Guitar Lessons - Fun With Harmonic Interval Runs and Beyond 2 - Play and Learn (Part 2) | John K. | Skillshare

Guitar Lessons - Fun With Harmonic Interval Runs and Beyond 2 - Play and Learn (Part 2)

John K., Guitarist

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8 Lessons (47m)
    • 1. Interval Runs 2 Key of A Intro

      1:17
    • 2. Fingers

      7:04
    • 3. A Finger Per Fret

      2:11
    • 4. Interval Runs 2 Key of A Ex 1

      7:54
    • 5. Interval Runs 2 Key of A Ex 2

      5:06
    • 6. Interval Runs 2 Key of A Ex 3

      11:53
    • 7. Interval Runs 2 Key of A Options

      10:14
    • 8. Congratulations

      1:12

About This Class

Part 2 - The Ultimate Introduction To Playing Harmonic Intervals on Your Guitar - Part 2

Harmonic Intervals?  What are they? Two notes played at the same time

In previous Guitar Lesson - Fun With Harmonic Interval Runs and Beyond 1 - Play and Learn, you learned to join up chords with some Harmonic Interval Runs, They were in thirds. Ans they were played on the second, third and fourth strings of your guitar.

These guitar lessons are also in thirds. This time you will learn to harmonic runs using the first, second and third strings. You will harmonise runs around the guitar chords of A, D and E.

This is a practical course, not theoretical.

This is also a stand-alone Guitar Lesson. It is not necessary to have taken my other courses to benefit from this course. This is another independent skill to help you master your instrument.

At the end of this course you will be playing beautiful runs and harmonies on two or more strings in various positions on the neck of your guitar.

Transcripts

1. Interval Runs 2 Key of A Intro: And you're very welcome to infer runs in the key of a trouble strings part two, again, some more thirds, this time, using the first, second, third string only. Give you a different analogy from the exercise you learned in the first lesson. So printing PDFs, you know, it's coming next. Wash your hands and we'll see you on the inside for infill runs in the key of a trouble strings part two, thirds. Strings, 123. 2. Fingers: Fingers, plectrum, or both. And important thing to bear in mind in these lessons are, how am I going to pluck these harmonic intervals can use a plectrum. And good, he's, my fingers are only going to use both. So briefly. I don't have any fast rules about this. But if you're beginning, Are you looking for some guidance, then strings that are right next to each other? You may get away with her plectrum, for instance. Another problem with the plectrum. Strings that are separated. So if you're doing six, it will not be possible to use the plectrum as you've got a string in between. So in that case, I use, you can use your fingers, thumb. Thumb, and another finger. Tend to use the thumb on the lower of the two notes. And the first, second, or third finger on the upper note. Let's briefly meant speak just for 1 second. I'm going to take my flux from out of the way and just speak about using fingers for a second. If you're into thumb picking and you do boom chick and all that, then there is a convention with regards to thumb picking as follows. This is not a course on Tom picking, so this is just a brief overview that may be of some help to you when plucking out the harmonic intervals in this course. So the thumb is usually reserved for the bass strings, for strings 456. And your other three fingers are usually reserved for the struggle strings. Your first finger on the third string, second finger on the second string, and your third finger on the first string. So like gosh, that's usually so if you see me plucking, if I'm plucking an interval, I may use the first third because I'm used to. My first finger being on the third string, on my third finger being on the first. So you may see me go. So while they are the fingers recommended for thumb picking, if you don't plan to our anthem picking or you don't thump pick, then any combination of fingers would do. But probably for maximum efficiency, it is the faster way of doing it. Just a thumb for the base. And 1.2.3 first, 3-2. So here I'm using my first, my thumb on the base and the fourth string. And my second thing, the second strings you get. You may also plugged Tom and finger together. Have 0 control. The third option, I'm going to take my plectrum pacts, excuse me, obscuring the camera is, plug the base string with the plectrum and pluck the string with your finger at the same time. So you get, which is not normally like to do because that usually firms have strumming And then for solos are forbid a color in songs. So you can't just drop the plectrum and pick it up when you do that. So I tend to pinch using the, both the plectrum and plectrum in sorry this end and an appropriate finger. So the answer to the question in the heading of this course, in this lesson, being fingers, plectrum or both? Depending on the context of the song, depends on what you're comfortable with. Nothing is right, nothing is wrong, it's whatever works for you in the butt. Experiment with all of them. That's a good skill to be able to use your fingers on their own. Good skill where appropriate. Strings and next to each other. Just plectrum. But even then, I tend to use hybrid or plectrum and finger at the same time. So hopefully that'll be of some use and gardens too. So what are you waiting for? Chin up those guitars. Get those fingers limbered up, get those spectrums sharpened, get those fingernails sharpened. Names. That's another thing. I tend to leave the names of my right-hand grow longer than my left at the moment I've had them costs and then up too long. But again, that's personal preference and choice. You can also get a critic and glue on nails, which I have no experience of using blind older guitarists. And they have no trouble and they swear by them. So again, like all things in music, experiment, experiment, experiment, have fun and we'll see you on the inside. 3. A Finger Per Fret: A fingerprint of fresh, something. You're going to hear me say continuously throughout this course. What do I mean by it? Let's me explain. If you take a g shape setup. So we have our fingers, finger one finger, two fingers, three, finger four. So we have our second finger on the sixth string of the third fresh. We've our first finger on the second fret of the fifth string. If I want to add a finger to the fifth string, third fret, I could slide this up. And the fourth string, sorry for the resident and the fifth thread, I could do that. Come back down like this. And yes, it would sound fine. But it's not the most efficient way of doing things. By using a finger per fresh. We'd just go Next finger, Next finger, Next finger vector. So that's what I mean by a fingerprint fresh enables you to do things like that. It's much more difficult to value to using one finger. Also you will find it will strengthen your pinky and all your fingers and you get maximum flexibility with hopefully no injury. So that's it, folks. A fingerprint fries. 4. Interval Runs 2 Key of A Ex 1: And you're very welcome to part one of integral runs in the key of a traverse strings two. In this series of lessons, number two, we're going to concentrate on the first, second, third string and view guitar only. This time I choose on choosing to use a plectrum as opposed to my fingers. You may use either whatever you're more comfortable with. When I plot with the plectrum in this incidence, I tend to use the plectrum plus my second finger. So plectrum and second, if you can see their strengths. So using the electromagnetic second, let's look at our tab and Ambar one, we're making a will go from a to D again and D to a. So from a to D, we make an a shape and we plot the second and the first string together. So that's the, the second string, second fret and the opening. I'd like to make an a shape so that I know what I'm playing. And it depends again on the context of the sum. So I suggest when you practice this, that you don't just practice it like this, just with the finger on, but practice it with the whole Les so you know what you're, you, you maintain the context in your head. So we plug the second and the first string that we're going to a two d. So I like to think of this as a D-shaped. But again, we can take off the first and leave it on. And again we're making a D, So we're putting our second finger on the first string, second fret, third finger on the second string of the third, fresh or plucking the two of them. So far we've done this a and D. We take everything we've just done up to the fourth fret. So put your second finger on the first string, fourth, crush your third finger on the second string, fifth fret. So now we've done this. Then we have a change in position, change in shape. So we put our first finger on the first string, fifth fret. Third finger, or pinky on the second string, seventh fret. The reason I say third string, third finger or pinky? I'll leave it up to you if I was seeing it in the context of the D chord bar shaped like this, I'd be using my pinky if I was just sliding into us. Okay, I'm here. I'd probably use my third finger, but it's up to you again, raising the third finger. It's a fingerprint of Fred's, so 123, so it will be the third finger. So let's do what we done so far, which is bar one, bar two, a to D. So I'm a curious shape. Pluck strains 12. Make a D. Take it up to the fourth fret, and then make your D Again. This is a D if you were doing your brush. So we're outlining a dy. So let's do that again. Sony together, 1233. Well done guys. And I stood again, stowed. He's gather 123, et cetera, et cetera. Well done guys. Now let's go from the D back to the a. So reverse what we've just done. So we're here. Then we go down to the fourth fret with our second finger on the first string. Second fret, third finger on the second string, fifth fret. Slide all that down to threats to d is if you're making a D. And then back to your a where you play your first. And so again to go from your data, your a and one more time D to a. So let's put bars 124 together, a to D, D to a as follows. 123333. And again, okay, well done guys on remember and use your fingers. Is the plectrum doesn't matter. Whatever you're comfortable with. Again, I would encourage you to think in cards rather than where your fingers are our thinking into those of thirds. But we're gonna keep theory pretty much out of this. There's lots of good theory. You can learn elsewhere, but this course is designed to concentrate on playing. So let's play out, didn't it together with the drums? Very scholarly. Twice, and we'll see you in part 2123. Okay, well done guys. Practice, practice, practice, and have fun and see you in part two. 5. Interval Runs 2 Key of A Ex 2: And you're welcome to infant rounds in the key of a troubled strings to exercise too, where we take off or we have at bar five. So we're going to go from a to and from back to. And are we going to do it in this wonderful magical way? So making a shape, then pluck the first and the second string only. Now I'm using a plectrum this time. Sometimes ease my fingers, whichever you're more comfortable with. So just plug those two. The next shape you're going to make is you going to put your second finger on the second string in the third fresh? Your third finger is going to go on the third string in the fourth fresh. And you put those two together. Then you're back to in a semi cure a shape, and pluck second, third strings only. So far you've done this. Make any unblock second, third strings only. So they pluck your second third string only, so that's your first finger. Third string, first fresh and open. Second string. As I say, I like to keep the Cauchy. So nowhere I am in the context of the song. So what you've done now is slowly. So that's a to E. And together one more time. Excellent. And I, let's go from E to a, so you make your E shape. You were embarrassed six, we're not springing power seven. And we're embarrassed seven, you make your reshape, you play your second third string. Make an a shape. Play the second third string. Then put your second finger, second string, third fret, third finger, third string forward, fresh. Two of those together. So once you've done so far, is go back to your a and pluck your first second strings together. So one more time together solely make Curie second, third string, finishing on your first second string. Putting all of that together a to E and eat a, you get as follows. And again, I'm one more time. I can sentence aloud are the context. But in the context of the Sun is moving around in thirds is always musical. So with the drums will go 88 a and then come back in part three when we put it all together. Ok, so counting the three and then we play together AT and E 223. And again, okay guys, remember, practice, practice, practice, and have fun. 6. Interval Runs 2 Key of A Ex 3: And you're welcome to part three. Interval runs truck key way troubled strings, two in thirds using strings 1223. This is where we put it all together. We go a to D, D to E, and E to a. So let's do the first eight bars of your tab first, and then we'll discuss bar 16, the final buyer, and the little bit I played at the end afterwards. So making array shape, you should be familiar with all these exercises now and I hope you're having fun. So we'll do it slowly. So one will go a to D, D to a, to eat a all the way through with us stopping slowly first. So one, 23. Okay guys. Well done. I hope you enjoyed that. As you can see, it's quite a nice harmony is quite a nice and develop thirds and nice harmonization of. Again, please remember, you would very rarely use all these runs in a to D, D to a, then go eight 0s and then go eat a. Use these as you come across sounds with a to D And use them sparingly in, you may end up goes to the d, to the e, to the a, or the a to the a. So I'm presented them here as one exercise. So you'd have them all under your belt. So anytime you end up if you get to an a. Okay, so let's do it one more time and then we'll discuss par 16. So very solely a to D, D to a, and a2 a. So starting with your'e shape, the count one. 23. Okay. Second time around bars 915 are identical, but br 16, When we come from the e to the a, finished with this. So we make the shape as before, I'm bar 16, but instead of plucking the first second strings, we've got the second entered. Because the tone that is E goes down. Our listener expects as either to finish to the sound or go into another bridge or a chorus. But it's, it's a final type ending rather than an ending where you're expected to go on and repeat again. So, so let's try that together. While on the outside the whole 16 bars from the top, 123. Now, and at the end, I make an a like this. So I'm basically borrowing the four strings, but I'm not playing the high E at all. And for this I'm only using strings tunes during three. So with my first finger, I'm blocking string 23. Then I'm putting on my second finger on the second string, third fret, my third finger on the fourth fret of the third string. And take it off. So you've got, and then take that shape to the fifth fret. So your second finger on the second string, fifth fret. Third finger, third string, six thresh. So, so far you've done. Let's try that again together. And one more time. Then slide it all done. Third, stress. And plays and then bacteria are a, and it's quite nice to slow down. So it becomes an ending. There you go. It's still aiming for you. So what then everyone language, food. In case of a Don't be afraid as well when you're playing, you as you're in the court shape, if you have the dexterity, Adam did the experience on onion, you up to hates others strings as well. But strings 123 are you predominant strings, but other strings played lowly in the background can give you the colors. So for instance, in Go, because you're in a can go. Now, I'll do it. I would do this to make the day. If you don't make a D, there's nothing wrong with going two to three. When you hit this Run. Hit the opening, the E string so that people know you're at the end. And then what I did there was a plot. Using my second third fingers. I pluck second third strings at the same time striking the Open a, the fixed string with my plectrum. So you got for the ending then let, so that gives you a striking the open, ie that the sixth string at the same time. And then striking the fifth string you along with the second, third string as you make the shape. So experiment, experiment, experiment. Have fun, practice, practice, practice. And remember, squeeze the strings enough just to make a sound. There's no need to strangle them. You'd hurt your hands, you do yourself an injury. The more relaxed you are, the more musical and sweet sounding you're playing will be. And the more your audience in this scenario when a pretty CHNAs. So we'd play out with the drums. All it's 16 Bates. Then it's up to yourself when you just play it. Or you want to play with the chords, I would learn both because there is a place for both. And experiment, experiment, experiment and have fun. And remember there's no right or wrong way, a fun way, and there's a musical way in salons that sounds suite to your ears and you convey the message that you're trying to convey to your listener and to yourself. Well then it's right. Okay with the drums. One for me. 7. Interval Runs 2 Key of A Options: Okay, integral runs in the key of a troubled strings to exercises and options and experiments. If this is a bit of a hodgepodge of where we look at things you can do to spice up your interval plane. This is where I encourage you to experiment, experiment, experiment, and come up with all your own weird and wonderful and beautiful music. To help you. I'm going to give you a few suggestions. The first one is that as you play you at the base note, so you take and you had the bass note on the first beat of each bar. So to start with, we've got a to D, So we just go just plucking the fifth string open along with the two notes in the run. Or I do that automatically, which is the fifth string, fifth device. Or you can play the OPT, which is a lot more easier and easier with just the right thing to do. These Euros. So you go, you've gone. So I'm going back down. Play the bass string, Islam, the a to the a. You go to three base string again. And back to your bass strings. You have a string every now and then if you're on your own or if you're an abandon your RR accompanying a singer. You don't, you need and go. No bass string for every beat. But to mark the first beat of each bar. Second thing I would like to encourage you to do is to leave out some of those hard learned intervals that you spend hours getting blisters on your fingers trying to figure out some play the sparsely. So in this case I'm going to leave out the second int Philae my a to T and just hit the wall. And the radar angle. C, You don't have to play all of them again, sometimes less is more and it will depend on the sum. So go. 23123 only, sorry, I'm also including the base set here. Just for effect, you need to take the base, you may just go 23323123, the 82 to 32 to three. So again, you can have a beautiful effect by doing that. You can also add the base tourists, which I was doing there, not necessary, I was just doing it so you could realize the contrast. So you get 2323232332312323. So fun experimenting with or without the base. I would encourage you to do bows. And the last thing is mixing and matching. Where you go a, as in the previous session, you go into d rho squared. Or in this case, sorry, I'm on the wrong path from there. Suppose and the song goes to E. Now just go, continue on. But your fingers are there. Come back down is if you're going to the a again, but the sun has gone to a need. So br is again 124 will work a to D, D to a, or a to D and E, T a. I know it's confusing, but we're now into harmonization. So using integrals in harmony. So again, I encourage you to experiment, experiment, experiment. But for this example, let's just have a quick look at it. I'll play the bass note if you want to, you can, if you can't, don't worry. The idea is that we have 123123. And then we have a 10x instead of, and it comes back down to the a, sum goes to e. So you have, so you have 123. Now back to your a C. Okay, so with the bass 123 to any stray. So experiment, experiment, experiment for the DAT. You could also do. And if it was a t As the son DJ p3. Say on the one. I'm mixing up button one and button two. Apologies for that in passion to when you're going a to d, if the sun was going 80, you can do the same thing. The don't go to the D, Just stay on the third node, say your SMS and Nina. And he is going to in a c, oh sorry. Bacteria. So for is that again, Thatcher. A. So experimental experiment expertise to 33 to two to three. So leave one in, leave them out. Are the moreover different guards. And the more sit over e, but we've gone down. Now rover INA, well, we haven't changed that lead to 3N, creating tension in an expectation in the year that the sun will go to the name. Either we're very good at doing that and they're harmonies. Okay, so experiment, experiment, experiment, and have fun with this. And we'll see you in the next lesson for part three. 8. Congratulations: Congratulations and well done on getting this far in your course. Help you're practicing loads. And I look forward to reviewing your project as soon as you've uploaded. As. Also, please keep an eye out for future projects. And feature classes and courses and workshops for myself on www dot Skill Share.com. In the meantime, practice, practice, practice, and have fun.