there is being pressed down, or the string is being pressed down onto that threat right there. If I were to put my second finger right here, then it's president. A string down right there with second fret so important that we play on our fingertips. Okay. Crucial. Absolutely crucial. Later on, when we're playing chords, if you're not playing on your fingertips, I could play a C chord here, and it looks right, you know, But if I play, the court had a lot of muted notes. Okay, Now I don't want those muted right. Then I need to be playing up on my fingertips so that the strings don't hit the back of my fingers here. And that's what every guitar player runs into in the beginning. Now we have a nice, clean court, so be encouraged with this. Everybody runs into this in the beginning, so it's not you. It's your learning a new technique. Okay, so it's gonna take a little a little while to understand this, to get it down, so it would be awkward at first, but you will get it. Now, if you're gonna be playing on your fingertips, your fingernails need to be cut. So make sure that they're trimmed back to the quick as much as possible. The quick is the part where the nail is attached to your finger, actually, so obviously you don't want to clip that. That hurts. But get right right before that so that your nails are short as possible. You can actually train your nails to go backwards. I've done it with my left hand. My right hand nails are the beds. Or longer because I don't clip that very often. So number one we gotta be playing right there on this finger tips. Okay, Number two, you gotta play right behind the fret. Or that's the best place, okay? And what I mean by that? So if I'm playing the third fret here, he hears the threat. And so I'm right behind it. That's going to be easier to press the string down to the third. Fret there. Then it would be saying back here, watch this. So here's the third fret. As I start moving back here, I'm using the same amount of pressure, but it starts getting muted back there. Why is that? Well, because the leverage is not the same here. I'm actually getting to really press that string against the fret. Where's back here? Not so much. Okay, so if you want to make it harder for yourself Playback here, okay, You're gonna have to press harder. It's gonna hurt your fingers more. So don't do it. Okay? Play real close to the French. But don't play over the fret, because this is what happens. Listen, starts muting. Why is that? Because that fleshy part of your finger there is hanging over the fret, and it's impeding the vibration of the strength way. Want that? Nice, bright sound. Not that dull sound. Okay, so we want to make sure that were playing right behind the Fred. It's very, very important. Another thing that's very important is to play with all of your fingers. So this again is very, very awkward for everybody in the beginning, from Jimi Hendrix, Eddie Van Halen. There's not a guitar player. Hasn't run through this run up to this problem and said, this is I must not be cut out for guitar. Okay? So don't feel that. Don't worry about it. it's not you, okay? And and this is the concept of playing with all your fingers because the thumb is so close to the first and second finger that that is a very natural movement. You know, when I pick up a remote control or anything, Um, the first fingers they're going to grab it are the thumb and the first finger, and then the second finger will support in the third, and the fourth might supported as well. But that's very common because our thumb is so close to our first and second finger, not so close to the pinky in the third. And because of that, it's natural that those fingers don't cooperate. They're not as nimble, they're not as dextrous, and they just don't want to work the same way. So we have to get in the habit of using those fingers. What happens when, when guitar players or bass players or whatever just used two fingers or three, then what happens is that limits what they could do. It limits their reach. It limits how many fingers could be used at the same time, so better four fingers and three. If I had five fingers out front, that would be even better. But it's not gonna help my I need a phone back here. Right? So the more fingers the better because you can utilize them all. So make sure that with the upcoming exercises of what have you using all the fingers the way that I prescribe super important that you do that third and fourth finger are gonna feel awkward. I promise you and fingertips are gonna hurt a little bit, but use him. Okay, Um, and lastly, it's best to leave some room in between the palm, The wedding there of you were palm and the neck. Okay, So what I mean is this space that's right in here. That's an important thing toe have. Why is that? Well, you know, it's very natural for us to grab things like this where we palm it. You know, if we're going to dig a hole, we grab a shovel. We would never grab the shovel like this with our fingertips. Not only would that be very tiring to our hands as you're going to see as you play guitar, you're gonna feel those sensations and say, Man, that's tiring. I'm I'm getting worn out we palm the shovel or an ax or whatever it is that we're doing, We don't want that a baseball bat to fly over hands when we're playing ball. We've got to put that thing right in the palm of our hand like that. Okay, The guitar is different because we're not doing something. We're doing something very precise. Okay? We're not digging the hole and trying to that trying to not let that shovel leave her hands in this case here, our body of supporting the guitar and it's not gonna go anywhere. So now we need that hand out front. So how do we do that? Take your thumb and instead of it hanging over the top of the neck, which is a very natural feeling. And in fact, a lot of pro guitar players do that because they have been able to develop the techniques that will allow them to play all of these chords and still hang their thumb over the top of the neck. Is that bad? Not so much. Once you've been playing for a while, so you can you know you're not gonna break anything by keeping your thumb over the top of the net. You're just in the beginning for beginners. You're not gonna be able to play the things that that other guitar players air doing. You're not to be able to play these exercises. So in the beginning, you got to take that thumb. And instead of hanging it up here, you gotta drop it down behind the back of the neck. The further down the mawr slack you have in your hand out front, as you could see, you know, I've got I can reach my hand way up here. But if my thumb comes up now, what happens? Well, now my hand has to go down, and I cant correctly curl my finger. So I want that last knuckle curled, which is the most important thing. Um, then we've got to do this. Okay, so we've got to leave some space between the neck and the palm. So what we want you to do is take your thumb, drop it behind the back of the neck like that, and that's going to help a lot. Now. Another thing that's going to do is it's going to make it very tiring when you're playing these exercises. So playing like this is going to be much more comfortable, but you're not gonna be able to play everything that you're looking for. So I guess you're dropped that thumb. You're going to get strong. You're going to start feeling better in time. Okay? It's gonna feel weak at first, but just trust me, it's gonna feel better in time, and that's not allow you to play these exercises. Now, last thing I want to tell you is to curl that last knuckle. OK, this top knuckles the most important. And here's why. Ah, lot of guitar teachers who have sat in with when I was a kid and everybody everywhere else where I listened to him read books or whatever they'll tell you. Different things will say, Drop your shoulder will say, Get your hand out front on Lee. Do the classical position. Other rules that make it stifling for a lot of guitar players. I found that even if you have your thumb over the top of the neck, not that I'm advising you to do that, especially beginners. But even if you have your thumb over the top of the neck, as long as that last knuckle is curled you typically are going to be able to play everything okay, because this knuckle, these knuckles don't matter as much, really, What we're looking for. See, I could curl these other knuckles, but if this last knuckles not curled at all, then these air curled a lot. But the last knuckles not That's a one note for their 22 nodes, which is not a court. So I have to curl that last knuckle. The more I curl, that last knuckle the better. Okay, so the way you could do that, you take your hand and do you like a You've seen in martial arts where they take their fingers and they pull him in like that so they don't get broken. And as much as you curl that I could do it at a 90 degree angle angle. I'm not double jointed or anything. Most people can do that. Just take your hand, put it up in the air. If you could do a 90 degree angle, then expect that you could do that when you're playing your cords. Okay, so right now, since we're only going to be doing the single notes, you know, and in fact, for this video, you can just do Just get the basic technique down because this is we're going to follow this up with an exercise for you called dexterity Exercise number one, and that's gonna allow you to actually put this into practice. We were not gonna get into cords yet. So some of these techniques you're just gonna have to trust me on, But I promise you, when you get to the cords, you'll be so happy that you listen to me because you're gonna be good to go, and you're gonna be able to play the courts a lot easier than folks who are just saying, Oh, I can hear the note. It's playing fine. No, Yes, you could play a bad technique. It could be way back here with an uncalled knuckle playing, not on my fingertip. And it's what sound the same for that note that didn't really know. That technique note sounds the same. But when you're getting into records and that's where I think you're gonna find that it's not the same for sure. All right, my friends. So that is what I want you to to think of when you're doing these basic fretting techniques . So for this video, you can just try this with a few different fingers. But we're gonna do dexterity exercise number one, which is really where the rubber meets the road. And you're gonna use these 45 techniques that I'm talking about here. Just be looking at them. Um, while you're doing this and if you run into any problems, I guarantee it's gonna be one of those issues. Oh, and of course, you need to press down firmly enough on the string. But that's the last thing, cause if you're doing all these other things, it will allow you to have a very light touch, which is really what you wanna have, cause it will basically relate to speed and everything else later on. Technique and speeding. And what have you so light touches? Great. Um, worry about or be concerned with all these techniques first. And then if you're still not getting a note out, then press a little bit harder. All right, let's get going 11. Naming the Notes on the Fretboard: Okay, let's name the notes on the fretboard. So you've probably seen your favorite guitar player just dancing all around the guitar neck . And you're like, How in heaven's name do they know where to go? They must have all those notes memorized, right? Well, kind of and kind of not. And it's Mawr leans on, kind of not as guitar players were not thinking of the names of these notes all the time. In fact, rarely are we thinking of the names. The notes were more thinking in patterns, and we're really patterns, certain forms that we've learned over time that you're gonna learn in this course as well. And when asked, Hey, what is the name of this fret or whatever? What is the name of this string at this? Fret, then. Most guitarra pliers, if they've been playing for a bit, can do that. But they're utilizing, ah, couple of techniques that we're going to learn right here. Okay, they really don't have it memorized. It would be equivalent is saying, um, you know, can you count one to a 1,000,000 or we can't count to a 1,000,000? Can you count 1 to 1000? You know and you'd probably say, Yes, I can. I could do that. Well, have you ever done it before? How do you know that you can do it? Well, because you're using certain techniques. We know that the decimal you know, the zero moves over every time and that there's only nine digits, right? Or 10 I guess, including the zero. And we can easily count to, you know, a 1,000,000 or a 1,000,000,000 or a trillion, but we haven't done that before. So in the same way, this is what? How guitar players think about the guitar neck. Okay. And it's really easy. There's really only a couple things that you need to know really, really two or three things here, and you'll want to make sure that you have the pdf that's attached this video for that information. OK, now, first thing we need to know is we need to name no the names of the open strings which goes like this when we mean an open string. We mean we were plucking the string, and we don't have our fingers on it. Okay, we have our pick on it, but we're not fretting anything. Okay, So the names of the open strings, and this is as they should be tuned as well. That's why we name them. These is it goes like this goes e a d g b on e three a g e d e a d g b e A lot of folks will try to come up with some way to remember that. And the way I always did it with my students was Eddie eight. Dynamite. Goodbye, Eddie, right? Don't don't eat dining my kids. Right, Eddie? Eight. Dynamite. Goodbye, Eddie. Whatever little Nouman IQ, you need to to remember that. Then do that. You can use mine. You can use another one. Doesn't matter, Eddie. Eight Dynamite. Goodbye, Eddie. So the first letter of each one of those would represent that string. OK, makes sense. So we got that now. The other two things that we need to know is that the musical alphabet goes from a to G, just like the regular alphabet goes from A to Z. The musical alphabet goes from a to G. So if you were looking at musical notation or looking at cords, that sort of thing, you're never going to see an H note or H chord or anything past G. It stops at G, and it starts over again. A B C D e f g a b c D e f g a b c D E f g Does this on the piano? Does this on the guitar does? It's on every musical instrument, just about every musical instrument, Um, those that only have one octave. The A B C A B C D E F G. That would be one octave. Then, obviously, you're not gonna have repeats. You just have one. But most musical instruments do. Repeat. So now that we know that a through G and we only need to know one other piece of information and that is that every note has a sharp except for B and E. Now, if you remember earlier we said a sharp is When we take a note, we raise it right. Well, in this case here, we can name a note something sharp, like a sharp or C sharp. And that's an adjective in this case here, because we're we are, um, even though we're using it before the word it's describing the A. It's a type of It's a sharp a Okay? Another. It's another way we could say a sharp day, but we usually will say a sharp. Okay, so every note has a sharp except for B and E. All right, so all the other notes do I always tell my students that they want to remember this? Think about the Beatles song. Let it be Be so weird. That's my little weird analogy, but it works. Okay, so being a don't have a sharp right. So we were going through the alphabet. Let's do this. Okay. Remember a through G and B, Any don't have a sharp? So our first letter in the alphabet is what a right we said Every note has a sharp except for B and E. So does they have a shark? Yes, I have a sharp. The next letter in the alphabet is B and singing if you need to. A b C d E f g a Do it all the time. So be is our next note. Does it have a sharp All right, be any don't. Right. So the next note would be a see. Okay. No sharps for the B. So to see. Have a sharp Yes. So c sharp. It's an actual note. We need to say it. So we have a a sharp B C c sharp. What's after c de. Does he ever sharp? Yes, De sharp. So you want to say d sharp? Don't just say sharp, just a d sharp because we need to know what? That what that note is and d sharp is the note not sharp. Okay, so you have the sharp with the next note A B c D e e. Okay. Does he have a sharp? No. Correct. So we had to go straight. F this f have a sharp Yeah, if short right. A b c d e f g his g have a shark yet? G sharp. So we have 12 notes. That's what we call our chromatic scale. It's all the notes chroma, meaning color so you can think about it like the rainbow We were looking at a rainbow. We'd have red, orange, yellow, blue indigo, Roy G biv red, orange, yellow, green, blue into go violent right. Those are all our colors. But in between there we have these different hues and we can think about the chromatic scale is that it's including all the colors and all the hues in between it. Later on, you're going to see we're not gonna use all those notes. When we're playing in a particular key. We're only going to use some of them. Okay, so now, without with without further ado, let's do this on the fretboard. Okay? And you want to make sure that you look at the pdf that's attached to this video of two of them, One of them? It will. We'll cover what I just spoke about. And there's also a blank fretboard, which would I want you to do with That is to be able to write him in on with a pencil or pen, preferably a pencil. Could, you know, race if you make a mistake and you're gonna do this on paper and it's really gonna help again. Once you do this, it's going to stay in your mind. But you do have to really concentrate. Don't try to take a shortcut. It's never a shortcut on the guitar. Okay? Always do the work, and then you're not gonna forget it. I promise. If you just stick to this, Okay. All right. So we're going to start the alphabet or we're going to start the string by its name. So in the case of an e string, we would started eat. But we're gonna started ages to make this simple. So where's our a string? Remember any eight Dynamite. Goodbye, Eddie. So, Eddie, 88 starts with an A on That's an a string. So we're gonna pluck the ape. And I've seen this happen all the time, so make sure you don't do it. The name of the string is in a so our first note isn't a You don't put your finger on the strings yet. Okay? The open note is the A. Okay, now, when we put our finger down now we're changing the pitch. Were going up 1/2 step or one fret. Okay. And that no would be one note above an a b sharp. So it's in a sharp. Now we're gonna move through the alphabet just like we did before A through G and B. Any don't have a sharp everybody else does. So we have a a sharp What's the next letter in the alphabet? B doesn't have a sharp no si si. Have a sharp. Yep. A B C D Do you have a sharp? Yeah, a B C D e. The next note. Does he have a sharp No. Trying to trick you there. So it's a good straight to f right? Because if I have a sharp yes b c d e f g g have a shar you bet it does on Ben, Last note is are a again, and that starts with the whole sequence over again. So we could have just stopped at G Sharp, but wanted to show you something pretty cool. Here we get to this A that's the same. Is this A Except it is one octave higher. So when we call the whole spectrum the whole musical spectrum, if we go from one note to the next note the next note of the same name that's called an octave Okay. And later on, you're going to see where that makes sense. Oct. Meaning eight. I know there's 12 notes in between here, but we were playing a scale. 12345678 That would be our That's where we get the dame from. We're not We're not playing all the individual hues of the rainbow here all the individual notes were playing. We're playing this scale on a major scale. 12345671 Okay, so that's why we call that the octave. And when you're riding this out on your paper or you're doing this by hand on your guitar, which you really should be doing both. When you come to the 12th fret. That's the one that typically, when you're looking down at the guitar, it's either gonna have two dots right here on the front or right here on the side. Two dots, okay? And that those two dots, that's remember I said that earlier. I said that that that means that the octave is starting over again. Okay. And that's one thing that we do want to keep cognisant of on what we could do with that. It's like we were to play a lick like I want to play that same lick, but up an octave. Play it just right there. Okay, What's happening? Vibrational Lee, where the physics of sound is. If this note right here is vibrating, say 100 and 10 cycles per second, which is pretty sure that is 101 110 cycles per second. Then right here at the 12th fret it is vibrating exactly twice as much. So 220 vibrations per second. And then, if we went up another active that before 140 seconds per second. Another active 880 cycles per second. Right? So a little bit of math can come in here if we would like to to use that right? Okay, let's do one more and then I want you to do the rest on your own, the rest of the string. So let's do the e string here, so I'm gonna pluck the eat way. No, that's E because that's Eddie. Eight. Dynamite. Goodbye, Eddie. So that's Eddie E. So here's our e e. Have a sharp no so f f sharp. A B C D E f g g has a shark. What happens here? We start over again, right? So G shock with what's after G A right starts over again. Noticed this bay on the fifth. Fret is the same as this on a in the open string, the open a string. So there's two notes are in unison together. Okay, we'll learn more about that later on when we're tuning air guitar. So here's our a new Does they have a sharp Yes. Next note A B B B have sharp? No. So see, See shar dee dee Sharp on. Look, here we are. The 12th fret back on our feet. Okay, So what I want you to do is that when you do this with all six strings, I want you to do it on your guitar. But first, I want you to do it with the paper. The blank pdf that I provided for you. If you do that, you're really going to be able to see there. If you need to put a little cheat on the sides a being you don't have a sharp in the musical alphabet goes from a to G. That's fine. Try not to look at it. Use it if you need it. But in a short while, you're gonna remember it. Okay. If you use it, it will become part of you. You don't use it and you're constantly looking at the notes. Then you're not gonna memorize it. Okay, um, I ah, small analogy here. Many years ago, I learned how to touch type. You know where you don't look at the the keyboard, but you can type did that in high school and then many years later in, you know, in jobs in college, that sort of thing is I started looking at the keyboard again, and I ended up always having to look at the keyboard. And then when I got my first real job many years ago, um, I needed to do a lot of typing, a lot of reports and that sort of thing, and I ended up getting very frustrated cause I kept looking at my hands. It's like, Gosh, I went through all the training. Why? Why am I looking at my hands? And I realized that it was because I was looking at my hands. Sounds simple, but what happens is I had to go home and I said, I'm not going to look at my hands on a type of document, and what I did is I looked at it piece of paper, just started typing and started searching, and then I would look at the screen and yeah, I was right. Or maybe I was wrong and I would not look at my hands But I would figure I just type something to be like, OK, that's right. And then I would do I would practice that and it came back to me in no time flat. So with all that being said, if you use it, you're gonna be fine. If you don't use it, you lose it. Right? So use the pdf there, that's gonna be part of your homework. Then do it by hand on the guitar on all six strings, probably at least two times through either one on paper, one on the guitar or two on paper to on the guitar, one on the paper to on the guitar. Doesn't matter. Do it at least two times, all the way through all six strings. And I promise you you're gonna get it and you're not gonna forget it. And there's a ton of guitar players that don't know this. So do it's gonna make you a much better player. Slow and steady wins the race. Okay, Don't get overwhelmed. If this is too much for you, stop this video. Do it. Give yourself a break. Come back tomorrow and keep watching. Alright, let's keep going 12. How To Read Tablature: OK, A quick lesson today on how to read tablature. Now you're gonna get mawr out of the e book materials for reading tablature in the attachment that's related to this, then you would probably a video. But I do want to note a couple things before you get started. Just want to give you a real basic idea about Tab um, as denoted right here. The sixth string is going to be your lowest string. Or if you're holding your guitar in a standard way in a standard tuning than the lowest string is the one that's closest to you on the highest one is the one that's closest to the ground. OK, we call that the highest one because it's highest in pitch and we have a low one low because it's low in pitch. Okay, Um OK, so for those of you that don't know, I have never read tablature before. What this number represents is the actual fret on what string? You should be depressing. Okay, so on the six string, basically, this is a G chord. This this little bit and in order to play G chord, you would depress or press down the third fret of the sixth string. Okay, this is not fingers. I don't think anything about fingers here when your plan. That's why we did those those ah dexterity exercises and and what have used to get you to understand where to put your fingers. That needs to be second nature to you. However, what frets to play may not be OK, so this would be the third fret of the six string second fret of the fifth string Zeroes would mean that your were to strum those notes or to pick those notes, but they're they're open. And the threes here on strings two and one are on the same fret but different strings. When everything stacked up together like this, that means they're played simultaneously. Accords? You're just gonna hit it together. If they were in a sequence going up or down or just going across, then they would be played in Siris. Okay. Like for instance, this would be played like bom bom bom bom bom bom oben. I'm singing the major scale. That's not correct. But you get the idea it's gonna go in a row as opposed to accord that's played all at once . Okay, um all these other examples here are going to be better red than then demonstrated via video here. So okay, get to read some tablature. It's a great way of being introduced to new tunes without having to learn too much theory. You can just get into a song right away, so start reading some tabs. 13. Dexterity Exercise 1: in this lesson, I'm going to show you what I call dexterity. Exercise number one. This is an exercise that Ah lot of guitar players will start off with because it's very basic. But it uses all the fingers and allows us to really concentrate on the technique that we learned in the basic fretting video just a few a few videos ago. And this is a next and exercise that I've used for years and I still use it, especially if I'm watching TV or something like that. And I'm wanting toe to concentrate on this show but actually play guitar, do something that's still being constructive. I'm still actually playing guitar, but I don't have to concentrate a lot. So for you in the beginning, you know, especially if you're new to these techniques, you're definitely will want to focus on the techniques that were doing later on. It's gonna become Mawr wrote, and it's just gonna be come part of you muscle memory and what have you and you'll just be able to play. But in the beginning, remember, we want to concentrate on a few of those different things, right? We want to play in our fingertips. Remember the dots on our fingers? We wanna have those. So get out your Sharpie or any sort of pen. Put that dot on the tips of your fingers and because when you're looking down that dot is looking up at you and you're you're playing a note, you know you're doing it wrong cause that dot should be invisible. It should be on the string itself. If I have it like that, I'm not seeing the dot If it's like that, then yes, I am seeing the dot So I know that this is correct. That wouldn't be corrected. I'm seeing the dot All right, so remember that we want to be playing on our fingertips, right? We want to be close to the fret. We want to use all of our fingers. So in this case here, this exercise goes 1234 So we want to make sure that each finger plays. It's associated fret so 1234 fingers will play frets 1234 We also want to make sure that a thumb is dropped down behind the back of the neck so that we have that room right? Right in there. If we're like this, we're grappling the neck. If you're have you been playing for many years and you're doing that and that's okay. But in the beginning, you really can't do that. You have toe, learn it the right way first, and then later on you can start cheating, which is not really a cheat. It's just a little bit more comfortable to hold your hand like that. Most pro guitar players you'll see with the thumb over the top of the neck for a lot of what what it is that they're playing except for classical guitar players, because it's a much wider neck and it's very looked down upon but technique wise, it's not all wrong. Not at all. You'll see the best guitar players with their thumb over the top of the neck, but for you in the beginning, do not do it. I highly suggest not doing that. Drop the thumb So we got that room back there. Now, with all that being said, let's we also got a curl, that last knuckle, so a few things to think about right? But I promise you that if you think about them now, don't worry about playing a song yet Just worry about the technique. The technique will develop, and then it will be a blast. When you're playing because you're not thinking about why isn't that court sounding bad? Or why is that court sounding bad? Why is that? No, sandy bed. It's not gonna be sounding back because you'll have the technique down. OK, so this exercise is very simple and it goes 1234 Okay. And so please use the associative pdf that is related to this video. So when we're doing this, OK, I want you to really take your time. Enjoy the ride. You'll hear me say that a lot. Enjoy the ride. Take your time in this. Okay, Every part of this is part of your journey, So if you're playing through it nice and slowly, you're learning. Okay? Now, you don't have to play slower than you can, but don't try to rush it. You going faster is not helping you. Okay? I promise you getting it accurate is what's going to help you. In fact, accuracy always leads the speed. You'll never have speed before accuracy. So you got to get right first. Okay, so what you're gonna do, you're gonna You can either rest your hand or have it in the air here. I would suggest resting it because you're gonna have mawr leverage and mawr strength and less volatility. So you're not going to be missing the strength if you're you're planted here. Okay, Now you're just gonna worry about one fret, one note at a time. So close to the fret. I got that one second finger. I notice my first finger came up. Now you could keep it there. That's fine. But allow your hands and naturally do what it should do there, you know? I mean, so fingers coming way out here that naturally, does that just leave it. But it would be better if it was more of a relaxed movement in the finger just lifted off the fretboard. Because later on, if you're going to find out that that may be a wasted movement, Okay, a lot further down the line. So here we go. Here's the one. 23 four. Now, my thumb, the back of the neck is really not going anywhere. Now. We could do this. Some people do that, they'll move their thumb in the back of the neck as the notes are going up. And that's okay if you do that. If you need that, then do that. If not, just leave the thumb. What's that? Now? You'll also find that in the beginning, your pinky may not be able to play that note. And if so, you could bring your third finger that over and give it a little boost pressing down like that. That's totally okay. The later on you won't need that. The better your technique is, the less strength you need. So there's this constant balance of strength and technique. The really great guitar players have strong hands, but they don't really use their strength that much. It's more for endurance and Mawr because they've just been playing so much practice so much that they have mawr, muscle built up and mawr endurance. But with that being said better, your technique is the less strength you'll need, the less hard you won't have to press down as hard. Okay, so once you get through one string on, I'm doing all down strokes for this. Then you got the next string on and you want to make sure that you're practicing all the strings because you're gonna feel them all different. Each one has a different sense to it. Different tone, of course. Uh, just the sheer repetition of this is going Teoh get you where you want to get Teoh. Now, for those that are a little bit more advanced, you're doing other peck picking techniques you could do all today. Down, up, down, up, down, up, down, up. And for those of you that have been doing this a while, you could get faster at it if you wanted to. But I say that with the caveat of we're not really going for speed here, we're going to develop the techniques. So if you're playing through that faster, you're probably beyond this video. But most folks are not, You know, they've got to learn that that technique first. Okay, Now, with the attached pdf, you'll see that there are a myriad of different variations that we could do on this. Okay, um, basically, we could instead of going 1234 we could go 1243 Or we could go 13 to 4. Or you could go 134 to 14 to three or 1432 you know, So we have all of these different variations that we can do with this. Then we could start to 134 to 314 and so on. So starting on different fingers and having different combinations, I believe there's 24 different combinations, but nonetheless, plenty of exercises for you to do in case the 1234 gets boring for you. There's many different variations to do with this. Okay, so what I want you to do is take your time with this. The more time you spend with it, the better. Okay, But with that being said, you don't need to be doing this for weeks or anything like that. A few hours to get it out of the, you know, to get it into your system would be great. If you don't have a few hours to do it, you could do less than that. But remember, you know, through these lessons were building. And so if you have, if you're not good at one thing and we're gonna put something else on top of that, this is kind of a week foundation. So you want to make sure that you really building that core, really? Building that foundation So that each stack that we put on it it's a strong foundation. These beginning lessons air Really the most important lessons that you're ever gonna have. Okay, Take your time with it. Slow and steady wins the race, and I'll see you in the next video. 14. Stacatto Vs Legato: today. Let's talk about staccato versus llegado technique. Okay, now the words staccato means to play something with a sharp attack. So just a really sharp attack. And typically it's a note that's very short. Okay, Llegado is a smooth note. You can think about this like think about staccato like a stiletto heel like a like a high heel shoes. The Leto sounds like staccato, so you can think like sharp attack type thing llegado. You can think about legs. Okay, a woman's legs. They shaved their smooth right exposed man rights of staccato and llegado. We've got two different techniques here, and usually when folks are just playing the guitar, especially when they're doing that fretting technique where they're doing exercise one dexterity exercise one. What usually happens in the beginning is folks play. It's something like this. Okay, the's air staccato notes, because what we're doing is you hear the note for just a second, and then it gets cut off by my finger lifting up. And that's very common because in the beginning we don't want to press down too hard or too much because our fingers are just getting used to this, and we're typically really trying to limit our movements. Well, we don't really want that sound. We want more of a sound like this Were each note runs into the next note. Now they're not bleeding into each other. You know, they're not being played at the same time. But basically, you're getting your timing down to where When that finger moves, you're picking at the same time with staccato. You've got a little bit of wiggle room in between each note to get everything set up and pick. Okay. Which is not as refined is doing a llegado technique. Okay, with our llegado technique, what you're gonna do is you could you could just practice the first and second string. Here are the first and second fret on the first string of you would like. And the object here is to hold the note down. So we're holding the first note. The first fret down. Then we'll go to the second fret. So something like this on at first the main thing that you want to do is you really want to observe. Are you doing this? Most people do this in the beginning. Yeah. And even though they're using all the other techniques correctly. What we would prefer is that the notes are smooth, like instead of I would like a nice on and on DSO. The way we're going to do that is we're going to keep pressure on that fret all the way until the next note plays. And at that point, we can lift our finger up or you could keep the finger down. Chances are, in the beginning, you're probably gonna keep that finger down because you're not gonna be able to think too much about all the different interactions that are happening. This finger needs to stay down. Then the pressure is gonna come down this one while this one lifts up. While this one's getting ready, it's a little much. So at first you're probably gonna end up keeping this finger. Stamp it later on. You'll probably roll thief fingers like that. Okay, easy enough. So that, my friends, is your homework. That is your take away from this video. I want you to do this with exercise one and any exercises that we used in the future. You want that nice llegado sound because that tends to be a little less natural than just doing the staccato sounds. So since that comes naturally to us, that's easier to do. I want to really get you to where Number one we're doing something that's outside of our wheelhouse and into something that's more realistic of how we're gonna play. Typically when we're playing solos, we have notes that sing out way. We typically don't play like that. We sing, you know. Similarly, we were seeing in a song we have these long drawn out notes as opposed to singing like this . That would be staccato, and that would be weird, right? So the same way here. We don't want to do that with the guitar. We want to have those nice, smooth notes. So practice this with exercise one. When you get into some of the other exercises and scales and that sort of thing is gonna become second nature to you, it's going to be super easy right now. It's gonna be a little bit challenging, just like every new thing that we knew here is going to be as you go on those muscles in your in your in your brain, I say muscles. You know this synapses. Those neurons are gonna be firing. They're gonna be moving quicker. Your hands, your muscles in your hands. Everything is gonna be working Mawr optimally as you progress in your learning. But at first it's going to be complex. At first, it is going to be a little bit trying and a little bit frustrating. That's okay. You're in great company. Everybody's been through it. It's the gauntlet, if you will. You just have to push through it. Do the practice. Have fun. Enjoy it while you're doing it. And I promise you you're gonna excel at this instrument. All right, let's keep going. 15. How To Read Chord Stamps: Okay. A short little lesson today on cord stamps. If you are new to reading chords, then I'm gonna walk you through this really quickly. If you've read courts before that, you probably don't need this lesson. But let's talk about it for those you that do need it. These things here are court stamps, okay? And they represent the lower part of your guitar. Whereas this is the nut of the guitar, you know, here would be the head stock in your in your tuners. But right here is the nut, and this would be frets. 1234 Okay, notice that this string here is thicker and wound, and this one is thinner. Okay, so just like your guitar, just like turning it over and looking at it. Notice the front markers right here. So just like your guitars, probably has the third fret marked like that. And so that kind of lets you know where you're out on the fretboard. Okay, How it's represented. And what these dots mean are where you're going to place a finger. Okay. On the cards, the court stamps that I do. Unless I don't want you to play a string you will. You'll just play it, OK? Unless I don't want you to. You just play all the strings. If I don't want you to play a string, I'll put an X over that string. And that means don't play. Now you notice on this. There are Let's see. We've got a few changing pages here. Okay, so at the top here we have one that's in parentheses and excess in parentheses. In another one that is not in parentheses. What that means is the one that's not in parentheses. I definitely don't want you to play because it's technically not in the cord. So for practicing sake, do not play any X. That's not in a parenthesis. Okay, when an ex is in a parenthesis, that means you typically don't play it. But technically, the name of that note would be represented in the cord. And it's not gonna sound bad. It's just gonna make the chord sound a little bit different. Maybe a little bass heavy or, um, make it sound a little less like the court that we're going for. OK, so to summarise anything with an X on Lee, don't play that string, but it's X in parentheses. Try not to play it. If you do, it won't. It won't be the worst sound in the world. Okay, when you see a note with red around it, you should note that as being the letter name of the cord be the route where the root is located. So, for instance, for all these D cords, the fourth string, which is a D, is going to be red because that's the letter name of the cord. And that's where we're getting the rest of the cord from. Or I should say, that's the note that we're basing the rest of the court from. Okay, if we go here to these some of the sea cords, you'll notice that on the fifth string the a string we go a a sharp B C. This is a C. And so that is a C court. And we wanted to note that the season the base OK, um, now or not in the base, but in the route I should say for this particular chord, since it's a slash cord were actually playing the e in the bass, as we learned, or as we will learn and air inversion section Okay, so don't worry about that right now, But basically what this is saying, is this a C quarter? But play the E in the bass? Okay, if you're unclear about that, that's okay. I just want you to understand how to record court stamps right now. We'll get into inversions a bit later, okay? And then the last thing I want you to note is are the numbers inside of these circles okay , when you see a zero inside of the circle, that means you just play that note open or the zero fret. Okay, so this note from the D seven here would be just played open. Of course, you wouldn't need a finger to play that, cause it's just the open strength. Okay. Whereas in this c slash g chord, you've got 1/3 your ring finger right here. The third fret of the low e string. The fourth finger is just below that on this on the next string, and the two would be here, and the one would be here so you can break these rules later on. But for right now, learn, um, the way that I'm showing you, and it's really going to help and make things a lot easier. As you're learning more chords later on, there will be some reasons to, um, to break those rules. But right now, stick to that protocol. Okay, Go practice your chords with these new court stamps. 16. Tuning With A Tuner: Let's learn how to tune the guitar to a tuner today, so being in tune is obviously very important, especially were playing with other musicians. Now we continue the guitar to itself as well due later on. But tuning to a tuner is great because it's a benchmark. And if everybody tunes to attune, or especially if it's if it's optimized in the same way. Which most tuners air tuned to what we call 4 40 we may learn about that more later. Right now, just suffice to say, that's the standard, and that's what A is. And so if your body has a tutor, that's two in 24 40 you have to know that's two in 24 40 you both to separately with your tuners. Then you should be in tune when you play. Okay, so what we're gonna do is we're talking about some basics on how to do this today and how to stay in tune, using a technique that I'm sure. Okay, so what we have here is what I'm using here today is a tuner that is works on vibration. So there are those that work on vibrations, some that work on sound. These clip on types are great because you can be in a venue you could be getting ready to go on stage. A lot of people talking, music, playing what have you and it's not gonna interrupt it because it's just listening, if you will, to the vibration. It's feeling the vibration. And that's how it's it's telling you whether you're in tune or not. Okay, so remember, we know the names of the open strings. It's E a D G B e. Remember Eddie eight Dynamite. Goodbye, Eddie. Now, if you have a tuner like mine is, some of them will have some letters at the bottom that might say, like See the G u B. That's like chromatic bass, violin, ukulele, guitar, etcetera. Sometimes it's not like that, but you either wouldn't have it set on guitar or chromatic, preferably guitar, because it z listening for that specific note. So it's gonna be more accurate. Okay, so here we've got a low e string and you could see what I when I hit the note, it's saying, Do you want an e string on? I'm saying Yes, I do. And this one just to the left of that. You see that? Says six also, So we know it's the sixth string. Every tuners difference. So it's really hard to say you're gonna have to get acclimated to your tuner. But suffice to say that they all want to to something, Uh, you know, basically where it always wants to go to the middle. We're trying to get this this set of lights right in the middle, but we do need to be wary of what note it's asking for. So, for instance, this'll was set on chromatic and we were hitting this and this was a deed that I was playing. Then we might tune it up and it would look like it's in tune because the needles right in the middle. But we're turning to a D. So you need to make sure that what's showing up here is the actual name of the string. In this case, here it's an A is is an e string. Then we two so here noticed that that little light there is going up as we go up and pitch on. The idea here is that we wanted to not go over, so that's sharp. See where it went in the red there, that's sharp. So we wanted to go back a little bit. There's a few tricks to do in that Number one. You could take your strings and give him a little bit of a stretch. And what that will do is that we typically pull out any slack that's in this area over here , minimal amount of slack, but enough to put it out of tune and then pick again. And hopefully that will put you where you need to be. And so right there that's still slightly sharp. So I'm gonna I'm gonna bring it below. And here's the rule. What you want to do. You always wanted to own up to a note. So what I did is I just dropped that below, stretched the string. Now I'm gonna tune up, and as you're going to see later on, when were tuning when we're putting strings on our guitar, it's really important to stretch the strings out. You always want to tune up to a note. We'll talk more about that later, but for this lesson, just always tune up to the note, never down. Okay, so it looks like e. It's slightly sharp. So I'm giving this a little stretch here. Uh, no. You can also hit the harmonic. Who will learn more about that later. But basically at the 12th fret just above the fret. You can barely touch your finger there. Pluck very hard. And you get that nice China me type Sound. Okay, We'll learn more about that later, but it gives a little bit of a pure tone to the tuner. Okay. Oh, so that looks like it's intend. Let's do the one thing that you could do you get If you see the note jumping around because it's not hearing it loud enough to hear constantly, it's gonna see just the same. You don't want to pick too hard, because if you do, there's a phenomenon that happens with the string. Would actually goes out of pitch for just a moment. Okay, it goes. Typically, it goes up in pitch and then back down. Uh, so there's our d. Right. So we did. E a. Here's d noticed. Our d string is flat, so we need to bring that up. Uh uh. Right there. Way. Okay, here's G G. Looks like it's into good. Here's B slightly flat. Most tuners when you are in tune it'll blight up bigger Where there'll be another light that goes on or something or will turn green or something to let you know that you're in tune. Okay, The high e string Notice. That's sharp. Okay. So again, what we want to do is we want to bring it flat. Go underneath that note, take your hand. Just give it a little bit of a tug. Right? Let's pull that string up straight up. Not too hard, Okay? Because you can't break strings doing this. I've done it before, but they do need to be stretched. Know Now all the slack has taken out. Now, I could tune up to that note, and now we're good. So now we're pretty much in tune. Usually, when you use a tune or like this, you're going to get very close. And then what you want to do is you want to do some adjustments with cords, etcetera, as you get to playing Maura and you get to be a better player and you're mawr tuned to the guitar like your mind, your body, your soul, everything you're like. That doesn't quite sound right. and this is gonna happen is you get the plan mawr, and you're gonna use cords, maybe scales or some other ways to tune also. And between those two things or two or three different methods, you'll really be able to refine the tuning of your guitar. But we really want to learn to use a tuner to start, and then we'll go on some of the other methods of tuning the guitar. So your take away from this, your your practices to take your guitar, tune it to the best of your ability. You really want to be fine tuned. You want to get this that that arrow or that that needle right in the middle. Okay, don't kind of get it there. Get it there. Because even when you're really trying to stay in tune, there's a little subtleties, like the way you press the strings and what have you that will keep the guitar from sounding perfectly in tune? And these are things that guitarists have to contend with. That's OK, but if you make sure that you tars tuned to start off really well, you're going to run into a less of those problems. And as you mature as a player, you're gonna be able to refine the other ones out as well. All right, my friends, let's keep going. 17. Basic Chord Technique: today. Let's talk about the basic chord technique. So what we mean by this is up until now, we've really only been doing single note melodies on one on one strength. So our initial fretting technique we were using one string and then for exercise number one dexterity exercise number one. We're using one string at a time and then moving on to another strength. So even though we were using all the strings still only one string at a time, if you remember from our definitions accord is three or more notes played at the same time . So in order to play three or more notes at the same time, we need to have proper technique so that our fingers aren't muting other strings that should be sounding out so earlier. I should you a c chord and I said, Here's the proper way to play it Waken here that all six strings airplane, right? If I just slightly moved my knuckles down like this way got a t least two notes that are being muted. Okay, and then the court start sounding weaker and you start hearing dead notes and it just doesn't sound very good. So we really want to make sure that we use the proper technique. So when we're learning new cords and obviously there's a pdf for this, so you want to make sure that you read through that and you check out the chords, the open chords to follow. But we really want to start off with simple chords at first because folks get their hands around the neck, they start playing melodies, and they feel really good that when they go to play their first chord, there's a bit of frustration because they don't understand. They're putting their fingers. It's almost like because they feel they're putting their fingers in the right place that this the court should sound and there's some degree of truth to that. But there's and some other variables that we need to look at and using this technique will help you to uncover those that you can see whether you're playing the court correctly or not. Okay, so we're gonna obviously want to start off with some simple chords. The most simple core that I that I know and that I teach my students is the E Minor. Seven is where you take your second finger and put it on the second fret off the fifth string. When we're counting the strings, we count him from the bottom. String up. So 123456 Okay, 123456 Counting from the bottom in proximity to the floor. So the lower in pitch strings of isa six and higher pitched string. He is a thinner. Strange. OK, so it's the one. So 123456 Okay, we're counting E a D G ve. We're doing that backwards. Six by 4321 So you won't take your second finger. Put it on second Fred of the fifth string. And for this, we're gonna pick all the notes were, But this time we're gonna arpeggio hate it. Okay, So instead of just doing this, which is great, that sounds like a great court. What we're gonna do is we're gonna play each note individually, so let's try. So here we go. Starting from the six string, we should hear every note. Did you notice that it was a muted note in there. That note right there. Now, if I just hit the cord like that, you don't hear that muted note. You just hear the cord and your ear may or may not determine that that one notes not being played, but we pick it individually. Each note waken here that mute happening, and that means we need to do something now. The other strings sound out. But we've got to use this technique because we have to uncover what it is that we're doing wrong. So there's a few things you need to do. You need to use your eyes. You need to use your ears. You need to feel the guitar. And so what? I'm playing this picking one note at a time. I can hear that there's a problem there. You can hear it, and I could actually feel it, because what I can feel right now is I could feel this second finger fretting correctly, but it's leaning too far down. So what's happening is the pad of my finger on this side. Okay, Pad of my finger is actually touching the fourth string, so I curled that knuckle a little bit more. I would have a better idea of. I would have a better chance of playing that note, but without picking it without arpeggio eating through it. I'm never going to hear that. So I'm here in this e. I can hear it physically hear it, and I can feel that string snapping up against the back of my finger. It's not hard. It's just a small little vibration. I could feel that it's being muted by that finger. So what I do is I correct it. Check it, play the rest of the chord, arpeggio through it again on then. That's literally the technique. Now what happens is if you don't correct your court quartile playing. What happens is you're gonna think you're doing fine. You send no messages to your brain about correcting things and having it sound better. And because of that, nothing is going to get better. It's just going to stay the same, and that's with all guitar playing. First you have to observe what it is that's happening good or bad, you know, make some sort of determination. Does my finger need to be adjusted to? I need whatever. Whatever it is that you're trying to do on the guitar, you need to make an evaluation and then make an adjustment. According to that, that evaluation so here. I'm playing. I notice a problem I evaluated. Okay, I could feel that That fingers muting it. So I just need keep that figure from eating it now plays I play through it again. I can hear the court perfectly through this. First court is a great one to start for this exercise because you'll really be able to grasp the concept of what I'm talking about here. First. Just grasp the concept, okay? Chords really start frustrating for folks. So if you can work through this process slow and steady and really just believe me that you're gonna work through this, especially with the practice you're gonna you're gonna be doing fine. Then you're gonna understand how powerful this is. Okay, so that's an e minor seven court. Any miners will put our second finger or our third finger on the second fret of the fourth string, and basically, we're going to strum the same note. So here we waken here that way. 1st 3 notes sound great. The fourth note here doesn't sound so hot. I could physically here that it's attitude and I could physically feel that string snapping up against the back of my finger so I'm gonna curl my knuckles a little bit more. There's my e minor court. Okay, So as you're learning these chords, that's exactly the technique that you're gonna use every single time folks will say. They'll right in And they say, How can I get better at my chords? This is exactly how you're going to get better at your court. Nothing more than what's in this video You're going to play. You're gonna pick through the notes slowly picked through the courts slowly to hear each individual note. You're gonna observe that there's a problem. You're gonna adjust what you've observed. So you get that note, then you're gonna strum through it again. And what happens is our brain has an uncanny way of keeping up with the notes that you're that you're taking as you're doing this. Next time you grab that cord, you're gonna b'more inclined to hold your finger with a curled knuckle or so whatever technique that you need to use their in order to clear that cord and for it to sound great . Our brains are great at doing this, but we do have to observe at first before it will actually take note and put that into our memory bank. If you don't observe it, it's not gonna happen. Okay? Doesn't happen automatically. Has to be observed. Has to be Ah, cognizant conscious thing before it becomes a subconscious thing. Okay, later on, as we get the plane, Mauritz gonna be more subconscious. Okay? Just like a viewer to be riding a bike or talking on the phone while you're driving or something like that, It's like you can you can do both because your conscious mind is maybe driving the car, your subconscious minds talking on the phone or something, or vice versa. Makes sense. All right, We're gonna be doing some cords coming up, but what I want you to do is start delving into some of these And let's use this technique . And I promise you, if you do it, which is just really observing the note, correcting it, you're gonna be great. All right, let's keep going 18. The 9 Essential Chords: today. Let's talk about the nine essential cords. So I put these cores together years ago when I found that whenever I taught a student a song inevitably 99% of the time, the cords would fall into one of thes or few of these nine essential cords. Okay, so you may say you may see other teachers having less cords or maybe even more chords, but these are the ones that you use all the time. I like when I to teach when I teach. I like to teach folks just what it is that they need to know to get to where it is that they want to go. And then if they wanna learn the details later on, we can do that too. But I want to learn. You know what? I'm learning something. I want the quickest path there. Okay, where I'm learning where I'm getting the bulk of everything that I need. And then I can always learn the other stuff. Later. There's literally thousands of chords that one can learn on the guitar and thousands of those cords you will never use or probably rarely ever use these nine central cord. You're gonna use all the time. So this is This is why we're concentrating on. Okay, Hopefully you have your pdf pulled up here. The cords are e minor e a minor, C d D minor, a major B seven and G. Okay, now we can When we call Accord Major, we can use it. I purposely put in a major here instead of an A because we can have a major chord which is described by a major or a Okay, so if you just say the letter name of a court like playing e chord, what a musician means is playing e major chord. If they wanted you to play a minor chord, you play, they'd say, play an e minor court. But otherwise they just say, Play a c chord. That means see, Major, they say play d chord. That's d major. And they say, playing a major plan a major. Okay. All right. So let's look at the techniques here. The first court being the e minor. Okay. Noticed the red circles that are within the court. That's the letter name of that particular course. So that's why the e minor on the e major with e both have that low e in the bass on. That's that red circle there. Okay, is because that's the root note. Now we're gonna learn to construct these cords later on. But suffice to say, that's the root note or the benchmark note that all the rest of the math of the court is based upon which we're gonna learn more about later on. So I group these specifically this way because I want you to see the first, the 1st 4 chords, all kind of meld into each other. So check this out. Here's our e minor on. I will. You know, knows when you go from the e minor to the E Major. The only thing you do is you put your first finger down. Now notice we're not pliant. Plan the minor like this. Lifting are two fingers up and then putting three fingers down, lifting them up and then putting two fingers down. We're not doing that. What we're doing is we're just moving the one finger back and forth that needs to move things is what we call economy of movement. And I want to introduce it to you in this video. But we're gonna talk about it a lot more later on. When you see your favorite guitar players speeding across the neck or changing courts quickly, it's not because their hands are any faster than yours. Trust me when I say this, it's a different phenomenon than, say, like running on a football field and running against a football player. You know, in an NFL player, it's not that your favorite guitar player has faster fingers. Then you okay if they are faster, maybe only a tiny bit, it's that they're very refined in there. They're playing and they're very economical. Whether they know this or not, this is why it's what's happening. They're very economical. So if you're there moving from one court to the next instead of making big movements like this or making unnecessary movements, and I'm going from the e minor T t e. Look, that small little movement on making on I'm getting the corps that I want every time. Okay, so this is something I want you to observe whenever you're transitioning or changing between two cores, that's what we call transitioning. So here's our e on. If you notice if you take that whole e quarter, you Move it down. One string, All three fingers. Move down. One strength. Then we have a minor court. Okay, Same Look, we're just moving it down One string. I also want you to notice that the X there's an X m parentheses on that sixth string, that low e string. So that means we prefer not to play it. Okay, If it was just an axe, will say Don't play it at all. If it's an X in parentheses, it means try not the plant. But if you do, it's not the end of the world. Because that note in this case in e is actually part of the A minor chord. An A minor chord is an A c and e. OK, so when I strum this a minor court, I'm just playing a a season ease so I can easily play this low e in their on its still in a minor courts. Still gonna sound fun. It's not like I'm playing in a minor with an F in the base. Which way? A little bit of a conflicting sound. That one sounds a little bit smoother, but the reason I'm saying try to just play the A in the base and not the e is we really want to get acclimated to this idea of starting the court on the lowest note, which is the letter name of the cord. Okay, to start off. Okay, so and I also want you notice when you're going back and forth between these cores noticed . Noticed the similarities. Okay, so when you're practicing this, you'll practice the e You'll practice the e major practiced. E e major. I'm sorry. E minor E major E minor E major E minor major. Then you practice the e major. A minor e major. A minor major. A minor. Okay, on what you want to do is you want to go back and forth between these two, okay? Back and forth, just like this. Okay? And then you can get to picking them. But you want to get you want to understand the movement there first, before you do anything else. OK, so then notice. Here's our a minor. And here's our C chord. Noticed the difference between the a minor in the C chord. Look, one finger is moving. So this is something again that I want you to get acclimated to. Is that your fingers don't need to lift up every single time. And in fact, if you do that, you're creating a larger margin of air because more fingers need to lift up. More fingers need to go back down. They need to land in the correct space, and you're causing more problems for yourself. So what you want to do as you want to take your time and you want to say All right, finger, you're gonna move over here and you you literally can say that and sit there and concentrate on this, okay, Okay, it's moving over there at first. This is difficult to do because we're not used to moving our fingers independently like this. Okay, but here we g o that's gonna be the motion. So that's the only difference between the a minor in the sea right now, the D chord is accord in and of itself, and you'll notice that the low e string has an excellent and the A string has an accent parentheses. That means the A is actually in the d major chord, which is a d a f sharp way so we could play it with a D in the or with an A in the base. But let's play it from the fourth string down. So you're gonna put your pick on the fourth string on Strum that down. Okay. All right. All right. So now let's look at the d minor chord. So you may say to yourself, How can get get my finger back there? But if you notice the numbers that are on these circles, it tells you exactly where your finger should go. So in this case, here, we have a d minor chord, and you're gonna take that note. You're gonna take that that that singer that fingering and change it, actually. So now your first finger is going to be at the first fret of the first string, and you're gonna have that kind of sound going on now. Okay, so here's your D major. Here's your d minor on. So those both those fingers have to move in order to do this. Okay, Okay. Let's take a look at the A major that a major has the low e string. We're not gonna play that. We're gonna play from the fifth string down. And in this case here, you're playing 23 and four. Some folks will play this with fingers 12 and three. That's fine also, and some people actually turn. We'll switch fingers wanted to around so that they can fit more fingers within that small little area. So, yes, folks play the A major court and they say, Jeez, that's crazy. Those fingers air so squashed together I can't believe How am I going to get over that? You will get over that. You will be able to do this, I promise you. Everybody runs into this. You know, it's not that your hands are too big or too small or anything else. This will work for you, I promise. Okay. All right. Let's take a look at the B seven Chord the beast seven Chord is also kind of squished up, if you will, and we're not gonna play that low e string. It's muted. Okay, so this is the court that we have. Okay, R. B is our second fret of the fifth string there. That's why we have that red circle around it. That's our route. And that's why it's called the B seven, cause it's got the B in the bass, and it's 1/7 chord, which we're gonna learn about more later. But right now, the only thing we want to do is be able to play the court. Okay. Now, um, you know, the D kind of stands by itself. The D minor stands by itself. And so is there a however the beast seven and the gear very closely related. So watch this. If I take this B seven, watch what I'm gonna do here. One thing I'm gonna do is I'm gonna scooch it up. One fret just like that. And then fingers one and two are gonna come up. Boom. Third finger is gonna go down. Boom. And that's our G chord. Okay, So, again, when you're playing this, I want you to play the courts individually. First, make sure that you can do that using the technique that we talked about. Then what I want you to do is for the cords that I mentioned to you that are similar transition back and forth between them, because realistically, one plan songs were not just playing one chord, were playing several chords. And we need to be able to transition, and you might as well get started now. Okay, we're really gonna emphasize this more later. But I promise you that if you start doing this now, it's really going to keep you ahead of the ball game. And what you're gonna do is when you're doing this is just look, grab the cord. You don't even need to strum it quite yet. Okay? Just going back and forth between two chords, using our strumming technique to make sure you're hitting all the notes individually. You want to do that as well? So the take away from this, my friends, the homework for this is toe walk through each one of these cords. Take it nice and slow. I promise you, it's going to be a little bit frustrating. And I promise you that all this frustrations are going to go away and you're gonna be able to conquer these cords. I promise. All right, my friends, let's keep going 19. Curled Knuckle Technique: the curled knuckle techniques. So you've heard me mention this already in a few videos, but I cannot emphasize to you enough the importance of understanding this, especially when it comes to Kordell playing, and we're playing single notes on the guitar. A lot of times we want to actually mute the other notes around us because, especially were playing electric guitar and the guitars loud or you're running an over driver distortion pedal through it. There's a lot of feedback that can happen. Other notes that sound out on the acoustic guitar. The accused guitar is pretty forgiving. If you hit a few strings like this, this where an electric guitar on it was very loud, it would be extremely, uh, volume is it will be extremely loud, and because of that, we need to learn to tame the strings down by doing certain mutes with our fingers, as we're gonna learn later on in the program. However, when it comes to cords, we want all the strings to sing out, or at least the ones that we do. We're gonna learn some muting techniques as well some purposeful muting techniques when we don't want to hear a particular note. Okay, but for right now, it's actually harder to not mute the strings than it is to mute him, Which will be easier later on. Okay, so what we really want to do whenever we're running into these problems in regards to you know, if you're playing on your fingertips, if you're playing close to the fret, if you're using all your fingers, your pressing down hard enough, you've got that thumb dropped. If you're still having a problem when you're playing your cords, if you're getting those muted notes getting three muted notes there, it's because of the way that I'm holding my hand. So even if I would drop my thumb, I've still got my hand in kind of a funny position here in that I'm not quite playing on my fingertips. I am, for the most part. But let's say I just keep this position that I'm at. The only difference and I'm gonna do is I'm gonna curl the knuckles. So really, if you notice the surface area of what I'm fretting is no different. I really haven't changed. I could get up on my fingertips a little bit more, but I'm not going to for the purposes of this video to show you that the only difference I'm doing here between that lame corps that has muted notes and this core that sounds great . The only difference I did, there's I curled the knuckle a little bit and basically what you're doing is you're kind of thinking that action. Okay, instead of doing some other funky thing, just think curl. Okay, so you've got that chord there. Think about curling that last knuckle and then let the rest of your hand follow whatever it is that it needs to do in order to to curl that knuckle. So when I curl the knuckle right now, when I do this, what happens inevitably is my hand starts coming. Outfront mawr machine a lots, lots going on. My forearm is moving towards a guitar more. My elbow is tucking in my shoulders, dropping slightly all things that guitar teachers will often times tell you to do in order to be able to play a court. But what I found is this is the number one thing that you can do. Everything else will fall in suit. If you should need to drop your shoulder or something like that. Okay, so the point of this lesson and what really what I want you to take away from this and what I want you to practice as soon as we're done when we're learning these chords is I really want you to curl that knuckle. I can't emphasize that enough now. You don't want to hurt, You know you don't want This is not something that is just you don't want to hurt, but you want to be very cognizant of it. You really want to be aware and be thinking about it and noticed. And you curling that knuckle, I promise you're gonna have the cleanest chords in town. So make sure you curl the knuckle as you're learning these cords. And if you keep up with that, you're not going to run into any problems with mutes in that sort of thing. And again, as always, the knowledge of this is great. We got to know it first, and then we gotta practice it. Okay, So just like when we observe our hands, this is the same thing here. The lesson is the observance of it. You're saying OK? Oh, I'm muting that with the back of my finger. Okay? Eric said I was gonna do that. So now I need to adjust it. So just the observance in and of itself is very, very powerful. However, without the practice, it's not nearly as powerful. Okay, if you notice it, you may get 10% out of it for a few chords. Plan until you forget it. But what you need to do is take that technique, work it, practice it, and it will become second nature to you. And it will become part of who you are as a person will become part of who you are as a player, and you won't have to think about it. But it would just become natural to you. All right. So curl that knuckle when practised in these courts coming up and let's keep going. 20. Advice and Encouragement: all right. Chances are at this point in the program, you're getting a little bit frustrated with the guitar. How do I know that? How my in your brain, Why I can tell you that I have met with hundreds of guitar players. I've taught hundreds of guitar players. I've probably met with thousands of guitar players, and I've literally taught tens of thousands of lessons, not including the millions that I have on YouTube or the hundreds that have on YouTube, but millions of students that I've reached that way. With all this being said, I remember when I started playing guitar and how frustrated I was when it came to cords. And I hear it. Time and time again from either my one on one students and my students online is that they can. They know the shape of the cord. They know these techniques that I'm telling them, but bring it all together and having it becomes second nature seems to be very daunting. It seems to be very tiring and frustrating in that they're just not able t get them in in in time there now that able to grab these cores in time and then be able to play them Well , okay, so I'm telling this to you because I really want you to be encouraged that everybody goes through this. Jimi Hendrix went through this. Eric Clapton went through this Jeff back. Eddie Van Halen. There is not a guitar player on Earth who has not gone through this where they're learning their cords and their muting notes, and they're buzzing notes and everything else. Okay, So the reason that I tell you this is because if they can work their way out of it, so can you. It's really truly a matter of understanding, which is, through resource is like myself and practicing until your brain really gets it. And it becomes part of your repertoire, just like learning a language, learning to ride a bike, learning the juggle, or shoot a basketball or anything else. First you learned the technique, and then you practice it and then you get ninja skills by doing it over and over again. Okay, so at this point, the program take a big old breath in, Okay, allow the guitar. I'm gonna use a few analogies here because I think it's really important. Allow the guitar to be your meditation or a meditation if you will, and I meditate specifically. But what I notice is that sometimes when I'm deeply involved in my playing, maybe improvising blues or something like that and I'll notice that after a while I became really in the zone where that's all I'm thinking about is what I'm doing. Everything else is that in my mind, that's what I mean by meditation. OK, so when you're practicing here, allow it to be your meditation. Don't have Try not to have the attitude of man. I'm not there yet. I really want to get good. Eso frustrating. It's okay for you to want to get better. Of course we want to get better. But what I'm saying is enjoy the process. We wouldn't take a a small child who is learning how to walk. And we wouldn't say we'll get up already. Jeez, you've got two legs. You've got a brain. What are you doing? Because we know that the process takes some time, especially as a little one. Or I should say it's a beginner, right, cause we're not so little anymore, But we're beginners. So it I would just make sense for all of this to be difficult for all of this to seem daunting. And for all of it to take a lot of time and go gosh, should it take this long? Yes, it does. Take this long. It it. But here's the deal. If you allow this to be your meditation, if you allow the process to just blossom like planting. You know, if you were to plan something, you wouldn't sit there and go. Jeez, come on and grow already. You know that there's a certain process It only takes so many days. It takes so much sunshine, so much rain, whatever. For something to sprout and you get Just gotta let it let it go. You got to do your thing till the soil and walk away. Same thing with guitar. Just do the exercises. Do the practice. Like I say, I promise you're gonna excel at this. Okay, So with all that being said, be encouraged. Your fingers your fingertips are gonna hurt. Your muscles are going to hurt. Uh, you're going to get frustrated. You're going to wish that you're moving faster. In my 30 plus years of playing, I've never heard of musicians say I'm learning to quickly. I can't believe how fast I'm learning. This is unbelievable. I wish it would slow down. It's never like that. It's always I wish I could be learning faster. This has taken a long time. Is it supposed to take this long? I always get these questions. And yes, it is. You're not doing anything wrong. It just takes some time. So how to fix that? This is your take away. Enjoy the process. Look, be able to look backwards and see where you came from. Okay? You didn't have a good heart before. That's a good step. You got a guitar. Now you're holding in your hands. That's a good step. My baby. My little newborn can't hold the guitar in his hands. He just falls over. He can't do it. He wouldn't even know what to do with the strings. He can't Doesn't even hit him. OK, so these are all everything that you do on the guitar is good. Okay, You're holding it now you're picking out some notes. Now we're attempting cords, and we're just gonna be upwards and onwards all the time. Okay, So be encouraged. Please, please, please. Please. trust me and know that you could do anything on this instrument that you desire to dio. That's not a pep talk. That is just the gospel truth By doing something over and over again. When you know the right technique, you can dominate this instrument and be anything that you want to be. It does take time and energy. I could be a much better guitar player than I am right now. If I didn't teach if I didn't work, if I didn't spend time with my family sleeping, eating, doing all these things, we have some things we got to do. But the more we practice, the better we're gonna get. All right, my friends be encouraged, slow and steady. Wins the race. Let's keep going. 21. Changing Chords: all right. Today, let's learn all about changing chords or what we call transitioning. So if you're like 100% of all the players that learn how to play guitar, you'll find that once you get a accord that you like and you feel stable on it, you really don't want to move from the one chord to another court because you find that it takes too long to set up that new court. So if you've attempted a song already, you're probably have noticed this. If you're a new player and that's because everybody goes through this, you'll hear me say that a lot because I really want you to understand that it's not you. It's that you're learning something new and that these techniques are difficult and they do take time to learn. Okay, so but specifically, when we're talking about transitioning cords, there's some real specific things that we can do that will massively quicken, are learning process and that's what it's all about, right? We want to get to our our goals of being a great player, and we'd love to do it as quickly as possible again, still enjoying the process right? We want to do that, but it would be nice if we could move quicker as well. So let's talk about that. So Number one. When we're moving from one chord to another, it's important to takes an inventory of what's going on. So remember we said, like it would go from a C chord to an a minor chord of beginner. Mistake is when people play a C chord and they play their a minor, what they do is they lift their fingers up and they recalibrate every single time. Well, may not seem like a big deal, but if you think about it, we've got three fingers that we need to lay down doing that every single time, Three fingers. So we're moving from one court to another that six potential places where we could mess up if we're moving from a C court to an a minor chord back and forth and we only move one finger, there's only two places we could mess up, so that cuts our margin of error in 1/3 Huge. Okay, so you're gonna observe this sort of thing as you're going along warm or and it's gonna make you a better player a faster player, more efficient player. Okay, so first thing is you're going to observe is what notes are similar. Are there any notes that are similar? Even going from a D court to a C chord? There's really no notes that air similar. You know, you might be able to say, Well, I know that the, you know, I mean, in one way, you could say that that two and three is gonna bump up 123 strings, right? And then the first finger will go down right here. So you could say, Here's our r D. I lift my first finger and go 123 and then put the first finger down so you can use association to help you with that. But some chords are gonna be a lot easier to do this with than others. So, for instance, the a minor and the sea. Okay, I've never really thought about the D or in the sea looking like each other, but I guess we could We could stretch a little bit and say that that guy bumped down and put that first figure there, Um, or if we were going from, say, like the G to the B seven. We've got a similarity there, right? Or we're going from the G to the D. If you notice. Here's a G chord and the D chord looks like that. Well, we could keep this finger anchored, which is the third fret of the second string act. That's our third finger on the third friend of the second string. Then we could technically transition back and forth between these two without ever having to lift that third finger up. And what most people do is they lift their fingers up, try to put him down, lift them up every single time because it's easier right now. And they'll say My finger doesn't move independently like that. Yes, it does. I promise you it does. You just have to think different things, like I'll think when I just started doing this, I remember many, many years ago I would say You're glued down or your tact Danic and I would like, imagine, like attack, going right through my fingers, sticking it to the fretboard. And then that reminded me, Don't lift that finger up and then I would make these movements real slowly and the finger would come up, it fly off and I'd be like, Dang it, I do it again. Kind of do at that time and then the next time, a little bit more in a little bit more, And then eventually, it's just not even a thing. I mean, that third figure just stays down there just automatically. Okay, So when you're transitioning between these cords at first, what I want you to do is I want you to just worry about the left hand. Don't be concerned. I should say the fretting hand If you're your lefty, if you're of your if you're a righty, were still the fretting hand. Okay, lets talk. The fretting hand is only that I want you to worry about. So if you're going back and forth between two chords only. Okay, When you're transitioning, just go back and forth between two chords only if you think about a computer and giving it too much to think about, they get slowed, they slow down, right? You don't want to do that. You just want the minimal amount of information that you can work with and where the maximum amount is 22 chords here, Really, and we want. We don't want to go beyond that. And then what I want you to do is I want you to observe what notes are similar. What notes are the same. It's easy to do by just looking of. You see that G chord in that d and you see that finger didn't really need to move. Then you've observed that and then practice that. And then what I want you to do is take your your picking hand, put it on your lap, put it on the strings. Whatever. If you put him on the stranger, actually press the strings that a little bit mawr making it easier to play these chords. And then what I want you to do is I want you to slowly build your cord. Thanks. And then go back and forth between those two courts. Okay, Just two chords only. And do that for some time. How long? Could be a minute. Could be five minutes. Could be an hour. It's really up to you. The more you do it, the better you're gonna become. But the point here is that we just want to make sure it starts really marinating with us and with that, we really get this concept down. OK, so you're gonna go back and forth between these two and notice. When I'm building the court, I'm building it, typically from the lowest note that means lowest and pitch on up. So the reason that we do that is when were strumming the guitar. We strum from the lowest note to the highest note or a woman finger picking way. Usually do something like that way almost always hit the base. Note when 99% of the time, we have the bass note first or together with another note to introduce the court. When we hear that bass note, it introduces the court very nicely. So if we build the cord from the lowest notes to the highest notes, that's a good protocol or a good habit to get into that will make sure that you're playing your courts correctly. I can't tell you how many times I've been in the studio or playing live where maybe there was 1/4 to that I had difficulty with, but because I built that the way that I did from the lowest note up, what would happen is if I was finger picking, especially as long as I could hit that low note to introduce the court. I could go ahead and finger pick it or just use a pick hit that 1st 1 or two notes. And then by the time I'm going to hit the other, the other notes. I've got time to do that, actually, because I've introduced the first few notes. So, for instance, I'm going from it from a G chord to a D chord so you can see what I'm doing. There is I'm actually forming the cord and then before actually pick the note. I finally get that finger on there. But it's happening not all at once. So don't worry about getting all your fingers down at once doing nice and systematically. This idea of getting all your fingers down on the court at once is something that that will happen. Okay, you're still probably going to put that one finger before another, but it's happening in such a short space that it seems like it's all at once, like a drummer taking two drumsticks and hit him on the drums. The drumhead at once you might perceive it is happening at the same time. But if we were to take a super high speed camera, you're going to see that 11 stick hits a fraction of a second before the other. So you're always going to be doing something similar to here. So build the courts from the low notes up their take away from this, my friends, is to take two chords and two chords on Lee at a time. You could take all the cords and nine central cords or any chords that you want to use and do this with it. But take two chords on Lee at a time and transition back and forth. In this case here, I'm going between the G and the D. Okay, that's what I mean by transitioning between two chords only, or the sea and the A minor. I'm not introducing any other chords. I'm just getting used to that reason being is it's really going to sink in mawr when you do this instead of bringing in a bunch of chords. Okay, then finally, when you do get it toward feels right and you're able to do it fairly, um, accurately. Less Speed and mawr accuracy is what we're looking for here. Then pick him. Make sure that the notes are actually sounding okay. All right, my friends, you know what to do. Here, take your time. Within any time you're experiencing these new chords, a good thing to do, especially in the beginning And in time you're going to get better and better at this. It's just not even gonna be a thing. Okay? Promise that days Very, very close. Let's keep going. 22. Basics of Rhythm: Okay, let's talk about the basics of rhythm today. So we're gonna be throwing out a few definitions here that are really gonna be easy to remember. And really, what we're gonna be talking about here is the duration of a note. So we've already talked just a little bit. We've kind of glanced the subject in regards to intervals, which is the distance between two musical notes on what we mean by the distances we mean the musical pitch distance, not the distance in time. So normally, when we're talking about an interval of time, we're talking about a second or a minute or an hour and that sort of thing. But when we're talking about intervals in music, we're talking about the distance and pitches. So a low pitch and a high pitch and there's a certain distance there That was an octave that I just saying, But, um, but here we're gonna be talking about today we'll be talking about rhythm, and we're gonna be talking about these notes that you're going to run across a lot in future videos. And when you're talking with other musicians, when you're reading literature, when you're reading musical notation as we talk about in the course and a bunch of other stuff, you're going to need to know these basic definitions, okay? And some of these you probably have heard about ready. And if you hatin, that's totally fine to talk about all of them. Now when we're talking about music, we like. Musicians like to put things in bite sized pieces. Okay, phrases, choruses, bridges, um, versus measures. Phrases that I say phrases already solos like Basically, they're sections just like in anything. And it's it's great to be able to say, Hey, this particular section Okay, well, one, a subdivision of that is called measures. And so, as musicians, we break things up into measures. You've probably seen this before when you're looking at music and you see these lines that separate every few beats, you'll see a line and then Mawr notes and then a line and more notes. And usually what that does is that is saying, we've got four beats here, okay? And that's amount of time that's represented there. Okay, so now we're talking about time, okay? And so a measure of full measure. Well, typically, if we're talking about a song and four which is like 12341234 So let's talk about that really quick before we get into these measures, Uh, you know, most songs Aaron four. Now we can't have a song. It's in six, which goes, 0123456123456 or 123123123 You know, and there's a myriad of other different time signatures. But honestly, in four and six is what you're going to be using 99.9% of the time. There's a very, very small amount of music that uses, you know, five or seven or nine or some odd time signature. And that's what we call him. Call him odd time signatures or mixed time signatures. You just aren't going to use them very often so we could talk about him here. But I just don't think it's really necessary for you to understand what they are right now . You're just rarely ever going to run into him. Okay, so we're talking about 44 today, and the a lot of these concepts can be can apply towards six as well. Six time, which is what we call 68 But suffice to say, four time would be like 123 bowl 123 where the accent is every four beats instead of six beats. 1234561 or three, which is one, 23123 There's a ton of songs that you've heard there in 36 and Mawr a lot more than Aaron four. So if I played the solitary, you'd say, Oh, yeah, I know that feel. I know what that feels like. So you know this inherently. But we're gonna be talking about the details here today. Okay? So when we have a measure, we have notes that are on there that are on that measure, and they need to equal when we're talking about 44 time or what? We're just calling four. Those notes need to equal 4/4 beats work 4/4 notes. Okay. You think about it like a dollar. Uh, a measure you could say is a dollar. OK, and you could subdivide that into half dollar to half dollars or 4/4. Okay. What? We call quarter notes where you could put 8/8 notes in there, or 16 16th notes or 30 to 32nd notes and you keep going 64 on and on. And we're getting as we're doing that. Obviously the notes have to be twice as fast. Is gonna make more sense when I'm actually playing this. Okay, so let's say we have a measured It's going. 12341234 By the way, that's called their tempo. How fast the beats are going. So we have 123412341234 That's a faster tempo than 12341 to 34 Okay, so the tempos, how fast those beats air going. But I kind of like a heartbeat. So when we're talking about a whole steps, I'm sorry. We're talking about whole beats, Okay? We have or whole notes. We have whole notes. We've got quarter notes. We've got eighth notes and so on. Okay, we're talking about whole notes. It's represented as a circle. We're going to get more into that and musical notation right now. We just want to know how one sounds. Basically a whole note will take the whole measure Okay, so if I'm counting 12341234 time hitting an e chord, then it would go like this. 123434 Strumming on the one and holding out for the rest of measures. 234 three. Ok, now, if we want to cut that in half way, have to put two notes in the same time. Same measure. So in that case, way would have to strum on the one and three way the's air half notes because two halves make a whole. So we take that half in this other half of that makes the whole measure or also known as a whole note, Okay, not also known as the whole note. I should say that the whole note is equal to a measure in this case here. Okay, so, wait, quarter notes Wade strong every time we have a number. One, 231 Teoh. Now our hand is coming is going down and up. We're just choosing not to strike the strings on the way up. But if we did, those would be eighth notes. Okay, We keep on subdividing. So you remember basic fractions from school You know, we got quarter notes now, so 4/4 equal. Hold in the case of eight notes 8/8 notes equal. Hold on. In that case, here, we would strum up also. So instead of 12341234 instead of that we go wanted to end three and four and one into three born and one in 23 and 4123 and four. Or we could just mute this. 12341234123 Important. 123 and four. Okay, those are eight news Now, we could even subdivide that again. Want in 23 and four and one and two way have to move our hand twice is fast and it would go like this one and two and three and a four e in a one entity and a three and a four year in a one e and a duty And the three and the 14. So it sounds like I'm speaking to some of the language, right? What I'm saying is one e. And, uh, it's just a way that musicians over the years have said, Let's subdivide the beat you know Salah Bickley with syllables. Let's do this by saying, want e and two e three e and 40 and usually emphasizing or accenting the number way got one , two and three e and four. Okay. And we could double that up. We could have. You know what? They not case one of the Anatolian three and four. You wanted to 16th in the for 30 seconds. We'd have to double that yet. Okay. And we're just not going to run into that very often. In fact, we're talking about strumming. Usually you're gonna run in tow, whole notes, half notes, quarter notes and 16th notes. Really anything past that we really don't use very often. So it would probably use it as much as we would use those odd time signatures. So again, and order for us to push through and really learn guitar in a way that makes a lot of sense . We have to take some things out, and we can learn them later. That's okay. But honestly, you really, ever going to place 32nd notes when you're strumming? I mean, I don't know if I've ever done that, to be honest with you, so um with that being said, these are the only three of three or four that we need. A whole steps are so whole Notes, half notes, quarter notes, eighth notes, 16 days. Whole notes. Quarter notes. Eight notes, 16th notes. There we go. Right. Is that right? Yeah. Whole notes, Half notes, quarter notes. Eight minutes. 16. Sorry. There's five of them that took me that took me a second. Right. But nonetheless, that's all we need. Okay, We're just not going to use the 32nd notes. I guess I need more caffeine. All right, All right. So now you're whole notes are gonna be strum down, you know, like 123 goal. 1234 Your half notes will be strummed down. Your quarter notes will be strummed down. Your eighth notes will be strummed down up, respectively. Down, up, down, up, down, up, down, up. One. So, in the way we count this, we could count at 123412341234567812345678 Sensors, 88 notes. We count it like that, but most musicians will count it want. And 21 and two and three and four I'm saying, and in between each one of those. So now homework. The take away from this. This is what I want you to do. We're gonna be getting into some strumming here, coming up, but we modest. We'll go ahead and dip our feet in the water a little bit here, OK? What I want you to do after this video is I want you to take your hand and laying on the strings as light as a feather so that you get that sound. And I mean light as a feather. You wanted to just be like a damp sponge laying on the strings. Okay, there's like, we don't want this. That sound. The reason that we're doing this is we're taking something out so that we're not being distracted. This is a great way to learn. Okay, so you want to take that part out of it? You trying to play a court right now? We want to just concentrate all of our energy into what are strumming hand is doing. And I want you to just get acclimated to this so that if someone asks you what 1/16 note is or a whole note or half note or in eight. Know that year or quarter, you're able to just pull it off right away. Okay, Now, this is going to take a little bit accounting on your part and a little bit of strumming. And I know we haven't done a strumming yet, but really, the objective here is that you're taking your pic and you're hitting all the strings. Okay, this doesn't take a ton of brainpower, but you'll have to concentrate a bit. That's why were leaving the fretting hand out for right now. And what I want you to do is I want eating to do this. Enough, tore. You're comfortable with it. So, for instance, with the wholeness, I want you to go. 12341234 So important that you actually say the notes you want. 234123 for okay, and then half notes. 12341234 And then quarter notes. Then eight notes. 16th. You may not be able to do one year to the end of three and a 40 slow it down you will be able to do it. So start off in a nice, slow tempo so that when you do get to the 16th as you could do this and make sure that you're counting on when you're counting, really try to count out loud. Now, if you're embarrassed of your with other people where you got to keep it down or something , you can count in your head. But make sure you really are counting in your head. You're not just ignoring it and just letting your hands strum where you think that one is so important to start counting today. Right now start counting because you're counting is basically building a a drum machine or a Metrodome within you. That's gonna help keep you in time when you're playing all sorts of music. OK, so you're gonna count all the way through all of these. The whole notes, half notes, quarter notes, eighth notes and 16th notes. Just think you're gonna keep subdividing the beat. That's all you have to think about is not a lot of rocket science. We don't need a handout for this. We just keep subdividing the beat, okay? And of your county 1234 You know, that's every four beats. Then, you know, half notes, every two beats. One, 2341234 That's two beats, you know, quarter beats every single beat. And if we know that eighth note is half of that week subdivided again and you're counting here. Want into end three and four end when it comes to the 16th Notes one indiana to be and the three and a boria. In that case, we do have to double up our speed are strumming here. Okay, so that's your homework. You know what to do. Please don't go on to the next video until you practice this just a little bit, because what we keep doings were stacking information on top of each other. And if you forget one, you're building an unsteady house. Okay, remember, we're building our foundation and our core here so really important that you do the exercises before moving on to the next video. Now, you don't have to practice it for days or anything like that. Just get the concept. Get the feel for you can always go back if you mess up or if you are unsure, but definitely don't purposely skip it. That would not be good. Okay, let's keep going 23. Basic Strum Technique and Exercises: All right, let's look at a basic strum technique and some exercises that air absolutely gonna help you so much in your strumming. And when I say a basic strum exercise, this doesn't mean something that's like low level. However, what I mean by it is that it's so foundational that you could take this and use it for really all of your strumming from here to 60 years from now when you're still playing. Okay, you can really take when I'm about to show you. And it's very, very simple. And it's gonna totally open your mind, understanding exactly when you should be strumming down and when you should be strumming up . And yes, there is definitely a way to do this doesn't mean that we can go outside of it, but usually 99% of the time, there is a specific way to do a strum a particular strong. I should almost 100% of the time. There really is a protocol a certain way. We'll talk about that today. So we've talked about whole notes and quarter notes and eighth notes, half notes all that today. What we're gonna be looking at is we're gonna be looking at some basic strumming exercises here based off of a couple of standards. Okay, Now for all of this again, what? What you do is take your strumming hand, lay it on the strings as light as a feather. So it's as if there's a sponge laying on your strings to mute the sound way. Want that sound? Not this sound. So if you're getting that sound, lighten up and just let that hand rest there. Not only is this a good exercise for what we're doing here, so we're not distracted by notes ringing out like that. We can hear it better. Okay. And it's also good, Good. Just mental exercise to just relax when we're playing the guitar. We just want to relax. The more that you can relax, the better. Tensing up any on any part of your body is never gonna make it better, easier, faster or anything like that. Just relax, Okay? The more you play, that's what's gonna make it better. Okay. Okay. So for this exercise, what I want you to do the first basic strum is just this 1234 exercise weakened basis. Every single strom that will ever do from here on to the day we die, we can do this exercise. Okay? And even afterwards. Okay, so we're gonna strum 1234 That's your basic exercise. Okay, Now notice. You may or may not hear my foot hitting the ground here, but either way, I'm counting 1234123 and noticed. My hand is coming up every single time. So I'm going down, up, down, up, down, up, down, up. But I'm choosing not to hit the strings on the up strum Okay, I'm coming up, but I'm not hitting it on the upstroke. I'm only hitting on the downstream because I want quarter notes only My up Strom that's not hitting the strings is called the ghost strum just like a ghost in that you can't see it. We're moving our hand, but we're not hitting the strings. Okay, so 1234 You can do this. I know you can cause every student I've ever sat where they can do that and not hit it on the way up. It's pretty natural feeling, and what's happening is you're hitting the strings and then you're kind of pulling your hand out a little bit to miss the strings on the way up and then hitting it again on the way down. But we can very easily bring the hand a little closer to the strings and hit him on the way up. So we got one and 234 and one and two and three and four. Remember, it's so important account really, really important account. Cause if you're not counting, you're cheating yourself. So do the work and count. OK, trust me, it's gonna help out a ton later. So one and two and three and four and 123 and four. Okay. Now the first set of exercises, the first and second levels of the attacked Pdf to this video will discuss ghost notes or will The exercises will include ghosts, notes for up Strom's, which it seems to be a very natural thing for us, you know? So let's say we had one end two and three and four, and we're gonna go strum the and of four. What that means is, we're still gonna move our hand, but we're not gonna hit the strings. It would look like this one and two and three and 41 and two and three and 41 and two and three and four. I'm whispering, and they're two kind of prompt me to just mute that t not mute, but to not hit the strings. Okay, in that area, this takes a little getting used to. And in fact, a lot of times when people play is the beginning, they'll go one and two and three and four, and then I'll stall down here. That's one thing they do. Um, there's other things that that folks do is they'll go want. And two and three and four, one and two and three and four and they'll wait longer than they should. This is why I want you to count. Because the beat you've heard the expression and the beat goes on right one and two and three and four and one and is just gonna keep going. Everybody in the band or musicians that you're playing with, people are dancing whatever. They're not gonna stop for that one beat where you're forgetting to keep going, okay? It's a disruption to music. With music. We have melody and harmony and rhythm. And if you disrupt that rhythm or any part of that harmony of the melody or any part of it . It's gonna sound awkward. OK, if it were painting, it would be like you left a color out or you didn't. You know, you trace something, but you didn't fill it in with color. So in this case here, we want to keep counting all the time. One and two and three and 41 and do and three and four. I'll also anticipate the mute or the ghost strum. I should say I would like to anticipate that by kind of ramping up my voice like one and two and three and 41 end to end three and four and kind of accenting that one before it. If you do that, that's going to help a lot. Hopefully, you're using a thinner pick, and then that's that's gonna help with what you're doing. So levels wanted to You're leaving out. Oh, are doing a good strum on the up strums only. Okay, Level three is introducing Ghost strums on the downbeat, and this is kind of a game changer. It's it. It doesn't seem like that big of a deal, but most students When I'm teaching this to them, they kind of get a little bit, um, dismayed that they can't do it right away. And so I have a few tricks to help you to get this down. Okay, So the idea is this when we are when were strumming the ghost strum on a down strum What happens is is that we really we have to compensate where we have to do something for that spot there so that we feel like this strong is actually happening. You'll know this when you try this. So let's try when we're gonna leave out before, OK? And if we were to count one and two and three and and one and two and three and and OK. And that means the four, we're not gonna hit the strange, but we're gonna go past the strings and we're gonna put our hand out and then come up for that and so that we're in time again. We always want the down beats tohave down, strums and the up beats tohave up strums Okay, you take that information that only thing you take from this video and you really digest that and use it for your strumming is gonna help out a ton. Okay, so here we go. We're gonna go one and two and three, and and one and two and three and four hand. Okay. Have you like most folks out there? You messed up on that, and that's okay. Totally. Okay. If you didn't, that's even better. But you're going to get this because everybody experiences this. Okay, So what I want you to do is I want you to think one and two and three and and bring in your hand down here. Okay? Now I have I'm looking at my videos here. I have another video where we'll be talking about if you're having issues with this, okay? And so we're gonna talk about some bits and pieces that you can do to actually help with this, but you may not need it. So once you get to level 31 and two and three, and and one and two, and three and four, and make sure you say it. It helps if you whisper it okay and go nice and slow. So you can really wrap your mind around what's going on because you're gonna get the first few down. Great. And then when it comes to that ghost note, you chances are you're gonna be like, uh, what's going on. You know, I mean, to do it nice and slow, you can really wrap your mind around it, do it several times slow, then come back and slowly speeded up. All right, use the exercises. Use the pdf that I've included for this video. Take your time. This may take you anywhere from, you know, an hour or maybe 1/2 hour to several days to several weeks. It really depends on your background in rhythm And how if you count to music if you're involved with music when you listen to it like drumming on the on the dashboard or the steering wheel or whatever has everything to do with, you know those sorts of things so and everybody is where they're at its OK, if you're not where you think you should be, you're going to get there. OK, I promise you. So with all that being said, you know what your homework is? Go through those exercises in the, um in the pdf, and basically you're going to go through level 1234 in order, you're going to do each one for several times through. Okay? No, don't just do one and then go to the next and the next the next. Do it several times through the where you're like, OK, I get the feel of this because it's gonna be graduating pretty quickly, and they're going to get harder. Not necessarily. Five levels of hardness, really. One and two are pretty much the same. Then level three. It brings in this new idea and four or five slightly harder. Okay, so don't fear that's just gonna get crazy. Difficult. It doesn't. Okay, so take your time with this. Have fun with this. Remember, you're on a journey here. So 3/4 of the fun here and playing guitars, the journey. Okay. And you're always going to be getting better and better. So you're never really going to arrive at where you want to be. You're always getting better. So take your time and enjoy this process. All right, let's keep going 24. Picks and How The Gauge Effects Your Playing: today. Let's talk about picks, also known as Palek drums in the UK as how they say it may be the rest of Europe. I'm not too sure but picks guitar picks. And when we're talking about picks today, we're not talking about finger picks. We're talking about just a straight up old style Plec trim old sow pick. OK, now this would be true is faras finger picks as well. We're talking about the gauge, and when we say gauge, what we mean is the thickness of the pick. OK, but specifically, the word gauge is something that will use when we're talking about the thickness, and typically it's done in millimeters. Like this particular pick is 0.6 millimeters or yet 0.6 millimeters. This one's 1.5 millimeters, so it's approximately twice as thick. So if you've ever seen a millimeter on a ruler, it's very small little measurement, but one hole millimetre makes for a very thick pick. So what I found is over the years, as I'm teaching students when they're working on their strumming, which were just starting to get into this now, right just started to get into the strumming What I find is that there the pick that they're using has a lot to do with how it feels. So at first, when you're doing this, it's going to feel a little bit awkward, especially if you have a thicker pick. This pick here eyes, probably a you know, three millimeters to 2.5 or something like that is a very thick pit. And what happens is the thicker the pick, the less it gives. OK, so where is this pick? Has a lot of Ben to it. These other picks don't bend Hardly at all. They definitely are gonna bend very much at all when you're strumming. Now, how would that affect you? Well, think about this for a moment. If you were brushing through your hair or combing through your hair and the bristles were very, very hard, let's say the bristles were super thick and they were made of titanium. And you go to brush your hair with that. Well, they're not gonna give whatsoever. So when you when you come across, a not they're not going to give and what is going to do, it's either gonna force you to push through that not and it's gonna tear your hair out where it's gonna, um, gonna break the not or it's gonna gonna just pull through it and your hair is gonna be straight. Similarly, if you had or on the opposite side of that, if you had a brush with really soft bristles, then what would happen is it would take care of your hair for the most part. But if you ran into a knot, it's not gonna pull it out. Just gonna miss it, and then you're gonna keep doing it, and eventually you'll be able to work it all out. Okay, So, similarly, when we're talking about picks are thinner picks. When were strumming, they give. So when we hit the strings, they're actually bending. Okay? And that's a good thing, because the thicker picks, what happens is when you go to hit the strings, especially in the beginning, when your technique is not as good as it will be after applying for a bit, What happens is the pick feels like it wants to fall out of your hands. And in fact, if it hasn't already falling out of your hands and count yourself lucky because the pick will fall out of your hands, especially when you're going to strum if your pick is thicker. Okay. So, again, if you have a pick, look at it and it says medium or thin or thinner or something like that. Those are going to be good ones I would in the beginning when you're strumming. If you're strumming on an acoustic guitar, I wouldn't go any higher than a medium. In fact, if you can get a little bit thinner than that, that would be good. Typically, like a 0.7 or 0.8 millimeters, and below is what you're looking at is gonna be good. This is a 0.6, and for me, I think it's perfect. In fact, you may even want to look at probably more of like a 0.6. Okay, you could even get thinner than that, a lot thinner than that. But in my opinion, this 0.6 is just It's the perfect place to be at because it just gives and it, and it's still nice and bright what I found with the real thin picks, just like if you have a brush with very thin bristles, you'd sit there and you come your hair and your like cheese. I can't even get through these knots because it's just not doing the trick. It's not strong enough, so the pick can be too too thin, and obviously it can be too thick. So this is a big deal. Make sure that you this would this would be part of your homework is to go to your local music store, check out their picks, elections and spend five or 10 or 20 bucks on some pics pics. You're gonna use your whole career, your old life. Don't be afraid of spending a little money on some pics, because think about it. If you are a painter and you have the one brush that came in the kit that you got with your canvas or whatever your easel, uh, you might think, Wow, this is what a pick is or that I'm sorry. This is what paintbrushes and that paintbrush. Maybe terrible quality, maybe 22 thick. You know, the bristles, maybe too thick or too thin or what have you, And you just don't know unless you try these other picks. So get yourself a handful of different types of picks. One of everything. OK, go out, get it? Try it on the guitar and you're gonna be amazed at the difference in feels, and you're gonna automatically gravitate to a couple different style pics for different things. So when I'm playing electric guitar, I don't like the pick to give it all because I'm typically doing more intricate single note picking, maybe arpeggio hating or playing a solo and that sort of thing or playing very fast, and I don't want the pick to give it all. So when the pic does give, it means that you have to do a little bit of extra work in regards to picking, because the pick is is giving Okay. So the more intricate and the Mawr, the longer that you've been playing, the thicker that pick you can use, and you'll naturally gravitate to that. You'll know what that is. Let it be comfortable for you. You can ask a 1,000,000 guitar players and they'll say what their opinion is, and this is a dangerous trap for a lot of folks because they always do this, and they're chasing other people's opinions about things When realistically, what you need to do is have your own come up with what it is that you like and stick with that. Okay, then this is what makes us all individual guitar players. Get out. Go get those bunch of picks. Try this out. This is your homework tryem out. Especially with these strumming exercises that are coming up. And I promise you it's gonna make all the difference in the world. You're going to say I've had so many students right into me or Teoh or my one on one students, they go, Oh, my gosh, I can't even believe the difference. So that one little thing between picking ah, thin pick up or thick pick it's gonna make all the difference in the world. All right, my friends, do the practice, and when you're done with that, let's keep going. 25. If You Are Still Having Issues With Strumming: Are you still having an issue with strumming? If you are? If you're like 99% of the folks out there, you'll hear me say that a lot because it's just true. Then I've got the medicine for what ails you. And here here's what it is. So you know, we talked about having these ghosts strums on the up strum, which wasn't that big of a deal, right? Or the upbeat, But gosh, darn it, when we brought those ghost strums for the down strum all right for the downbeat, it was a little bit a little bit awkward, and you may still be struggling with that. I've seen most of my students struggle with this in the beginning. It's just inherent in us, and I think partially because we're so used to the heavy beat being on the down strum that it's weird for us to just not do anything and put our hand down here. I'm sure there's some sort of phenomenon as the why that's going on, but it's as far as I guess is because the strong beat we want to do something. We want a hit that beat, but if we don't, it's a little bit awkward. So what I found is that if you if you replace the strum with something, what I mean by that is either tapping your thigh, you know, your knee or the the pick guard on your guitar that if you do that in lieu of the actual ghost strum so you're gonna miss the strength. But you add that as well, then what happens is your brain says, Oh, yeah, I know what to do there. I could do that. And so I promise you, this is gonna help out a lot. So watch this. If we're gonna live, we're gonna leave out that before the downbeat a four. And let's say we're gonna go one and two and three and four and okay, and let's say we're having a problem with that. Okay, What I want you to do is that when you go, I want you to say OK, on four, I'm gonna tap my knee or warm, I thought, and I do this gonna go one and to on three and four and okay, I want you to do is just do this one time through, so you don't have to do it with me. You could do it afterwards. Doesn't matter if you want to go with me. Here we go. Three and four. One and two on three. And me. And you could even say me that will help you remember one and two on three and knee and Okay, I know it sounds silly, but I promise you that if you're having issues with strumming and you do this a few times, you're paving that path. Like I said, that you need to pave in your brain in order to do this strumming right. Every time you mess up, you're building a different path, a path that we don't want to go down. It's building a bad habit. It's just the way habits are. Okay, So what we want to do is we want to do it the right way. Even if we have to do a little bit of cheating here, OK? And then what happens is we're gonna take the training wheels off, and you're not gonna have to do it as much. Okay. In fact, you won't have to do it all. So here we go. Now, another thing you do is just take your hand. Were picked and hit the pick guard. So on four, you could say pick or something like that. You go one and two and three and pick. Bend one on and two on three and hit. You know, you could say something there or not Say anything at all. Just know that four you're gonna replace with that sound. 123 And and now it's good to do one time. You want to make sure that you can do it one or two times through without messing up And the reason being again as we're building a habit, if I have you looping this right away, which means doing it over and over and over again. But have you doing that and you mess up the first few times you're building a habit, right? So we wanted right out of the gate. Establish a good habit, do it the correct way. Then once you do it a few times just by itself like this one and two and three and and I waited there but one and two and three and not so fast, but you'll do it something like that. Then once you do that a few times and you know you've got it. Then what I want you to do is I want you to do it in a loop because realistically, we don't just play one measure. I don't think there's any songs out there that one measure long. They're usually several 100 measures long. So what we want to do is we want to say one and two and three and and one and two and three and 123 Okay. You want to think about your hand as if it's a grandfather clock one and two and three and blank and one and two and three and and one. Okay. So whether you're hitting or not, it's constantly swinging. It's a pendulum, okay? And like a pendulum, pendulum doesn't do this. Okay, test install. It doesn't go. I don't know which way to go, but if we're strumming this way, we're building that habit. We don't want to do that. Okay? So again really important that you just think about this hand just moving constantly. 12 and three and blank on 123 on and OK, and then what you're going to do is your going to wean yourself from that. So once you get it, Okay? Once you've done hitting your knee, maybe bring it to the pick guard and do it there. Then every time you hit the pick guard each time, hit it slightly lighter. We'll do something else, say something. Just something to keep you out from doing this all the time because you're not gonna be on stage doing this. And I've never seen any. My students get stuck where they just have to have to keep doing this, OK? It's something that you can work out very quickly. It's just a little quick cheat to get you someplace, but it's a good cheat, Okay? We shouldn't even call it a cheat. It's just a way, Teoh, really Get your brain wrapped around this. This concept, Okay. So any time you're experienced a down strum where you have to do a ghost strum Okay? Try this where you're hitting the guitar. You're hitting your knee or something. Saying something out loud in order to help you with this. All right, I promise you, you're gonna do great at this. You've had any difficulty with levels 34 and five. Do this right now. Don't move onto anything. else. We really want to make sure that we get our strumming down. The more that you do these beginner exercises, the better you're gonna be If you try to rush to do the advanced stuff, the advanced stuff number one you're not gonna use very often this stuff you're gonna use all the time, every single day. So you really want to make sure this stuff is down? That's the cool thing about this. Is that these foundational bits you're gonna use so much throughout your plane? The advanced stuff is cool. We definitely want to get there. We definitely want to be more than just a basic player, right. But we're building a foundation here and just like, you know, a regular houses. Like, if you just had a foundation, that wouldn't be very good. You know, you're still gonna get rained on, but house without a foundation is not gonna be there very long. It's gonna get washed away by the rain. So very important that we build this foundation. So take your time with this slow and steady wins the race. You're going to be frustrated. At times, your fingers are gonna hurt. You're just gonna keep pushing through, okay? You're going to get this. All right, let's keep going 26. Why Do You Want to Play Guitar: Why do you want to play guitar? And why would I even make a video like this? Well, number one, I've found that knowing why it is that we want to play guitar will really help direct us in anything to know the why is very helpful. Okay. And also it's good, because if we say what it is, why it is that we're doing this, we may have amore direct path to what it is that we want to do. Okay, So, for instance, if you say well, I want to play guitar because I have, You know, when I go to parties and what have you, I want to pull the guitar out. I want to be that guy or that girl who's playing and everybody singing with I want to be that person great. Or you may say, You know, I grew up in a musical family and I want to be a studio guitar player great or you say I want to I just want to play live, that's all. I wanted to play in a jam, been in a bar bend, and I want to play live great Well, whatever it is that you want to do maybe a specific style, but knowing what? Why it is that you're playing guitar and what it is that you want to do is gonna help shape so much what it is that you're practicing and where you're going. Okay, so let's talk about that specifically for the moment. Let's say I am. I want to be a studio guitar player. That's why I moved to Nashville. I want to be a studio guitar player. I have been teaching guitar back home and started teaching here in Nashville, but I really wanted to be a studio guitar player. I did that a bit and found that teaching ended up to actually be something more that I like because I got to see my family more. I got to do more travelling and all the rest. So actually I loved it. Turned out that I that I liked teaching Mawr and still do studio work. But the point being is that my practice regimen had everything to do with being a studio guitar player. So if somebody said, Hey, Eric, can you play classical on this particular piece? And I say, Yeah, I can and I would figure out how to come up with that classical sound. I did take classical in college, classical guitar, but I would figure out a way any time somebody asked me, Can I play something? I say yes, and I would figure out a way to do it. Either. I listen to a particular artist that was similar. Get my my pedals and my amp just set right what sounded like them. And then I would try to mimic them as much as possible. And I was the guy that people were calling all the time in regards to coming up with certain sounds when I was going to college and playing in the studio a lot. People would call me to be to do this because I could pretty much come up with any sound that they wanted. And I loved that, and that was that style of guitar that I was going after. Now, if you don't want to play in a studio or let's say you don't even wanna play electric than being concerned with electric style flying, what you're playing upon the neck a lot, you're doing you lot of lead work and you're worried about pedals and amplifiers and tone and stuff like that. Well, if that's not your bag, if that's not what you desire to do, they don't even go down that path. You know, just investigate acoustic guitar or vice verse. If you don't not interested in acoustic guitar, look towards the electric now, why am I telling you this? He may seem like I'm saying, Hey, cut all this stuff out. I am telling you that. Okay? And here's the reason why I'm telling you that is that there are a myriad of different things that you can learn on the guitar. I've been learning the guitar playing guitar for over 30 years, and I feel like I haven't even come close to scratching the surface of what the instrument can dio. And that's just in one particular genre. I mean, I love rock, love, rockabilly, love, blues, classical love, jazz. I mean, there's just so many different styles that I love that swing and bluegrass that t to get good at all. Those I would have to spend several lifetimes to really feel like I was the best or one of the best. However, you can cover all these bases as well, so having some direction as to what it is that you want to do is going to help. Not only as you progress through the course, but it's gonna help throughout. You're playing when somebody says to you, Um know, Wow, you don't you don't play slide guitar. You should play a slide guitar. Well, do you wanna play slide guitar if you don't want to? Don't play slide guitar. Be really good at what it is that you do, and you're gonna find that the the icons of our times, the Eddie Van Halen is the Stevie Ray Vaughan's, the Jimi Hendrix, the Eric Johnson's. The guys like that. The icons guitar icons are folks that stuck to a particular thing. They found out what worked for them or what it is that they liked. And they went after. They got really good at that particular thing and the those the folks that are on the radar , no one would go to Stevie Ray Vaughan and say, What do you mean you can't play classical guitar? And maybe he could. I don't I've never heard of that if you did, but you know, no one's gonna fault him for not playing classical guitar because when he played blues, he played it like no one no one could ever imagine. I mean, the guy just dominated the instrument when it came to blues, so no one's saying, I really wish you could be a more diverse That's what he does. That's his thing. Now, as a studio musician, you can't go into the studio just being a Stevie Ray Vaughan, even though he was an amazing player. You can't just do that cause if someone wants you to do some country chicken picking or somebody wants you to play some jazz chords or to play some rock or something else, it's gonna sound weird coming from a guy who's Onley, practiced blues okay or who's really proficient at Blues and spent so many hours practicing that, as opposed to some other styles to be more diverse. So this is a question that I want you to ask for to yourself. And this is a question. This is the homework here, as I really want you to ask this question. Why is it that you want to play guitar and I want you to write this down on paper? I know it sounds tedious. But if you just type it on your computer, write an email to yourself, just something that requires you to actually get it out of your mouth and out of your head and onto something, because there's something about that process that you can say. Oh, yeah, I wanted because I want to play campfire songs and hang out with people like you could say that. But once you actually get it out of your mind, out of your fingers or your head, put it on paper, put it in an email, something it changes things. It really just does. Okay, so do this. Find out why it is that you're here. Why is it that you want to learn how to play guitar and that's gonna help direct your course? Not only in this course, but throughout your playing what it is that you should be learning what software you should use, what kind of guitars you should buy, what kind of amps you should buy if you're gonna buy an amp those sorts of things. All right, my friends, I promise this is part of the puzzle and asking this is going to really help a lot with where it is that we're going. All right, my friends, let's keep going 27. Practice Schedule How To Practice: Let's talk about how to practice and developing a practice schedule. So nothing. We have some idea as to why it is that we're playing guitar. We've got some direction, right? We know what it is that we want to get from the guitar. This is great. We could get in a car and just drive around or we could say, Hey, I want to go see Yosemite and we get in the car and we have a direct path and we know how we're gonna get there. Roaming is fun, too. But usually we have a directive. We have a specific thing that we want to get to, and especially in today's day and age, having some sort of plan, some sort of directions, some sort of method to get there is really gonna help. So now that we know what it is that we want to do on the instrument, how do we develop a practice schedule? How do we practice? Okay, and these are all great questions. So let's talk about that. So, first off, you know, we should talk about genres, you know, if certain genres like for me, I love so many different genres of music that for me to just pick one. Unfortunately, I couldn't. Most people don't have that problem will say I'm a rock player. That's all I am. I just love rock or I just love blues. Um, now that would I would say for me I'm very much a rock player and then probably blues and then, you know, trickle down Teoh, you know, you know, pop classical. I mean, then it really I'm probably like a 80% rock player. Or maybe, like a 70% rock player in the maybe 60% rock player, 30% blues player and then all the other genres. Maybe another 10% or something like that, because I really love the genres so much, Um, but there's just only so much time, right? And so those other other genres don't get as much time. But I still love them. So for most people they do. They have some one or two genres that they really love, and that's important. Write that down. That's rockabilly. I love rockabilly. It's all I want to play great. That's gonna totally make a difference in the things that you learn on the guitar. And again, what we're trying to do is save time and energy, and we're trying to get to where we want to get to in a nice, efficient manner. OK, so if you're if you're playing blues, sitting down and learning all the jazz modes is really not going to help you. You're just not going to use him in blues. You could, but it's going to start sounding jazzy. If you want sound bluesy. You use the blues scale and you learn blues chords and blues turnarounds and blues, core progressions and styles and that sort of thing. So having some genres that you know that you love is is an important thing that's gonna help to develop your schedule. Okay? Knowing what level of guitar you want to get to extremely important. Okay, let's say you say, you know, I've got kids and I've got a family and, um, and I've got a full time job and I don't want to be a professional guitar player. I don't Not only do I not see in my future, I don't want to be that Okay, I would say it's your desire. Don't take it off the table. If it's something you don't desire to do, then that's a whole nother thing. I thought that I wanted to tour around with a bunch of musicians for the rest of my life, and I did that a little bit and then found that No, that's not really one I want to do. I love being at home. I love traveling. I love being with my family. So that even though seemed like something romantic, something awesome to do. And it was I said, I really like staying at home. I like waking up in my bed, going to sleep in my bed and those sorts of things. So those other variables determined what it is that I do today. So, um, but I knew that I want to be. I knew that I wanted to be is as exceptionals I could be and balance my personal life. Okay, So for some of you, you may be young, and you may say, you know, I'm in high school or I'm in college, and this is all I want to do with my life, and this would be a great time to just really Delvin and just absolutely, absolutely absorbed anything and everything that you can in order to fulfill your dreams of what it is that you want to do with your with your guitar playing. Okay, um, so determining what level you want to get to is a good thing to. So you may say I really just want to play around the campfire. That's all I want to do. One. Have the acoustic guitar, and I won't play around the campfire. Then there's certain skill set that you'll need, like no in your open chords, knowing how to use your cape. Oh, in a myriad of other theme things. Maybe not a myriad other things that you'll need. If you wanna be a studio guitar player, you'll have to know a myriad of things many, many, many different things because you'll be asked to do a lot of different things. People are paying you good money, a lot of money, and so it's important that you're able to just play what it is. Sit there looking for. So it takes a lot of talent to be a studio guitar player. True studio guitar player takes an immense amount of talent. Wanted me by talent is his practice is really what I mean by that, so knowing what level you want to get to is also very helpful. If I'm a songwriter, you know, I would want to practice things like court progressions, the Nashville number system, as I teach later on in the course, Um, you would want to learn lyric writing and melody writing and, you know, maybe transposing those sorts of things so that you can work with artists. So a different skill set there every single time. You know, depending on what it is that we want to do, we have a different skill set. Okay, now, back in high school, when I was just learning to play, I had been playing for a few years. I decided that that I just wanted to be the best that I could be as a guitar player. And I had many hours during the day, especially during the summer. As much as I could play guitar, I play guitar sometimes 8 10 12 hours a day. I would play guitar. I would just sit there and play through my scales, and I do improvisation that I would learn some songs by year, and it was just constantly learning. And what I did back then, as I had a piece of paper and it would say work with a metronome, uh, scales, dexterity, exercises, chords, music theory, improvisation, learning new songs, working on repertoire, working in this studio. And I just would go right down the list of different subjects that I could think of that I could exploit and get really good at. And then typically, I would break those into an hour apiece. So maybe for an hour I would just practice my scales over and over and over again. Maybe I was watching TV or talking to a friend on the phone or something. But nonetheless, I just practicing my skills over and over and over again, that sort of thing on and then my next subject, I would work on that so you could do that sort of thing. Now, if you're a kind of player where you we're totally fine with mediocrity and I don't mean anything bad by that, there's some folks that are like, I don't want to do this as a career. I just wanna have fun 100% uh, legitimate, and there's a certain way to practice for that. If you want to be the best that you can be in your town. That's one thing. If you want to be the best that you want to be in L. A or Nashville or New York, that's a whole another level. You come here in Nashville where there's probably tens of thousands of guitar players. Uh, you're there's a lot of competition, meaning, and it's the best of the best. So you really have to up your game if you want to teach in a town like this same thing, there's a lot of people teaching a lot of people that know about guitar. You can't just kind of hack your way through it. You really have to know what you're doing. And so, depending on what it is, the level that you want to get at also depends on how long you'll practice. Okay, so if you Onley, let's say you only have 1/2 hour a day to practice. Or let's say during the week, maybe you only have three hours to practice. Okay, maybe one day you'll pick it up for an hour, and they will miss completely Well, in that case, you'll really want to focus on exactly what it is is your next obstacle to overcome. You know, your next level, and you want to just focus all your energy on that. Whereas if you were like me in high school, when you had eight or 10 12 hours to practice, you have many different things that you could cover. So you could feel free taking an hour per subject and really just riding it out and see where it takes you. So looking at your time is really gonna help out. Ah, lot if you know the only have 10 minutes a day, you're gonna want to practice just the specific bits that I'm teaching you here and then moving on when you're ready. Okay. So with all that being said, what I want you to do your take away from this is you know what it is that you want to dio . Okay, pick your specific genres that you like or genre the level that you want to get to and anything else any other particulars that might describe what it is that you want to do because everybody is different. Okay, Every guitar player is different. Every person is different and what it is that you desire is going to curtail. What kind of practice schedule you like or what practice schedule is gonna help you the most. That's why I don't prescribe a specific practice schedule because everybody's different. And to try to come up with one size fits all is absolutely impossible. You have to curtail something for yourself, all right, So if you have any questions with this, obviously you've got the comments below, um, let me know what you think about this and how your practice schedules coming along. But the homework and the take away from this is take all of that that I've told you in regards to, um into what it is that is your desire and try to come up with some sort of regimen or some sort of protocol, so that when you do pick up the guitar, it's not getting old or stale. Okay, you don't want to move too quick, but if you're not moving quick enough, you're also going to be bored. So there's frustration. That's one side. One side of it means you're moving too quickly. You're trying to consume too much, and then there's the board side. That means you're not doing enough. Okay? You're starving for information here. You're getting too much. You're you're being overwhelmed. So we want to be right in the middle where you're getting just the right amount of information. Okay? And that depends on what your desires are and your practice schedule. So take that, Get your practice schedule, and when you're done, come to the next video and let's keep going. 28. Guitar Care 101: Let's take a look at guitar care 101 What I want to discuss with you here is the basics that you really need to know in order to move your guitar from here to there. So you're playing chords. You're playing some melodies or you're doing some exercises now and you want to maybe go to a friend's house or that sort of thing. But you want to move the guitar and you want to take whether you're moving it or not. They hear some bits and pieces that we really need to know about. Okay, now we'll discuss more of this in detail later on. But the two things that are going to affect your guitar the most are temperature in humidity and probably in that order. So, you know, as a guitar heats up or as it cools down, so extreme temperatures of either is going to expand or contract. And if it goes too long like that, there could be problems with humidity. Same thing they're similar. Things happen in that they can expand or contract. But then also what happens is the wood, the fibers in the wood, especially with acoustic guitars. Electrics seem to be less susceptible than acoustics. But same thing with both guitars is that the wood can become too dry in places where there's just not enough humidity, and in tropical regions or where there's more humidity, you can have too much humidity toe where the guitar just kind of start sounding dull. But more often, having it to dry is going to affect the guitar negatively. OK, but there is kind of AH range, if you will. And really, the range that you can think about in regards to temperature and regards to humidity has a lot to do with the way that you feel OK. So if you feel gosh, it's just way too hot in here. It's gonna be too hot for your guitar of It's too Cold. It's too cold for your guitar now. There tends to be a little bit of wiggle room in regards to that, but you know between 70 and 75 degrees is like optimal temperature for your guitar and humidity. Range of probably 45 to 55 is a great humidity range now, depending on the guitar and depending on some other variables, we go outside of those but That's what we want to try to keep the equilibrium. Okay, so what I mean by this is here I'm in Nashville and during the summer it gets warm, but our house never goes above 80 even on the hottest of day. So I'm still in a good range there. I have studios here in the basement and in the winner. If it were to get too cold, I would need to turn on the air to make sure that they don't get too cold or bring him upstairs. Now what also happens in the winner is that things get very dry. And so sometimes in my home in the Winner, it can get down into the teens in regards to humidity. Very bad for guitars, especially for an extended period of time. Now, if you would have a dip where the where the humidity would dip for, you know, a couple days or so you would be fine. But for long periods of time, for weeks, months, years at a time, very, very destructive to a guitar, because what happens is everything starts shrinking. Yeah, this guitar is glued all sorts of glue, putting it together and what happens is over the years, and over the months as that glue is being stressed, things start breaking off. Have seen Bridges break off. I've seen next warp of scene of I've seen the backs of guitars Bo, where they just literally there's like a bow on the back toward warps up just all sorts of problems all over the guitar if it gets too hot, if it gets too cold, it's too humid or to dry. Um, my guitar luthier Or I should say, my guitar repair person. Um, he told me a story of when he was playing a gig, and it was some place up north and he had a Fender Stratocaster, and I think it was, I don't know, in the fifties or sixties, a very, very old Stratocaster that today would be worth, um, a lot of money, you know, 20 $30,000. And he took that guitar out, and it was very, very cold. So they were driving around in a van, and he was worried about it, and he took it out and put it right in front of the, um, the heater or the, um, yeah, too right in front of like a like a space heater. And what happened is the guitar just cracked all over the finish. Just absolutely ruin the finished right away is back. He said as soon as he opened the case. It just just started cracking all about. Probably look pretty cool at the time, but totally ruined a guitar that would be worth a lot of money today. So, you know, quick temperature changes are not good. Also, whether hot or cold. So if you're going from a hot temperature into a cold, you want to leave the guitar in the case, let it Acklin made a little bit before you open the case. Okay? Same thing with cold to the hot. But if you just keep it at a temperate at a nice temperature, you're not gonna have a problem. Okay, in regards to humidity in the winter, I like to have some sort of humidifier going to pump some water into the air to keep the guitars hydrated. Because if they get to dry, you can have problems again. In the rare occasion where you're living in a place where the humidity is high all the time . The caveat to that is yes, a guitar can get too wet. It's rarer, more rare than having the target to dry. But what happens is if the targets to wet the tone seems to get affected. It gets dull sounding. So there's something to say about wood that's been aged. It gets old and it gets more porous. It gets more. It gets louder. It vibrates better. That's why folks like vintage guitars more. So you want to make sure that that you're keeping it in a good range. Now these air, just some basics to go by. You could delve in further with Google, and you could really go down that rabbit trail. But if you keep the guitar, it's a basic temperatures that you're comfortable with. You're going to be fine and same thing with humidity. It's helpful if you, especially if you have an acoustic guitar and you live someplace that's, you know, kind of further up north. I mean, I'm in Nashville. We have dry humidity problems. Okay, dry problems here, same thing out west. So if you're in a place where you where it's known to be extra dry or extra wet, you want to make sure that you go out and get yourself a a meter that would read humidity and keep it in that range that I'm talking about. Try to keep it in that range. If you have a few days that dip or go up, that's OK, but you don't want for extended periods of time. You don't wanna have that. Okay, Same thing with temperature. You never want to leave Ah, guitar in the car on a hot day. Or even if it's a temperate day of the windows that are up. It's just like an on animal, a dog or a child or yourself. You don't want to stay in a car like that. Don't put your guitar or, you know, in a car like that, okay, you want to make sure you take it out, bring it in the air conditioning. It's gonna help out a lot. If you have a guitar case, keep it in the guitar case. When you're moving from here to there, if you only have a gig bag, that's okay. Just make sure that Gig bag is, You know, you gotta think that even though it's in the gig bag, if things air hitting it, it's probably hitting the guitarist's impacting the guitar in some way. So if guitars in a gig bag it falls over onto the head stock, you can still knock these these tuners right off of the guitar, okay, and that's no fun to have a guitar with less than six strings. Okay, um, make sure that you keep it in the case when, when going from here to there. If you have a guitar stand, great. If you don't have one, get one or keep the guitar in the case, which is kind of a bit of a pain, because you always having to open up the case. So a good guitar stand is nice because it keeps your guitar. It's such an angle that it's not stressing the guitar in any way, and also it's gonna keep the guitar from getting bumped, knocked down that sort of thing. If you have small Children in the house, they love twisting the tuning pegs. They love messing with guitars, so put it in the case, then keep it out of the reach of the Children. If they're going to mess with your guitar, it's no fun to have a guitar thrown over, especially that's an expensive guitar, and it was probably done by a mistake. Make sure that doesn't happen. OK, now we're going to get into this further as we go through the course as faras guitar care, we're going to talk about some other things. But suffice to say for right now, if you do these few things, think of temperature, humidity and keeping a case around the guitar when it's needed. If you think about those three things all the time, you're and take care about 95% of the things that can go wrong with your guitar, and we'll address some of the other things as we go further into the course. All right, let's keep going. 29. Faster Chord Changes with Inventory Trick: Let's take a look at the inventory trick to quicken your core transitions. Now, I've talked about this, right? I've kind of leading to it in a previous video, but we're gonna be talking about it in more detail today, and we're gonna specifically gonna be looking at several chords that you're going to be using. Ah, lot. Some of this will be repeat, but I really wanted to make a separate video for this because I think it's so important to understand this and to use us throughout your playing. I still use this today. I've been playing for over 30 years. OK, now what the inventory trick is, and this is something I've come up with. I don't haven't really heard any other guitar players talking about it. But it's something over the years that I've discovered and something that I've kind of coined because I think it is very valuable. And other students have told me this really makes a huge difference in there playing. And the idea is this. When we don't have to move a finger when were playing, don't move it now. This may seem very logical, but a lot of times we make movements out of just a reaction. Okay, Uh, when we if I do this with my hand, all my fingers come out at the same time. If I close my hand all the all this happens at the same time because most of the time, we need all of our fingers when we're doing this. But when we're playing guitar were typically only using one finger at a time Or were more playing accord maybe 23 or sometimes four fingers at a time. But if we analyze what it is that we're doing here, and we realize, Hey, that finger doesn't need to move because it's the same for both of these chords. And you start getting into that mentality and that sort of awareness, which Onley really takes one or two times of solidly doing that. Then what happens is it massively increases your speed, massively increases your accuracy, which is more important whenever we talk about speed. We're really talking about accuracy. You can't have speed real real true speed without accuracy. So you could have a guitar player who does this Max like that. They're playing fast, but they're hitting the strings fast, but they're not playing accurately here. Okay, So we want to really always strive for accuracy. Never even think about speed. Speed is something. This is a byproduct of accuracy. You'll hear me talk about that later on. In the course when we talk about speed again, we're talking about, like, soloing and all sorts of stuff. Okay, So well, suffice to say we really want to go for accuracy, and this is part of it. So let's talk about some examples here. The the E minor. Now, rarely will you have an e minor in an E major in the same song or a major and a minor of the same court. Rarely will you have that same in one particular song. It's not to say you won't. I've written songs like that, but it's pretty rare. And you'll learn why that is light wrong. But way to go from, say, like, an e minor to any major. That's an easy enough one war. Really. We don't have to move our figures, okay? We just have to move that one finger first finger on the on the third strength. Okay. So, notice I could dio Okay, now I can't say that I've ever seen a student do that? Usually they will just lift that first finger and then put that down again. OK, but it goes to show that we could be that unconscious and be lifting our fingers every single time. We definitely don't want to do that, but let's talk about some court transitions that are maybe not as obvious as this one. Okay, so let's say we're going from an E major to an a minor. OK, notice that the only thing I'm doing is I'm taking that whole structure right there, and I'm just dropping it down. One strength. Now I'm bringing my thumb over the top of the neck to mute that low e string, which is something that will talk about later on. But right now, just ignore that. I'm doing that. It's more of just a subconscious thing for me at this point. We'll learn about that later on. Don't do that right now. Okay? In the beginning, OK, so notice that my e t a minor does that. And really, I'm not doing anything different. I'm just taking that whole form and moving it down as if it were one. Okay, so this is an example of a transition where we're using the inventory tricks were taking inventory of what we have in both of the courts and seeing what's common. Sometimes you don't have any commonalities. Like, for instance, if we went from an e major to a teenager, there's not really anything there that similar. Now what I want you to do part of this is I'm gonna tell you some of these transitions that you're gonna be running into a lot. But mawr importantly, what I want you to do is to become independent. And I want you to be able to start looking at the guitar in the same way that I do where I say, Do I have to do that? I want you to use your your analytical skills here to examine the course that they don't really need to move those fingers. Doing that's gonna help because you're gonna use it throughout your playing career. Okay, okay. So from an eternity, there's not much there. If we went, say from like, um let's say a G two a. D. That's something that people do a lot. And when I'm teaching these two chords and transitions to people they left all their fingers up just like this. Well, if you look at the third finger, even though he's lifting up every single time he's going, he's going back to the same place. Okay, so you say, Well, what's the big deal? Just I still hear the cord. Yes, and technically, there's nothing wrong with doing this. The little really it were. It's always about the music. Just remember it Sounds good. You're fine, okay, for the most part, but especially for beginners, if you're lifting that finger up, that's why not only one more finger that you could mess up instead of leaving it down. But the other variable is this is a benchmark. Okay, this is an anchor or a pivot. Guitar players will use different names for it, but think about it. If I'm playing, I'm running around the stage 0.2 people and having a good time. If I'm going from a C to a d chord, I lift my my hate my hands up like that. My fingers well, that third finger is staying on there. It's anchored, so it's a constant, so I don't really have to think about how am I gonna play. That court is just gonna be there. But if I lift all my fingers up, I have no no reference. I just have to hope that land in the right place now, because I'm only done this a few 1000 times, I could do it, but in the beginning, you probably won't be able to do it as much. So you really want to think about keeping that finger the same? Okay, so we're just gonna be looking at some basic open chords here today. We could do this with bar chords, which you're gonna learn later on. And we could do this with all sorts of chords, but is important for you to build this analytical skill. And to be able to say, Do I need to move those fingers or not? Because what happens inevitably is when you're going to see this Later on, when we're switching from one court to the next, it takes a little bit of time, a little bit of thinking first, and then a little bit of time to set that court up. So where it to where it lands accurately. Okay, So you really want to make sure that you have this idea down and you're analyzing the cords . If I go from a D to a C, there's not much there that that looks the same. We could say that these that fingers two and three are bumping up 123 strings. And then we got a first finger here at the first spread of the second string Way could say that right. Here's our d Wade. Go. Want to wait here? Here we go. 123 strings up. Same positions, but just three strings up. And then our first finger at the first fret of the second string. Okay, refer to your nine essential cords diagram. For that, it's a C court. So we could say that that's the same right. And one way that you could practice. This is by moving those two fingers first and then moving that first finger, boom, boom, that sort of thing. You're making this like a two step process. If you try to get all three fingers there at once for newbies, that's typically not going to work out very well. And you're gonna get frustrated. What we're trying to do this whole time is we're trying to avoid frustration and we really can. If we do this not only step by step, but slow and steady wins the race, taking our time, making sure we do practice each one of these things were building that that foundation. So if you do this, if you do the exercise, just take a couple chords. Remember, we're doing transitions. You really only want. Take a couple chords and see there's any commonalities between the two and then work him okay will be one more from a C chord to a G chord. We could hold the G chord like this. There are many different ways to play Accord, both fingering and notes wise. Let's let's discuss that a minute because this is about where you'll start getting some questions. You might say, You know, some people say I should hold the court. You know, the court like this. And then other people say, Well, you should hold the court like this. Um and some people say, Well, I I put this third finger down. When I play a G chord on, other people say, Why don't put 1/3 finger down, Which one's right and I've had folks say your cords wrong when in reality, they don't understand. There's many different ways to play a chord, and here's how I want you to think about it. Accord is three or more notes, right? That's the basic definition of it. But when we're talking about a specific court like a G chord, a G chord is made up of a G A B on a D on. And I could play this any combination of G, B and D, and it's still a g chord. It's kind of like if you ate a soup one place and then ate it someplace else. Maybe your grandma fixing your mom fixed it or your friend fixed it. But suit by the same name, right, is gonna have some basic same ingredients. But it's gonna taste different cause they're gonna everybody makes it different, right? So in this case here, this could be a G chord. This could This could is good thing. This thing, this thing this way got all these different forms. Of course, right, there is something we're gonna be discussing later on. But with all that being said, if you see a different fingering of accord, don't worry about it. Find something that's comfortable for you. Try both of them. Try three of them. That's the case for whatever and the more you know, the better you're gonna be. OK, so with all that being said, we could go back and forth between this version of the G chord instead of this version. And the reason that we might do that is these two guys could just bump up and be common. And then I could have my pinky or these two guys bumped down and at my first finger bump up and my pinky pumped down at my first finger. And then what happens is you have a protocol or a certain way that you play the court every single time. So you're not guessing. So how do you get really quick at all this? Listen to Eric. Listen to what I'm telling you. Do the exercises. I know it seems like I'm giving you some work that you have to do here, that you're just like, man. I'm just gonna grab the court. It doesn't quite work that way. No amount of ego is gonna allow you to play the cord better. You really have to have a method and if you do it the same way every single time and you'll hear me talk about this later on is that you're gonna be building a narrow path. You're building a habit. This is how we build habits is we do it over and over and over again. And what happens is we're basically beating a path in our brain, just like if you were to go through ah, forest or weeds or something like that and you had a machete and you were chopping everything down as you were going through, you could look behind you and see the path. If you went through a bunch of different places, then it's just gonna be scattered and you're you're not gonna be building a path in this case here. When we're doing these this inventory trick or going back and forth transitioning between a couple chords, we should do it the same way every single time. And doing that is really going to help you to get very quick at changing course. I promise you it's gonna happen, I promise you. I know it feels awkward right now. It does for everyone. Okay. All right, my friends, you know what your homework is. So let's keep going 30. Big Strumming To Sharpen Your Strumming Skills: So how is your strumming going? It's not going so hot. I've got yet another method that we can use to really sharpen your straw. Me? It's what I call big Strumming okay, may sound silly, but it is truly helpful. Now when you see your favorite guitar player either strumming or playing a guitar solo or something similar, you're probably wondering how they're so smooth about it. They just got such swagger. They're just playing, and they're just not seemingly thinking too much about this. And the reason is is because they thought about it so much that now they get to and just enjoy what they're doing. But in the beginning, I can assure you, from Stevie Ray Vaughan to Jimi Hendrix, Eddie Van Halen, they all really had to think meticulously about everything that they're doing, just like you and I are. I know it doesn't seem like that because you're seeing the finished product, but I promise you there's no free ride. When it comes to guitar, you gotta learn it. You gotta push there, you gotta You gotta learn everything right? Just the same way that anybody else does. Okay, Now, when it comes to this big strumming what it does that allows us to really get introspective in regards to our strumming. It allows us to not mess up, and this is where we want to be is we want to be able to practice this way, not mess up. Have a real specific protocol that we practice each time when we're when we're strumming. And because of that, it will sharpen our strumming skills. And then we could start becoming more relaxed as we move on as we really get this into our brains and then obviously look just as at ease as your favorite guitar player. So let's say we're taking the strum that is more difficult. I'm gonna be using the last one that we learned in Level five. It's the 12 and and 4 10 which, in my opinion, is probably the number one most used strumming rhythm in all of music. OK, or at least I just a popular music and popular music would include, you know, country and pop in those sorts of things, but it is a basic groove that drums insinuate when their planes want to or end. It's just it is okay. It's just trust me on that one. But when were strumming here, If we're having any issues and we're doing the leg tap, you know we're tapping the bottom of the guitar whatever. That's not helping, which is should. But yet there's another thing here, the big strumming which basically the idea is this. Remember we talked about our arm being a pendulum, if you will. It's the pendulum on a grandfather clock. So when the the beat of the song is going tick, tick, tick, tick, tick, this hand should not move. Should be doing this whole time. So the strumming should be like that, right? And you said you wanted to think like a pendulum. But what happens when we do this big strumming is were going past the strings in a big way as opposed to do a small stream like this. I'll use the exact strong want Teoh. You know we're making these small movements when we make these small movements, which is fine once we have it down. But in the beginning we do big movements. I may look silly, but what's gonna happen? Number one is it's going to It's gonna make you slow down because you're doing things so big, but to it's going to make it to where your hand has so much momentum that you're not gonna make a small adjustment and go in the wrong direction. If you got the small, it's easy to stall, which we said we don't want to do. It's easier to stall and then hit the up Strom, where there should be a downstream of the downstream where there should be an upstream. We don't want to get in the habit of doing that even while we're practicing. We don't want to do that because we're building Nero pads in our brain. And that is that's how we get habits, good or bad. So what I want you to do is take your favorite strumming powder or the one that you're having an issue with, one that you're striving for, and I want you to take these big swipes at the guitar again. Muting the strings is gonna be helpful, but let's say it's the want to an and four and strumming rhythm. Then what we would do is we do this. We go 12 and 10 four and want two and four tapping your foot is helpful as well. Now I know most people, they just start doing that. They have some difficulty because it's something else yet that is learned. But if you can tap your foot, that would be great. If you can tap your foot, it's something to practice. But mainly, as long as you're keeping that time in your head, want to 412 and four. If you're counting in some way, they have a Metrodome going or you're tapping your foot. That's gonna keep you on target once you get this, OK, Once you get the big strumming down, then you'll just automatically start going back to your normal type of strumming. This is almost like an observation in meditation when folks meditating them and you specifically think about something and then don't and then specifically do it again. What it does is it lets you see Oh, this is where I'm messing up. Okay, So in that same way, what your exercise here is to take your favorite strumming pattern and to do these big strums until it makes sense, also do it at a nice pace that's comfortable for you. But if that hands always moving, you're looking at that. That elbow, it should always be moving. It should never do this pause and then start moving again. If it does, I can 100% guarantee you've messed up when strumming. Okay, so you want to make sure that that arm is going all the time whether you hit the strings or not, because it's going to keep some sort of tempo, even if you're just bobbing it a little bit. Okay, Just something to keep the tempo going. But for right now, if you're having struggle troubles with your straw, me consider big strumming and then make it smaller as you start getting it. All right, let's keep going.