Guitar Technique | Dan Dresnok | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

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

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

22 Lessons (2h 52m)
    • 1. Preview

      3:46
    • 2. Welcome to the Class (page 2)

      10:50
    • 3. Hammer-ons (page 3)

      9:40
    • 4. Pull-offs (page 4)

      10:51
    • 5. Double Hammer-Ons (page 5)

      6:52
    • 6. Double Pull-offs (page 6)

      6:50
    • 7. Hammer Pulls (page 7)

      7:35
    • 8. Legato Drill (page 8)

      6:01
    • 9. Bends (pages 9 - 10)

      10:00
    • 10. Reverse Bends (page 11)

      2:44
    • 11. Vibrato (page 12)

      5:32
    • 12. Slides (page 13)

      7:27
    • 13. Palm Muting (page 14)

      6:35
    • 14. Trills (page 15)

      6:57
    • 15. Pick Placement

      6:56
    • 16. Fret-Tapping (pages 16 - 18)

      6:05
    • 17. Sweep Picking (pages 19 - 21)

      11:14
    • 18. Natural Harmonics (pages 22 - 23)

      15:51
    • 19. Artificial Harmonics (pages 24 - 25)

      12:05
    • 20. Rakes (page 26)

      6:56
    • 21. Tremolo Picking (page 27)

      5:25
    • 22. Closing Thoughts

      6:04
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

115

Students

--

Projects

About This Class

Complete guitar technique class. Slides, bends, hammers, pulls, taps, sweeps, harmonics, & more! Acoustic & electric.

*Be sure to download the PDF in the Projects & Resources section.  (It's called "Guitar Technique PDF.")  It's 28 pages long & contains all the text & tabs that you'll need for this class.  (If you have issues downloading it from your mobile device, then download it from a computer or laptop.)  Don't wait - get it now!

Welcome to Guitar Technique.  This is a complete class for you to learn all of the most popular guitar techniques. This class is for every level of guitar student - from beginner to advanced. These techniques are each taught from a complete beginner starting point.  The video lessons start off easy and gradually become more difficult.

Any kind of six-string guitar will work well for this class​ - electric, acoustic, or classical guitar.

The focus of this class is to bring more energy into your guitar playing. We'll completely learn every common guitar technique, such as slides, bends, hammer-ons & pull-offs, vibrato, trills, legato, fret-tapping, sweep picking, natural & artificial harmonics, & more. We'll also be combining these techniques to create every technique combo imaginable.

Most of the videos in this class have tablature (tabs) on the screen. In addition, the title of each lesson video will include the page number of the attached PDF (downloadable in the Projects & Resources section) to reference while going through this class.  Be sure to get the PDF.

This class is for:

  • Guitarists wanting to learn more guitar techniques.
  • Beginner guitar players.
  • Advanced guitar players.
  • Guitarists who want to play with more energy.

Class Requirements:

  • This guitar class is for everyone - including complete beginners.
  • You only need a guitar - any kind of guitar with six strings.
  • We'll start at the very beginning.

What you'll learn:

  • Over 20 guitar techniques.
  • Develop your own style.
  • Hammers & pulls.
  • Sweep picking.
  • Slides & bends.
  • Natural & artificial harmonics.
  • Trills & vibrato.
  • Fret-tapping.
  • Play with more energy!

Techniques will give your playing a huge charge of energy!

This class is easy & fun.  Let's get started.

Meet Your Teacher

Teacher Profile Image

Dan Dresnok

Guitar Teacher

Teacher

Hi, I'm Dan Dresnok - I’m your guitar teacher. I've been teaching guitar lessons for over 28 years and I've taught over 35,000 students both online & in-person. I want you to know everything that I know about guitar & music. 

I’ve worked as a session guitarist for recording studios, performed countless times, & moderated over 100 group guitar clinics. I’ve written several guitar method books & created over a dozen online guitar courses.

I specialize in jazz, bluegrass, blues, rock, music & guitar theory.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Preview: Hi, and welcome to guitar technique. I'm Dan Resnick on your guitar teacher. I've been teaching guitar lessons for over 25 years. I've written a number of guitar method books, and I've created well over a dozen online guitar courses. I am the perfect person to teach you all of your guitar techniques. What our guitar techniques, guitar techniques are things like hammer, alms and pull ofs and slides, and trills and vibratos and harmonics, fret tab and sweeping. These are all the things that are going to make your guitar playing really unique and cool and fun. So when you just look at the basic playing, scales and chords and arpeggios, and beads and strumming and picking an alternate picking. And so we need to get techniques, techniques or like a breath of fresh air. Techniques are really, really fun way for us to start establishing our own style also. So what makes my style unique is the way that I use techniques. I like to use slides and I like to use hammer ons and polo ofs. And I like to do some harmonics and, and you know, when you hear that combination that it kind of sounds like wheat because that's my style of play. And when you learn all these techniques, you can start figuring out what you like and use them more often. And it's going to start establishing your style is gonna make you sound like you. People will say, oh, that sounds like them when they play. That's what techniques do. That techniques also are a way to just do some really cool things on the guitar that only a guitar can do. No other instrument can make some of these sounds that a guitar can makes, at least techniques like a bend, like a bed, and some of these slides that we can do. There are not other instruments that can make these kinds of sounds. So that's why we want to make sure we do techniques. It's also a way for us to get more than one note per pick. So we'll pick. But then we can get two notes out of it or wait to pick and we can get three notes out of it. So it's a way for us to get more than one note per pick. What techniques do. And they're fun. They're fun. That just give us like a lot of different physical ways to approach playing the guitar, it making the sounds come out. Most of the lesson videos are going to include a PDF. So be sure to get the PDFs because they're the text version of the lessons. And I'll have the tabs for you in the PDF. So printing PDF's della the PDFs. Please get the PDFs and look at the PDFs while we're going through the lessons together, it'll make life so much easier for you. Also, in this course, I'm going to have some images on this while we're going through the lessons to give you a visual while we're looking at the video. So this also should hopefully make things a little bit easier for you to just help speed up all of these techniques. I'm really glad you're here. This is going to be a lot of fun. Techniques are a really fun part of guitar playing. So glad you're here. Thanks for watching this video. Let's move on to learning our techniques. I'll see you in the course. 2. Welcome to the Class (page 2): play and welcome once again to guitar technique. I'm Dan dressed like I'm your guitar teacher. I wanted to you take a few minutes to welcome you to the course and also to talk about some of the things that are going to help you as you're going through to have the best experience that you can have what you're going through this course. So what are guitar techniques? Guitar techniques are things like Ham Ron's and pull offs and bends and my bra toe and Truls and sweeping and harmonics and things like that. So there are all these coming cool little things that we can do on the guitar, and each one of them really is a cool thing. So each one of us always like a little tiny guitar magic trick. You know, they're all like these cool little things. If you think about playing the guitar a lot of times you think about playing courts. Where do you think about playing scale? You think about playing an arpeggio. You think about picking one note at a time. You think about strumming, so that's what a lot of people think about when they think of playing guitar But when you see your favorite guitar player play, they're doing just tons of techniques, techniques, techniques, techniques. Because techniques are cool, they sound cool. They're fun to do. I mean, it's just guitar techniques are what you want to be doing when you're solo it and having a good time with your guitar. They make it so that we could play two notes or $3 or four notes, more than more than one note with only one pig. So you can pick it once and hit two notes or hit three notes or informed us. So that is one of the things that we get out of. Qatar Techniques is being able to get multiple notes for one pic, but more than that is the way that we get from one note to the next. That is a lot of what a technique is it will give us. So it's kind of like sliding to the next note. But we bending to the next note we're pulling off were hammering on. Are we just like trying to make that note the way for ring up and down? So how are we getting from Point A to point B how we get from one of the text. That is a lot of what techniques really are, and so to see you. But establishing your style is that tending to a huge way to do that. What makes your style of guitar playing your style? So how we do this is a lot with our techniques. A combination of the way that you use your rhythm and the way they use your techniques is how you establish your own style of guitar playing. What I mean by that is that, um, if I like to use a lot of slides and I like to use a lot of bends or maybe, uh, reverse Benz and elective use pull off his hammer polls, then you might hear that. And you might say that sounds like Dan, because Santa's that combination off techniques all the time. And I could tell by his rhythms. Also, does that kind of rhythm just all these techniques. It really sounds like dance play. That's that would be my style. That's like the way that I prefer to play. I have to play that way. But if you just said then just player in a little bit for me. That's kind of what I would naturally do. And everybody has their own style. Every bitter player has their own style. You have to discover your style of play. And part of how you discover your style is by learning a little bit of basic rhythm. So you can, like, break out of your box and use a different rhythm, things to figure out what rhythms you like and then also to learn different techniques. So you can also learn what techniques you like, what kind of techniques you like to do, what tickets are fun and how do you like to connect the notes? So this is one of the things that is going to help you establish your style playing. So in this course, the techniques air not really going in a particular order on sort of trying to do the easier techniques first can work up to the harder ones. So if there's any order, all that would be it was that the more basic techniques will be early on, and they were kind of like getting to the harder techniques. But for the most part, they don't necessarily build on each other. Uh, so some of the techniques you could just, like, skip around. So you could say I want to go straight to sweep picking. I want to go straight to robotics. I'm going to go straight to this. But obviously, if you want to go to the hammer poll lesson, But you haven't done the hammer on lesson where the fluff lessons. So, yeah, you would need learn him runs. You need to learn pull offs so you can learn how to deal any for hammer pull. Are few one of you a double hammer? You need to know how to do a single hammered a basic camera. If you want a double pull off, you need to know interview a basic pull off so, you know, stuff like that. But for the most part you get you could jump around if you want it to. We just watched the course in order because I tried to put it together, and we're like, you know, easiest to more difficult. But with the exception of like, you know, building multiple techniques on top of each other Oh, it doesn't necessarily build. Come. You don't need to see a cumulative order because we could kind of just say go to the harmonics I wanna learn Sweep the game Wanna learn broad? Oh, what you trill, um, hammers in the polls and slides? Yeah, that's good to do because we could start combining all those techniques. So these are all really important things for you to know. I mentioned before that most of the video lessons are going to include PDF. So download the pdf download, pdf save it to your computer, prints it out, seem to your device on and what the lesson starts. It would be helpful if you have the pdf printed or another screen so you can look at it while we're doing the lesson. I made these for use an extra resource that make life a lot easier if you just have pdf. Plus, you could watch me, and we can kind of go through the technique together. That is what I was originally thinking, and I'm also going to have some images that are going to pop up on the screen so we'll have some light tabs that pop up on the screen so that you can kind of use the visual directly from the video to see what we're doing for the techniques. Like I said, I don't really need music theory at all for this course. Discourses almost entirely just physical stuff. So that's what techniques are just physical stuff. But what's really cool is that once we start getting these techniques, we start understanding how to physically do with the technique how to do it. Hammer. I didn't do it. Double him. I did. You will pull off. How do you do? A double pull off? How did do a slide and then do a pull off into a slide or do a hammer into a slide or deal with a hammer, Poland to a slide or whatever combination you come up with? There's all kinds of combinations we could do when you start figuring out how to do that, and then, you know, maybe a little bit of, like, music theory or guitar theory. If you learn a little bit of scale stuff, you say, Ah, OK, so I've got all these notes now going to start doing some techniques over. I'm gonna do some hammer polls, do a double hammer, todo hammer, slide my deal, pull, slide, whatever you know, if you could start like saying Okay, so I've got these these notes here in this scale, and I could do these harmonics were in a top of it. You know, you could do these, uh, librato over pretty much any note ever that you ever see. So that's kind of a cool thing to do that techniques were so cool. One of the things about techniques that is a just a generalized rule breaker across the board is that they if we ever are doing something where we're saying, figure to a friend or keep your fingers in this position So techniques usually will bring all of those rules when I mean is you're supposed to just use your strongest fingers when you're doing the technique. So if before you were taught or I may have you told you do your fingers in this order, you keep your fingers in this position because it's better to learn it. That's always true. But when you're doing a technique, the most important thing is for the team to come out strongly and you want to use your strongest fingers when you're using techniques so you can break the role of like, which finger? Hughes, you know what I mean is like your pinkies years. Weakest finger. Your pinkies always gonna be your weakest finger. So if you are using your pinky to do a technique, you're taking the biggest gamble for toe. Not be a strong technique for to not be a strong sounding note. Sometimes you have no other choice. If you want to do a technique, you have to use your pinky. Sometimes it winds up that way on, and so hopefully your pick, he's good enough to do it. But if you can use any other finger besides your pinky, use the one. You're stronger fingers. That's definitely always a good idea is use a stronger finger, but you know, there will be times really left. You do techniques using your piggy, and you'll just strengthen your pinky. But if you got four figures available, don't choose your pinky over all of the other fingers to weakness. Bigger Use your strongest finger. No, I mean, I think we've talked about enough. I think you kind of get it. I think you're probably ready to go. I think you're probably ready to start on your techniques and start working on these. So be sure to get PDFs really glad you're here. This is going to be a lot of fun. I'm really excited. This is going to help you start developing your style. And I'm sure that you've got a lot of style just waiting to come out. So All right, let's start getting into these. I'll see you in the next video. 3. Hammer-ons (page 3): Let's work on Hammer. Ron's okay, we're doing Hammer Ron's. So in order to get the hammer on going, we need to have a note. Ring me. So let's start from open just to make it easy. Let's go about ice cream and just hit it open and we'll pick it. Oh, now what we're going to do is I am going Teoh Hammer on on the third front here. Fine. Index finger at someone. Pick the open string on Die without picking the second notice. Mackett with my index finger on the third front. Just idiot source. I can, but I'm not taking it. Not picking the second. No more picking the open street First note. And when I come down, I am trying to hit it very quickly very quickly. Okay, That's part of how this works. If I don't go quickly that I just knew it. I have to go. Oh! Oh, fast, hard and fast All the way down. O okay, so quickly and I'm going right by the metal, That's what Give me the most purist sound right behind. So that's a camera. I'm hammering on to the third fret from open. Right. So we're hammering on from open. Now, I can have her on using any of my fingers. Generally, when you're doing these techniques, you want to use your strong affairs When we're learning things like scale smooths, um, then we will work on the finger to a friend technique, you know, good classical technique where each finger gets assigned his own front. But we can disregard for figure to a friend when we start doing techniques, because we want to use our strong fingers or strongest fingers to do this technique. Okay, so I could do opens in the thoroughfare with my middle finger instead. Uh, just have Teoh do the same stuff smack it will or refined front. Um, only picking the first note I do with my rain finger. Do with my pinky You. Probably because you're picky is like, always your Rigas finger. You Have you been playing for 30 years? Your pinky is still your weakest finger. All right, but strike. Oh, uh, okay. So if I was going to do this on the different springs, that's fine. Us do the exact same thing from a bit. So I go every Oh, Oh, go. G string for the second front de strict member to the second front, a string on and efforts to the second friend and the Lowy open hammer to third front. So it's like I just did a pentatonic minor scale open. We're doing heroines from open, and I'm just I mean, I just randomly of doing the Panasonic minor scale, But we could do any any friend that we wanted. Just do the seventh friend on every string. I want to going from open every single time. And I'm just hammering out with some friends. I do the whole froth on using my middle finger for me a lot of time to my middle finger is my strongest figure. So that is one of the ones I like to use for a lot of techniques. You can use whatever figuring prefer maybe your necks. Okay, so that's hammering on from open. If I was going to him Iran, not from open, though. A lot of times were in a scale, position, mode, shape, or arpeggio or scale. So maybe I'm pressing here on the third friend of high strength. Okay, so wait, pick toe, pick that third. Fret, Theun. Well, I keep pressing down don't let this finger up. Don't let that finger up. And then I'm going to smile at the third fret with my refigure. So I'm gonna hammer on the third front or sorry him on the fifth grade with my refigure. So therefore, I think it ever fifth fret. Okay, Okay. Lets says this is how cameras are going to go is when we're already pressing on note way Have Teoh Amron. Wow, we're pressing on the original note. You never let it up. You keep pressing on it and you smack down and hammer with your fair. Now, this could be done with on any of the press because we could be pulling any kind of vote any kind of any kind of shape whatsoever. So I would be going from froth that could be going to the six front, which I'll use my pinky for. Keep pressing with your virtual note. I have to keep pressing with you, Rachel. No, Until I complete the hammer now pressing with my new finger, then I can live it up. All right. Oh, for this. Is that getting to notes for all in one pic? So it wants, You know, so so I didn't go through a skill shape. Maybe I'll go through like the pentatonic major scale and I'll just do him. Ron's each time On a low note, I have to pig and keep pressing on it until I do my hair Good. When you're doing techniques, you're all you're doing is you're using a technique to make two or more knows sound by picking one time or less. And so we were doing this The rhythm could be anything. So the rhythm could be fast You could be slow The hammer Ron could go fast, You could get slow, I could be going medium. Or I could go faster Really fast, slow. Okay, so we Oh, so it really depends on whatever you're trying to do for the way just going through the major doing hemorrhoids. I You're through the pentatonic minor scale here in Cuba from doing okay. Just speaking, the first note have to keep on pressing on that note, telling you the hem Rome now ready for the next 30 And that's basically it doesn't do him arms. They could be done with any finger. You just have to make sure you're pressing on the low string. Keep pressing on it. So you hit your If you're doing it from open, then you just have the open strength on. Then you get wrong, Teoh, whatever the threat is that you're trying todo in us. He's right. All right. Good job. Practice these. I'll see you in the next video. 4. Pull-offs (page 4): Let's were going close. Paul's are pretty much the opposite of hammer rocks. So what? We're doing a pull off way have to notes and a low note on a high note on the same string, and we have to start with the high net. So let's say this case, we have the highest drink and we're going to go the open string and the third front. Okay, so we have to go to our third front first and play the high note. This is open on the third Friday s. So it was good. The third front and their friend pressing it. Okay, Now I go open using a pole. And so the way I do that is I off. But really, what's happening there is I'm not just letting go on pressing. So I hit the first note that third fret. Now it's like I'm going toe, pluck it with my front, enhance. Oh, it's like it's like I'm plucking it with my friend hand with my friend finger, um, actually pulling on the street to make of irate to make it ring. That's a whole So oh, let's go down the pentatonic minor scale over doing polls so straight. Eastern, third friend and open beginning you will accidentally you'll do this kind of thing. Rebuild this, uh, You hit the other strikes. That's normal. You just work out. Get more. So you're kidding doing pull off getting the string that you're trying cheese? Hey, straight second it and then pull off open e string the low string through a friend. Okay, check that. Okay for you. Get comfortable with polls. They're so much fun because we could get a lot of sounds to happen just by doing a little bit of Twain with way. Get to know every once. I think just mixing up the direction that I'm going through the pentatonic minor scale. Also, we're pulling off open, just like before we can pull off from any fret. Okay. I just randomly was doing kind of sonic Meyer skill, but I could go on the seventh fret will do pull offs from some froth. Theo fingers. You use any fingers you want. Okay. So, again, when you doing techniques, you want to use your strongest fingers. So there are no rules on what fingers you should use. You should use your strongest fingers. Okay, so but where figures your lost open from seven was you pull up still from the 12th. Fret. First off, first off, weighing it. This it takes a little bit of practice that you don't go every time you hit all the strings right next to it. You will. You do that beginning, you'll get more accurate. So trying, Teoh, Just plucking or pulling off Trying Tokyo Theo, let's do a closed position. So if we have the pentatonic major in the Q G. All right, so this drawing my team, Hynix got the third fret in the fifth Fret. So I have to have to start off by pressing on multiple. Okay, so third Friday, pressing up. Got my friend president. All right. You may be saying, Dan, why are using And Pinky? They said he's your strong fingers. You're right. I mean, I like Teoh Try to do my techniques from the position that I'm comfortable that I learned the shapes. And but in this case, when we're doing techniques, I may say, Hey, look, you know, I know I'm gonna go for a second here, so I'm going to just abandon my figure to a friend. I'm gonna go for my strong fares. Okay, that's totally fine. It's more important that you get the notes or the technique to come out. Clearly, that is the most important thing. You're so use whatever figures you too. Right front your friend press on both in the heist pig The height Note pressing. Abou 35 pick behind five. Now going pull off my hyo with a twang to my friend of five Theo getting to nose for everyone. Time I pick. So let's go through the G pentatonic major doing pulls depressing both notes, Theo. Eastern 533 g string two and 4% both for love, too De straight find two Who having your thinking on this fungus isn't being stretch? So five with Vicky off. Okay. Yeah. Twain with my pinky to the to All right. Same thing on the A string 5 to 5 Teoh. And then the loose string is the five and three. So let's go loss for Alright , let's try the pentatonic minor in Cuba here in the front. Okay, so we'll go pull off, um 85 a five. Next trip 7505 Next race way Getting to notes for everyone pick that do every time I think making two nodes come out way. And that is how you fools. All right, so we're gonna pull off and I'll see you in the next video. 5. Double Hammer-Ons (page 5): Let's work on Double Ham arose. Double Hera. Okay. It's exactly what it sounds like. So imagine we were doing the, um, him around from open on the ice cream front. Okay, so this is the normal Hamra way around the third front, but we're going to add another note to it, which is gonna be another note higher. So I'm gonna go to the fifth fret also in hammer onto the different. Okay, I have to do always once one movement, So 03 open 35 open. 3535 Hammering on the third front hammering on the fifth front Only picking the open string way, Theo. Okay, now I am getting three does for everyone. Pick it is a double heroin. All right, so let's try the same thing on the B string. I'm gonna go open 35 way techniques. Work is that once I get this string vibrating, the next technique I do is going to be louder. It's gonna be stronger because strings are vibrating. So that's why we start the technique with pick to get vibrating on from there. I can do it. Good louse! Teak. And if I do the second technique following up with that, then I can get a stream Things happening just going off the momentum of vibration way. Let me go G string 0 to 4 way. I'm just taking notes from In this case, it could be thought of as the G major scale were the minor scalp. Either of those just taking those on the strength that I can get that I think Will sounds cool together. A string I'm gonna go zero to wait three way nickel double Amaro's. Now you do a double ham. Ron, if we started off with a friend of note Zan concept as before, it's exactly how you think it would be. Just is a little stretchy and that is the challenge of the doubleheader on when you're pressing. So let's say that I'm going to go 35 and then I want to go for the seven. Also, I think the thing I am, Fred, that I have around the seven front Now when I go slowly do it right out talking and going slow. The longer I wait, the weaker the notes are going to be. So when I do them quickly on forcefully, they come out stronger, so you might have noticed that. But that is the basic idea. So when we're down low, it's very stretchy doing you Teoh extra friend. But I keep figure to a friend That's great, told the higher fresco will smaller and it gives me a little bit relief. Theo. Way through. Oh, okay. And that is how you do double Hamren's. So what a good idea when you're doing double Ham. Brahms is You could just start saying I'm going toe start banging into things He was three or you could drone on a note. So, um, if I was to say I'm in G major. So let me just access the G string and start throwing a doubleheader bronze on the way. Theo this'll way get cool sounds without really killing your hands. Sometimes we're going big stretch. It could be a little bit ankle, but when we're using the open, it can give some cool sounds without, you know, without wearing out too quickly. So anyway, a lot of cool possibilities for the double hammer ons to go practice those I'll see you in the next video 6. Double Pull-offs (page 6): Let's work on the double. Pull off. Okay. This is exactly what you think it is. We're doing a, um, pull off. Yeah. Pulling onto another friend and then another either friend out or to open. Okay, so let's say that let's start with something easy where we pull to open. So I'm gonna have to third front the second fret and the old mystery on the high street. So 3 to 0. Okay, so I need to press on both of the notes. Two and three. President. Both picked three and 20. It whole open. Okay, so get 30 to halt. Open free for everyone. Theo. So let's go through the same sheet was that we did for the Cameron's. We're just going to pull this time to open, so let's go. 53 Open. High strength. Way to go. Four to open on the way. Let's go for to open on the D string way. Things go to three to open on a strict three to open. Good. Let's go. Three to open. Loathe. So we could do this anywhere. All right, so this is pulling up to open, so let's go on all the strings go 75 open way. It sounds like I'm going super fast, but I'm getting three dose for everyone. Time I pick. So all the work being done here with my friend hand, I'm just pulling it off. I think it sounds like something super fast, but I'm really just using the technique. Now. What if I am not pulling off to open? Okay, so I have to basically press on everything. So I am gonna go to 35 on the high street 235 pressing on everything. I five I 53 way s so my lowest note. Impressing constantly, never taking it off. Dull off constantly. Be pressing on the low. No, I'm new Jumper. It's a G string here and go 542 Do the same thing on the D String five way. So sometimes the double pull off sounds better than others. And definitely acoustic can be a little bit tricky, depending on how low you're willing way go a little bit higher than Mike. It was a little bit of relief guy. So if I go 78 10 10 Theo, that makes us it's the dough. Pull off a lot of possibilities with it. So you just want to find where you are comfortable doing the dough. Pull off in some cool sounds that worked well, are appropriate for your soul and start working on bringing three Does for everyone's Have we pick it. That is very cool. Very powerful. Your on your double pulls. I'll see you in the next video. 7. Hammer Pulls (page 7): Let's work on some hammer holes ever pulls. Okay, so we're doing him around that uphold. So we're now combining two different techniques and Ron and Bulls. All right, so let's do it from open, okay? Because once you get the hang of it is really simple and very powerful. Okay, So if we're on the high street, okay? And we're going to go open on, we're going. Teoh Hammer on the third friend, and then we're going. Teoh, pull off against a little bit. So it's open. Three Open, old and three Open old and three open case we hit open is the only one we pick. We just pick it one time. Radio free, Open, Triple open three. Over. Theo. Okay, let's go down the scale. Using hammer polls open 30 beast three, Open G string open to open. Open Teoh Destroy Open to and the e string open. Three very one time I pick. I said in the beginning, of course. That's something. Niece will work better for you than others. I've spent a lot of time on the hammer polls. As you can tell, I can go pretty fast on him. I'm getting three notes everyone time I pick and it's, ah, technique that happens to work right on the acoustic guitar. But we can also use it in closed positions. And here's how that works. So I'm gonna go third front and fifth fret and third front so their friends and pull off Theo. Okay, let's go down the time g pentatonic major using a hammer Polls 353 thestreet 353 Yeah, G string to 40 0 the d string Teoh five Teoh a string Teoh Theo the loath So thes are something you can do anymore You just have to notes and you have around you get picked up on and then pull back soluna pick any two knows Theo. Hardest thing to get used to 100 heavier balls is getting in the habit of picking Every three knows. So you're getting the three count and that's what you're really trying to listen for Hours every three does and you pick again everything so way, Theo. I also use one terribles is if I am play open court and I tried Teoh play open court with as few fingers as possible. So what if we said we're doing a cord with one finger wall hanging onto this accord thing, I'm going to go through it to hammer polls on the notes that I know are in the major scale . So the way things very cool wearables on the open courts and so you can try experiment with the nose and when you hear good ones, then just kind of latched onto it because you can play a lot of records that your guitar playing life and you want to have a couple of cool tricks. So the Hammer Poll. Awesome training to use. But you want to go through all of your basic open corpse and look for a couple of hammer poll over Syria. Deport playing with two fingers, leave the other fingers bill way Terrible's those bills drinks So some forgeries here than others. You have to get creative and kind of find the little opportunities to do. A memorable but memorable is great, a lot of fun, and you can add a whole lot of energy to your songs and reports. So go work on your hammer polls. I'll see you in the next video 8. Legato Drill (page 8): Let's work on a cooler Gatto drill. Um, licato is a term of mentioned before. It's a technique. When you are playing fretted instruments, Lavorato means that we're not picking. Okay, we're not thinking at all. There's no pick. Like what we did to him around the pull offs, we would usually pick the first note. When you're doing Lo Gatto, you're usually not picking it all, Um, the, uh the across the board definition of Lo Gatto for all other instruments is when the notes are just kind of slurred into each other instead of each. You know, being individual, all of the military just completely slurred into each other. So there is no there are no rest pauses in between the nose there, just constantly sounding from one those the next That's licato. For our purposes, we are going to say, or using a pick. Actually, where I use are picking handle. So you could just set it down on your knee. If you want to this exercise, I'd like to go on the second fret. I'm going to go second friends with my next, and I'm going to keep my next finger on the second front. I'm not moving it ever. Okay, so I'm going todo him around with my middle finger down the third front, Dameron. Good. And then I'm gonna pull off. Now I'm gonna go around with the ring finger is the fourth fret Good. Pull off back to the safe, right. And run with different books around with picky on the fifth fret and pull off back to the second front. Wrong with the ring finger on the forefront off to save and just reviewed. So going to hammer. Okay, Every poll ever, ever, ever, ever. So I'm not picking anything. What I'm trying to do is I want to get the nose string vibrating as much as I possibly can . The way that I do this with my pull offs, actually, So when I am pulling off the war, Aiken twang it the war vibration I get don't want accidentally me if I do this by accident . Yeah, so don't do that. Make sure meeting strengths. Theo, check out what's going on here. Okay, um I am using my thumb to grip and help you leverage a lot because I need to have a good grip right here. So, um, feel couple have a good group with your thumb and your wrist over here. So good and locked into place things for about 30 seconds, you say? Yeah, that hurts and is also ripping the skin off. My callouses were coming off. Yeah, that thing is awesome. Exercise. This is amazing. Drill that you can work on your strengthening your fingers You are strengthening. Your callous is extremely fast because doing Halloran's and pull offs is extremely aggressive on your skin on your calluses, So make it callouses. Really tough, really fast. It's also going to strengthen your fingers very quickly. More than most exercises will weigh. Are getting really good at doing Hebron's aunt a loss with all of our fingers. Oh, so we could be doing this anywhere. We could be doing this on any friends, so feel comfortable just the strings on. You'll notice as you go down the strings. This gets hoarder B string cheese train on the G string. Wait a low e string reasons gets farther when we go lower, like that's pretty hard to do. It is because my grip is more compromised, having a hard time with my grip and so getting my fingers old leverage. It gets pretty hard to dio is you move all of the front ward. The French are getting smaller, so that makes life easier for you. This'd is a greatly exercised to work on your hammer, Ron's and your pull ups. Okay, so go work on this and I will see you in the next video. 9. Bends (pages 9 - 10): Let's work on Ben's bending. Okay, so bending is a very cool guitar technique. One of the things that I want to do when I'm bending is I like to use my other fingers to help me to push back. So if I go with my ring finger on the east room, take my other fingers behind, tell me, push a little that So pick the fifth fret on while I'm pressing down on everything going push up on the be straight Okay with that. So pick it pressing down. I'm using the figures behind it high my ring fingers also push on the same string and push up while pressing down Just bending up while in prison. Yeah, All right. So what's happening is we're trying to go to the next friend up trying to make that sound six friends. That's what I want my fifth friend to sound like I want to sound like tha six fret six preference. Oh, okay. So that's it. Essentially have banning works. And what I'm using is I'm using all my fingers to help me push. That is killing me. And I also am or Comptroller of the speed of Of how fast. Then goes, um, so many from the fifth friend to the note that would be on the six friend cams pushing up after press the entire time. So if I If I press But I let go that the note goes away, have Presley tired? Pick it? Well, it's not that expressing and Bush and generally want. Like I said from it, on the scale to another scale from the exception to the rule is Bennett. You could take a no, that's one friend behind. So, for example, if I said if I said I like this this 10 friends, that's my note. That's the note in the song. The perfect notes, the keynote. Okay, so still gonna go the front below the 10th? Fret. Okay. And I'm going to Ben's the knife into the 10 front. Okay, well, if that's the number right behind my key than this in the scale, anyway. But one if I wanted to go to the 12 friends, Okay, so I'm going to bend to the 12 front, so I'm gonna go to the 11th Fret. Yes. 12. Now that 11 friend there is not in this key, but that's OK, because we're saying, That's OK this time because my finishing note isn't that is in the key is the My next thought was the 14th fret, which is in the song, So we'll go to the front line 14 13. I know that's not in the song. And then Okay, so, for example, in my notes that are Songer 10 12 14. So I'm gonna go 10 Bens, 11 friends 12. Front on the 13 friends of the 14th. Okay, all right. So that in a nutshell, spending now when you're bending there are generally three difference waistbands. There's 1/4 bent half bend and what's called a full bed. What we're doing is half ends, half bends. Just means this one friend half bend is one fret. That's what we're doing. So I'm going for the lead with friends, trying much full friend a za half because I'm just betting up. What would be 1/2 a friend? A full bands is where a betting on two fronts pretty hard to do on the Houston. But let's give it a shot. So I try to bend from 50 to 70 15 cents, so so good. All right, so I have to go way up high on a small string to pull this off, banning from the 15th to try to get this 17 front. Okay, that's a full band, because I'm going up to Friess. So to fresh is a full bent, 1/4 band you don't see as often. 1/4 band is more where you're just giving a little bit of you're giving a little bit of sort of bend energy to note. So if I'm here on the total fret and I want to do 1/4 bet, I'm not I'm not going to the next friend. Just give you a little bit there, Theo. So you see, But they're really saying is give a little bit, Don't go away. The next note a little over the next friend give a little bit. So the way that I approached bending That's better guy and the nose will tell you there's gonna be a little squiggle and is going to say quarter was going to say half or it's gonna stay full. So quarter. It's just give a little no way. The nice Fred Half is the typical That this was a school friend ended up with Fred full means better up. Two frets way I am for defending is I will say this is my destination note. I'm just gonna go one from behind that bend up to my destination. I don't worry about whether or not Steve the behind it is in scale or not doesn't matter to me because I know that my finishing note is going to be in the scale. So if I'm saying apply here in the a minor scale, I want one of the notes in the scale. That's not no skill theme way, you see, one of the other. So I am trying to bend from a note that in the scale to know that is in the scale. As long as I hit the note that isn't the scale, I'm good to go. Okay, So let me leave you with one bending trip. So if I am going for no So let's say I'm going for this fifth friend over your, um Then I can go like I'm gonna hit that normal of front up I go one from behind it tried attitude and I'm coupling like, e end up on the bench and, uh and I go back to the normal note. Fifth, fret it and then go to E O Theo that access. And I really think of that as being like bending drill. And this is a great way to practice spending is me trying to get exactly the right amount of pressure and also trained my year to go right to pitch so I don't over band or undermanned. I go right the perfect amount of ending on by also getting ready pressure in my house. So that is vending. Go practice spending, and I'll see you in the next video. 10. Reverse Bends (page 11): less. We're going reverse. Bending for spending is a very cool technique. If you went through any kind of time working on bending than you may as well do some overspending because it's such a cool technique. Guitar players don't use it that often, and they should is just lazy. Okay, if you have worked out bending at all, you may as well do this because it's the same dangerous backwards that we're spending. Okay, So backward spending cold overspending. So let's say I come up here, Teoh the toll friend, and I'm gonna bend my girlfriend note on the B string island depend on Eastern. So bend Wealthfront note on the B string. But I'm not gonna pick it. Okay? So mother girlfriend be stream, But I'm not gonna pick it. Just bet. Now I think it. And while impressing, I'm going to release okay as rivers. So I'm on the girlfriend Vehstree. No, I don't think it. Spend it now. Now, long pressing, I release it back to its normal position. Good. That's rivers fat. Okay, um so this, you know, we always say go from a note in the scale to a note in the scale. That's a pretty important thing to do. I would say that that's an important role. When you're doing reverse bending, it makes more sense because our destination no has to be a note that's in the scale. So you you can experiment with this. Use it any way you want to try to find a good combination of notes. But if we are looking for two notes that are right next to each other in the scale, and that would be a very safe place to work on this really from two ends of the scale that our friend Park go to the high one. Okay, lets you do this on the Eastern backers does. And that's how you do reverse best. So good work on that. I'll see you in the next video. 11. Vibrato (page 12): Let's work on our by Rato Libro does is probably what I consider the most important technique on the guitar. It's a technique. I use it constantly. And if I was going to recommend you only learn one technique would be libro. Um, let me show you. What is this? Um, we're playing any notes? Just one note, Okay. And any note? So let's say I just take this fit friend on the beast room, okay? I want to get with my strongest figure, which is probably my middle finger. Um, and I may even grab the string with figure behind it. So two figures of the same stream. You know, what I want to do is I want Teoh just rapidly shake the string a little bit up and down. Tiny, tiny little micro movements up and down really fast. What is doing is giving me a little bit of sustained and is giving me a little bit more power also. Yeah, you can hear the difference if I just go versus if I e. O. You could hear any more sustained getting more power from these. - So find barato thistles. Something that I do on almost any almost every note that I play when it's just being held out, and I want to get it if I can't even get the next one second of sustained on it than I'm going to use. Like I could get even another little bit of power on that note to make it a little bit more special. I'm going to give it I brought up. It needs to know more special. It makes it better. And so it's something that I used all the time. It is also good for when you're punctuating a riff. So you're playing something. You're playing something in your last note. You want to give it a little bit of vibrato so that no is a little bit more special than all the other notes. Well, you librato okay, so I use it as punctuation. I play a riff, and then my last my ending note. Get some Vairo. But if I'm just playing slow notes but playing very slow melody or just letting a note hang for a couple of beats, give it broader. You'll get more out of the note by doing it, and in the beginning you go like you're gonna be pushing and bending and unbending, and it's going to seem very awkward. But really, you're just trying to get used to. Your wrist is moving. And your statement Tiny little micro movements. It's not even full band is just the smallest events. Rapidly smallest events, and you don't want to go too far, so we don't want to be. Oh, that's not what we want. That's too much. It's way too much way. That's what we want. Just a little bit so well, just a little bit way. Don't want that much librato just a little bit. Okay? So go work on your vibrato and trying to prove it to playing. Actually, old time. You should always using my brother. This would be your new best that they were technique. Okay, Go work on it. And I'll see you the next video. 12. Slides (page 13): Let's work on our slides. Yeah, wise sliding. This is such a red technique to use, Uh oh. Because you combined so many different techniques with slides. Um all right, so let's look at how they work. If I take the same with you, the pentatonic minor scale. Cute. Hey. Hey. So slide. Oh, teach note. Okay, so I'm going to play the first note with front and slide into the eighth. Fret this nor here, but I have to do it with the same finger, so all right. Eso sliding from the fifth. Fret to the eighth fret now, two important things we're doing impressing all the way. So I keep on pressing until I got there. So even though I'm going across these other friends on pressing hard, I want to make sure I'm in contacts against the footwork the entire time. Okay, that's a depressing the entire time. The second thing that I dio, which is really important for sliding. Don't look at your hand as you're going. A lot of people watch their figure as it moves. Don't do that. Okay? Onley thing you want to look at is your destination. Onley. Look at your friend heading to okay? The friend who wanted land up. That's the only thing. You should do it yet. So you've no doubt here I will have you looking at the front. I'm going to. That's all I should be looking at. Yeah. So sliding is done with one finger, so you'll use different fingers. But when you're doing this slide only going to use one finger for that slide, OK? So as always, use your strong favor or whichever figure is feeling the strongest at the time, So I'm going down the pencil, require skill. I can slide back from the high notes on each string Teoh the little and it's the same concept. I pressed the entire time and I don't watch. My hand is it goes, I want to look only adds, we're going only fix your eyes on where you're going. Okay, Okay. So I can slide up, and I'm only picking it the first at the very beginnings. I picket picket slot or I pick it just like that back. Okay, so really, I'm getting kind of like two notes for everyone Now. You can slide as far as you want to, so I can go maybe from the fifth Friends and 12 front. And what? I don't want to do one press the entire way, and I want to fix my eyes on where I'm going. So we're looking at the 12th fret I fold my hand as I go. I'm just one is going to get lost, right? So fix your eyes on where you going. And generally we want to be going from a notes in the skill to a note in the scale were only hitting those and skill. Um, our point A to point B. Okay. They're just knows anarchy or scale or song. Um, but you can sometimes go from you know, that's not in the scale. We We have seen this with vending also. But you always want your last know your your finishing note to being definitely another the scale. Okay, has toe has to be in on the scales. Your finishing note where you where you land on your slut. So sliding is the same as any other technique. You want to mix it up with a little bit of play video, do a slide If he knows you knows to a slide. So you're mixing it up with a few notes. If you don't do slot right, it's really cool. So go work on your sledding. And, uh, you know what? One more thing I wanna point about sweating. Can you do sliding from an open string? Um, not really. People will do. It's ah, it's a cool guitar thing that you will see some cool guitar players Dio They're not really sliding from an open string because you can't really do that. Really. What is happening is they're kind of doing a hammer on from open and then turn that into a slide. So it's really kind of think of that as a hammer slide. So if someone is doing something like really was happening there, it looks like I'm just playing open note and then sliding. But I have to do this hammer on begins right from some friends somewhere you're just doing on the second way. I have to make contact with from open at some point, and wherever I do. That's in a lot of being a hammer. So if you have that question, can you do a slide from open? Or how would you do that? Yes, but you have to start it with a hammer. Okay, so So All right. So that's kind of like a hammer slide. Anyway. Uh, go work on your slides. And by the way, they will hurt. Okay, They will start to shred your callouses, so that's normal. A lot of techniques will really start to shred your palaces. They will start to make your figure sore. Totally normal. Totally normal is just gonna make you stronger in so gore. Better slides. I'll see you in the next video. 13. Palm Muting (page 14): Let's work on palm muting palm Muting is super easy to dio, okay? And it sounds pretty cool when we do it. Basically, when you're playing the guitar in the beginning, you learn Teoh, not your strings with your favors, cause those young your accidental immunity. Right? Then way we get a little bit better. We start doing intentional beauty. Okay? We start working on intentionally medium of strengths. Uh, so palm muting is a technique a lot of people will associate with metal play, but actually, we could use it all the time. Use palm getting all the time. What we're doing is we're taking her home. We're putting it directly on the strings way. You see how it will control volume and this works well, volume when I'm doing that? Because if I on the closer that I get to my bridge, the war are going to struggle being you know. So if I come down here like you, barely Oh, come back a little bit more when I come back a little bit more That almost all the way, I'm still hall muting. I'm just over myself. Okay, so if I go over in this direction across the so all the way is a dynamic, so that way that makes us is mostly associated with playing power forward. The reason is that works really well over the base tricks way. I will also use palm muting when I'm doing, uh, scale works. No way I'm bringing the swell across a little bit more. What I'm doing is I'm going back and forth between feuding over the notes and I'm trying to sort of bring it down and then bring back up, down, bringing back up using swell. What I mean is that I want the volume to get louder and quieter and louder. And choir and training is a combination of things I'm trying to pick louder and softer. And I'm also trying to use a little bit of palm muted. So gore on your home We're gonna commuting. I'll see you in the next video 14. Trills (page 15): let's work on our drill. So trill is when we are playing two notes, superfast back and forth. Um, they could be a friend of our two friends apart and three friends apart. There's no rule where it tells you exactly how many friends departed to trust to be. But usually they're kind of close. So patrol like this, Or it might sound like this or my son like this. Okay, So do it is him, Ron, to pull us super fast, right? And if I said I'm gonna do the second friend and the third fret on the high street cut. So I'm just gonna pick first note just to get it vibrated. So I'm gonna pick the 1st 1 and then that's it. So So let's say I'm gonna pick the to off ever full, memorable, memorable Wait the first note to get going, and then we just go and purple on this to nose fast. Okay, um or could be like we said, it could be two friends part so three part. Yeah. What are the two notes the two knows would normally the notes from the scale. So if we were playing, um, we're playing the skill. Whatever. Then you want to take two notes from the scale so it could be two front support then, you know, they're the lamest Wes. And if they're going to be, uh I'm sorry if this one Fred apart that that's what you have twice. But if it's two friends apart, we've got a few different options in any scale where that's going to be the case. So what if I was playing saying the key of G? All right. And I want to do the room notes and see stuff. So the second friends, third g, right? So the interesting thing about trills that's going back and forth between the two knows. So let's say you are a scenario where the key of G g major eso eso want Teoh, Do you want trill between the three and two? It sounds like G doesn't even know going back and forth between the F Sharp and G. I'm just hitting it so much that it sounds like G. But the interesting thing about troll is that if I do a trill between three and five way all right, it also works. So I would say that when you are the highlights of your trill is going to the ideal Or if I want to show a geek or than the highest Oh, my trail so has does is gonna be three of the two Thats going to be the ideal way to show g court. But I can also make the Rudo my loathe G. It also could be showing a mile, you know? So it's kind of about what your ears hearing. And so for me, both of these were going to work over the G. I've done 35 or 03 What seems to be the most solid is going to and through the high note of the trail is going to be what I'm room No is what I'm trying to show as my room. I want to show g so to make my mind go back forth. So, for example, if we're playing something like e minor e minor and I want to very definitely show, that is a few minor trill gonna have high being e just trill between It'll be a dino because we're Niemeyer So right where I do my e Here is my e My root note is my boat OK, that's what I'm trying to show you. Rooth. That is a great, effective way to show a trill. But like I said, we could also have the O also have a right to be. The low note is just about what your ear is hearing what what you want to show in the drill . So drills. Very cool tool that you can use. It's another thing for your bag of tricks. Go work out. This is ham arounds and pull off super fast. I recommend using the route over the keynote as your highest off to nose in your drill to be, could be two friends for could be three friends apart. So before going to drill and I will see you in the next video. 15. Pick Placement: Let's talk about pig placement. Alright, So pick placement is, um definitely a poor technique that is very seldom discussed. People don't really consider this to be a technique or they don't think about it. It is very much a technique on this is something that the ITAR masters use all the time. Constantly. I try to use this, Aziz, often as I lost the cup. It doesn't matter if you're playing an acoustic guitar or an electric guitar. A lthough. It will be more apparent on the usage. Uh, but this is true. The electric as well. The electric guitar has the toggle switch where we can uh huh. Change CPI. Pick up selectors, we consume. What is this? Pick up this pick up. And the interesting thing about pickups on an electric guitar is that they work the exact same way as the natural physics works on an acoustic guitar is that when we are playing close to the bridge when were strumming close to bridge way get a very high tremblay sound on. So this if you had a pick up on electric guitar arms right here that this would be your bridge pickup Good. And it's gonna be your trouble, Sandy pickups, your high troubles and pick up. OK, so I thought this would be your next pick up, because that's where your next starts. So your pick up, that's or sure is gonna be your next pick up. And it sounds, Basie Okay. When you change your total switch and you're now playing on your neck pickup, it sounds Basie, just like real life, actual physics. Way basic here. Now, people, When I try to figure out where to play, they think they have to play directly over the sample on acoustic. You don't have to mean you can. It's fine, but really, the mid range between the bass sounds and the trouble sound is gonna be right here on the edge of your sample. But really, all where this particular lesson is that I wanted to play with, I wanted to start playing with it. Okay, Addition always be the exact same thing. Your position should always be in the same position. I want you to start moving around. Okay? So if we are doing something like, uh, back here in a nice, comfortable position in my mid ranch position, right on the edge, of my central way, Theo. Way, - way you see, what's happening is that was moving around. I'm able to get different. It's a difference, uh, tone between the high pitch and the low pitch between the trouble base execs in notes, getting tones to switch between the high trouble in the base way. And that's what this lesson is all about. Okay, just start thinking about it. Be aware that don't just assume, okay? I've got a nice natural position here on you being good. Done. I don't need to worry about the same wrong. Think about moving around, start moving around, getting during dynamics, Do with courts. Also, because if you're going like a way, Theo, your Bumi coming towards the neck gets a little trouble isn't going towards the bridge. That's it. That's the lesson. So be aware of this. Your big placement. You aware of your pick placement? Okay. It just works the exact same way on acoustic as it does on an electric on, By the way, for the electric players, they're watching this. You have total switch. And so just because you got maybe your bridge pickup selected doesn't mean you can still access this This is just basic physics, that plastic, Any kind of Iran extreme body. So it doesn't matter if you're using your rich figure or your neck pickup. You can still play around with this and use it Doesn't matter what pick up you have selected. So you wear that and use it. Uh, yeah. I'll see you the next video. 16. Fret-Tapping (pages 16 - 18): Let's work on our fret tapping friends. So friends having is really just doing Halloran's and wolves with our right hand with are picking aunt. So I have no big I'm going to do him around gloves, otherwise known as front tapping taps. My right hand and I'm going to do Cameron's and pull offs with Pilot 10 also used them together. OK, so generally we do from tapping when we can't reach with just one hand. So this is something I'm using to get extra reach to really old across the fretboard on this is so there's usually done one string in the time we can combine strings and go across the strings, but we're going to be doing the friend tapping on one string at the time. So if, uh, we said we're going to do double and triple neurons and electrical loss, she goes. So if I do tapping and, as always, we won, these are strong fingers with were tapping when we're doing any technique. So if I go on the huster all right and I'm going to do a him Ron with my background told friend, You're good Hammer going to pull it off to their friend going to pull that off to open. And then little friend off the theme you get the hang of it. Actually, speed this. You go extremely fast if you want to. And what do you want to do is you want to start moving your fingers around and try to get comfortable with just one spring moving around the different notes so that if I'm just doing some stuff like an e minor kind of thinking e minor at the moment, you do anything you want. Just be that one string at a time. So I'm thinking you minor just dealing with drink. So, Theo way So that is just going on one string and I'm kind of going back forth to open and I'm kind of thing, just like with a lot of the things we want to send over a rhythm and nose at that, what rhythm is supposed to be. So we're kind of getting into the cycle. So if we're doing going one and two and three and 41 he had Teoh Okay, so ultimately, that is all that we're doing. What we're doing is, um, you're just moving around on your thinking in terms of what is the rhythm that's supposed to be playing in So Teoh? - Good . In a nutshell, that is tapping and you can see the possibilities expanding. Is that anything that we can do with their left hand when it comes to tapping and pull offs of Herranz and pull offs can also be done with our right hands when we're tapping. And so this is something that could be done across cords or just on most ringing time. It could be combined with picking, and what people will dio sometimes is if you're playing with a pick, you may be playing with pick. And then you may decide what's happened with your middle fingers so that you can more easily get to the note that having to send out your pick, it's a local community that way. So, anyway, this is tapping. I started thinking about expanding your hands and pull offs into adding your right hands into the mix, and I'll see you in the next video 17. Sweep Picking (pages 19 - 21): Let's work on our sweet picking. Okay, so we are sweet thinking sweeping. This is also cold economy picking. So the idea here is that we are instead of using alternate picking, which is this What you usually do when you're playing you're playing through scale are arpeggio. You'll use alternate picking a lot that's standard when were sweet picking were using a calming picking. So we're going in the same direction. Okay, we're using the energy to just keep on pushing our pick in the same direction instead of ultimate picking. A lot of times when you're doing sweet picking, you will be using arpeggio shapes because, um, for the most part, when you're sweeping, you'll be doing one doper strain. So arpeggio shapes are the preferred way too sweet. And so we're just going to go through to simple shapes. Uh, in this exercise to kind of get you up to speed on how to approach sweet thinking, I'm gonna break down, pick direction for you, and then also the other fundamentals, mainly being that you have to figure out what the rhythm is going to be. What I mean by that is how many notes do you a complete sweep of your shape. How many notes are you going to have and or have any notes? Do you need you figure out one of those two things? So, for example, if you say well, I want to dio 16th notes So any four no's for eight notes, then you need to figure out how to get four rate notes in your suite to complete the entire suite. Ah, lot of times is going to be you're going to either be. Don't do older triple, so you have to figure out your four or eight nuts and only ducal something about two. Or you can say is going to beam or something like six or even 12. It's Quimby's triple Something is divided by three, all right, and so we're gonna be doing the triple today. I'm going to be using these arpeggio shapes where we are rooting on the, um, on a string. So if we take this arpeggio shape here, I'm gonna do it. D uh, do you major sweet? Okay. And what's happening is we got that is my arpeggio case of my team major arpeggio way. Want to sweep it? Okay. And the sweepings holed up with her picking. And there's three. Only thing that's different about what's going on with our left hands were playing. We're figuring their visual shape within this unique about her left hand is we're trying to sort of a role onto the shape so that the notes are not ringing into each other. We don't want that. We don't want the notes raining into each other. We're believing into each other. So when one nil is played and then we go to the next note, we want previous no to be done with. Ideally, that's what we want to have happen. So we're sort of rolling our hands across the arpeggio shape. All right, This sweep picking is a really difficult technique. So if you have a hard time with it in the beginning, then you're like everybody else because this is really hard for almost everybody. It's hard for May, so just a really difficult technique. But the main thing that is hard to figure out is the count in that house you first repair. So I'm gonna show you that right now. So the first thing that we want to do is, uh, don't have to fix sticking out. Okay? I will normally do that anyway. But it's especially true in this case. We don't want that much pig sticking out. Just title, but And we are going to drag going to drag all in one direction down. Okay, Starting from the a string. So I am going through my d measure Ways your way. Come up, Teoh. My fret with Vicky and play. That wasn't going to pick one. That's why do half of this week. So I go all downs all the way to get to the high strings. Do. Last note isn't up, which is picking up on the way. Okay, Now, if we count is 123456 My rest of the game need to know what the rhythm is. That really is. How sweeping ties together. It's how we can have a big sense. But I don't have any notes. How many of these? They're gonna be, So All right, so that means purview to reverse it. I need a cigarette, Get six notes. So you before and there's okay. So my last note was an up, so I'm gonna hit this picking up again. Reverse direction. But I have to start, all right. And you know, against them to go down on now on the to do everything else doesn't up towards me right now . All I do is I hit this starting again with down and I just can't repeat the scythe. Theo way just Teoh. Thanks Us. Okay, so that's just going from the d major arpeggio. So when I want to go through my mind arpeggio using the exact same picking technique and I have the same amount of notes for string. So it's one of what it would have in Tunis on the high Street. It's gonna be that way. It doesn't matter if you're in a major for the my arpeggio. So that's lit up here, and I do e minor. Our job is gonna be like this theme, eyes exact. Same picking in the sexy amount of shape is slightly different. May have to do a little bit of a stretch my left hand. But that's fine. Your G major, What's going on? I'm thinking about rhythmical Anthony about this is like 16th note triplets. So I was like what you do for 6123456 So for every beat every quarter note. One sweet had a sweet direction. So So that is how we are doing the full suite when I call a full suite, just going in one direction. All right, Now, let's look at doing the half sweet. Okay, so this is where we're going. To the three high strings. Oh, uh, this will remove. Use a slightly different picking direction. So I'm gonna go straight from the G string. We're doing the d major. You still eso starting from the G string, So sweep down, I think. Right. And then I'm going Teoh go down again on that high notes, um, Teoh off and then hit my middle News isn't up, so I'm doing pull this time when I get to the high low right way So we're still breaking up into six. You may be down. Good. Now you just plug in the arpeggios that you want. So if I want to do the admire, it may be a little bit more stretching with, but that's fine, Theo. Good. OK, so that is in a nutshell. How you want to approach your sweet thinking. So go work on this and I will see you in the next video. 18. Natural Harmonics (pages 22 - 23): Let's work on our natural harmonics are blacks are such a amazing thing that the guitar can do. We want to understand as much as we can about the theory so that we can use harmonics intelligently. So there's a few different types of harmonics. What we are talking about right now are called natural harm locks so natural there naturally occurring, it means that they are just, you know, based on physics. From this node to this note, from the nut to the saddle, this is vibrating, uh, body, which is the string. There are places along the vibrant body where we have naturally occurring harmonics. Okay, so in terms of what does that mean? How we use that There are a couple places where the harmonics are easy for us to access. So the place is their most easy access Are going to be a 12 front fret on fifth weighing these. Let's go to the 12th. Fret eso Here I am over my double dot The metal of the actual 12 fret case is over the dull da. But right here is the actual metal. 12. Fred, the actual 12 friend itself is right here. So what I do is I put my finger over the strings right over the metal of the 12th. Fret and I'm touching the strings. But I'm not present, okay? I am touching them. Very generally. I'm not pressing. I'm not pressing down to the front just over the front, Very gently touching the strings, Making contact with strings. Very, very gently. I can't emphasize that. Enough. Not president. Just barely letting my skin touch this drink. I'm gonna pick really hard with this. Oh, so I am just barely letting my skin touch the strings. I'm going with friends picking really hard across every strata. 12th fret. Natural marks words together. One of the things about natural harmonics is that once I get ringing, I don't have to keep touching it. I actually can accidentally beautify Dio really Right hand there. I can accidentally You did. So what's this ringing? I could take my hand off. It's gonna be great. So natural remarks. Very cool. You wanna touch over the metal in on the friends that are good places to play robotics, But don't press, just gently touch. But you want to pick it very hard. Really? You take a letter race. So we've got a full friend. We have this seven fresh way, the way in the beginning. You're going, Teoh. Maybe you're not able to get them to come out. So what I'm saying that you want your your finger directly over the metal of the friends it takes. Uh, it might take a few minutes for you. Like, really find what I call this sweet spot The sweet spot. And it's just very, very easy the off. So you want, like, moving a little bit left a little bit, right? But basically, you want your skin directly over the metal. When we play guitar, we don't press on the front. We pressing the space in between France. Okay. And that's what is a little different playing for Monix that we want to put our finger directly over the actual friend itself directly with the actual metal of the French and very gently way. So that is a very basic ways to play natural harmonics. The 12th fret seven front on the fifth fret practiced doing together. We're starting all six strings together, but we also want practice playing, So there are some other places that are really good places to do harmonics. I'm going, Teoh. Definitely be including a pdf in this lesson s so that you can get more in depth. Oh, because there's actually a very there's a lot going on with harmonics. Eso There are other places that we can play them, such as the fourth fret on. Then there is the three and 1/3 about front and then there is about to, and about two just barely Be on the second fret. There's another We're friends. You have heard this actually a bunch of times on my opening Sequus thing. What I'm doing is just on the e string playing along these natural remarks here five for about 3 30 So what guitar players will do is they will learn what these notes are. And so everyone's reminds is a note eso some of the very fundamental room Mary Ways to think about it is the Carmelites of 12 friend and the fifth fret are the same is the open strings. So if this is my e string on my tool for harmonic, my fifth harmonic isn't you know as well It's just a higher active, you know. So don't be string the string bean ups on the front and, you know, on the fifth fret my G string is a Gino 12 different way A e way. And also we do have the 24th front. Okay, so the 24th fret way don't need We don't need to have it what we're doing with our lives. It's right on the edge of myself whole. Um And if you're on electric, that is going to be either your highest friend Worse would be on the edge of you were pick up. So I z 24th fret you naturally occurring harmonic right there. It is actually the exact same. So it's kind of like just a shawl kind of flashy thing that you can do is Teoh just play a little bit from ice on the 24th fret which is these icings fifth threat, which is the exact seems open. So it's easterain. You have the fifth you 12 e on the 24th or you go went over Go under honor their under 5 12 24 It's all the same is the open string. Now these front the seven friend is the same as the fretted seventh Fret what I mean, is by press on some fried on the high scream. It's a B note e g is your beat to be note. So then my heart is also going to be a B note. Okay, so if I press on this, um, friend, it's a denote that my harmonica is also the B string. A season 30 80 sharp E f f star is an f sharp note. So he straightened harmonicas. Okay, whatever the whatever the fretted note would be on the some friend, that's what the harmonic is. So Thio thio e this'd me access. Okay, good. Now this is a is, uh, harmonics can start being very confusing quickly. And we're starting against that room right now. So if you're getting confused, don't be. Just focus on 12 75 12 5 is the same is open. Seven is the same as the fretted seven note. And you could stop that. You want to keep going and we can say front seems different. The fourth, Fred, the fourth fret hole is the exact same rules is the seventh front. Whatever the front and fourth fret notice is going to be a harmonic. So on the High Street. That's a G Sharp said she sharper mind because this would be a g sharp notify pressed on it so that extended to sharp harmonic beast drink is gonna be a G sharp B g. That's going well, confusing G string Hasn't you know, destroy has trumped Theo a strict as a seizure. As the low Eastern is four. Threat is the same as president lies the three. Any third fret get your the three of third fret. Harmonic is actually an operative of what these seventh fret Harmonic is. Well, this is going crazy. So if my seventh fret harmonic is a B note, is this what you press on? Then? My third front or more of the same strain is active of that. So this is a B as well, just okay, um and there are some other very cool things of harmonic wise that are very confusing, but just take them at face value. Okay, the ninth fret. Harmonic is identical. The fourth row, so they're exactly knows, exactly frequencies. There is a slightly passed to her mind that I can sometimes it sometimes I can't. And it is actually an operative of the fifth fret. So I've got a friend. Then I can hit operative, which is actually also a motive of the 24th for um okay, and that about sums up natural. I'm sure they're only confused. I'm a little bit confused. Teoh is just a lot of weird things that don't make sense with harmonics. Were getting into so really strange math that I don't fully understand when it comes to the harmonics. Physics of harmonics. But it's very interesting if you want to keep it simple that I would say focus on 12 75 as just be aware off the knows that you can play so you don't have Teoh six place Geo. You can start to put together a little diocese where you're just looking for a little parts of the court using the harmonics, so it really doesn't result of that. So look for a little opportunities to use the harmonics because you know the notes 12 5 seems open. The seventh friend is the same as the friend of a friend, and then going 54 and three is actually just playing off the the room. No, Steve, Major third and perfect fit animals. Okay, Excess natural form locks. There's a lot going on there. So, like I said, I will include a pdf to check out so gory that the work of these think about them. Start including them a little bit into your playing it very cool that you can do. Um, do you have your tricks? We're gonna natural harmonics and I'll see you in the next video. 19. Artificial Harmonics (pages 24 - 25): Let's work on our artificial harmonics. We got this far. We've learned about the natural harmonics, so we may as well do some artificial or mocks because it's built on the same theory. All right, so we talked about how the red good, strong friends to do. Let's just focus on the right. OK? Is probably the strongest fret stroll. Friends up there are certain knows that we cannot it with a natural harmonic. So that is when we want to do artificial. There are only certain knows even others last lost to places to play natural remarks. There are certain knows that just don't show in the natural harmonic sequence. This is when we dio nor official harmonic. OK, here's how to do it. Uh, 12th Fret was our strongest one. So in f note, right? And I know doesn't show in natural remarks. So going to for us on the first friend on my note. Okay, I'm going at 12 to it. So one plus 12 is 13. Okay, so I come over here to the 13 threat, okay? And I'm touching on the 13th front cause first reckless Well, 13 touching on it with my finger. Very gently. Not pressing. I was touching, Just like I would do a harmonic Do you want? Take my thumb underneath. I'm going. Teoh plucked the strings underneath with the while impressing on it. Okay, there. Were you okay? So touching. Very gently Plug it with. Okay, that isn't harmonic. It's an artificial home because we have manipulated That's full friend ideas. Your So I can go down all the strings of the first phrase trying still the notes on the second front. Okay, so, second, Fred. So now coming up to the 14th. Front up. You're just going to touch the 14th fret Tough around a threat. And I Anything with my thumb. I am plucking it. Okay, this is a little tricky, so it feels a little awkward, but you can get used to it after practicing a little bit. Well, good. Okay, let's try something like putting a court to go, because this is how you see that artificial hormones to use. A lot of times when I played geek or Decker some finger agincourt, and I'm going to add 12 to every strip. So you're on the third friend, so come to the 15th. Next string is a On the second fret. 12 Do it says 14. The next three strings air 12 12 full. So 000 My strength is the 15 was 3 to 3 plus 12. 15. Okay, lets try and Deke Ord Going to add 12 to everything down. Sure. So go best fall. Three, 2 40 Let's do a c court in at 12 to everything in my secret, including my open strings. So it's really kind of like just kind of like visualizing doing a secret of here. I'm just doing with his hands. Good trying in a core. Good. Let's try, uh, equal. Good. So, um, right now all we're doing is we're accessing the 12th. Fret, um, theory the physics of the 12 front. But we've got 12 75 right, so we can access also the Fred and some front The Fifth Front is going to make a lot of sense since is going to be just active. Okay, so if I let's say I'm doing Ik Ward, okay? And so if I come up and wants to Dio, based on fifth front says that makes a lot of sense. I'm just adding five to everything I'm doing down here on the EQ wort. So five from O'Bannon's five to is, uh so so from one is six five. Okay, But I also do so like we said, if I do, seven is going to change the court, so it's not me report anymore, but let's see what it sounds like. Good. So what's really cool about artificial harmonics is we're starting to see all of the possibilities. There really ridiculous amounts of possibilities here. I'm just figuring antique work. Okay, I'm going. Teoh, do it on 57 and 12 and lies. That s pretty cool stuff. Is it so a lot of possibilities. And so I can their artificial because I can start manipulating them in doing them anywhere . Even when I'm fretting on a note, the very easiest way to do is to say I'm on any random knows I'm here in the third friend of the G string. I had 12 to it. Three plus 12 is 15. So I come up to 15. Yes, I've got my harmonic, but I could also have five or 7 to 3 plus 58 and three plus seven is gonna be so well, 15 exist are you? Four months? There are a lot of fun, and there are some famous guitar players who have come really deep into study these and trying to understand them. And they do just amazing things with artificial or mocks. So this is your introduction to them. Go work on them. If it's detecting for you, then go headlong into them because there's a lot of cool stuff you do with them. Uh, and even if they're not, doesn't that you want to explore that deeply is cool to be able to do a few of them or to understand what inter players you're doing them when you see that playing these, they're just artificial harmonics and pitched harmonics are another type of robotic that didn't include in the course because pitcher Monets are basically or official harmonics off the concept of a pitch. Harmonic is when you're taking the exact same principles of an artificial harmonic, and you're just trying to play it with your picking hand. So if I am trying Teoh, um, like that So Sam on the third front, and I had 12 to its those 15 so I wanna pick it over where I know harmonic is way, and what I'm doing is I'm picking it and then remedial effort. Piggott. I'm letting my thumb touch it right on that spot where the harmonic is. There is Okay, So what do that do? It was called a pinch. It's like pinching. So is a pinch harmonic, because I pick it and I'm immediately pitching it with my I'm just letting it touch. It's these excellent principle as artificial heart blacks eso When see guitar players that are able to get that squeal, they're using a pinch harmonics. But it's the identical theory of artificial remarks, which is built on all the visits and theory of the natural heart blocks. So I hope this makes sense to you. Go play around with artificial harmonics a little bit. There's so much going on there. They're very cool. Very cool technique. Get lost it. Have fun with this. I'll see you next. Video 20. Rakes (page 26): Let's work on our rakes. Okay? Raking is what a lot of people think playing arpeggios is before they were whether measures really are. A lot of people think that arpeggios a rake. So what a rate really is. It is like going through cord. Okay? Going through later work with a lot of times and is getting a percussive elements to landing on a single note. What's happening is that I am trying to access the notes of the court on my way up to land on my final note. So it's a little bit like a little tiny little mini sweep. Um, but using the corpse to help me get the percussion out on the way to my final note. So what's happening is that I am just stirring on my D string here and just doing a little miniature bark or okay. And I am rolling my hands fierce alert. What you doing? Sweet. But okay, I'm just trying to get to this note, and everything else is going to be finished, okay? Working will try to get back to this wolf. Those Aaraji No way, Geo way or going for the way, way using this ship for the major arm using the shape for my thing and is very staccato. So when I say staccato, every note is being cut short. Harry, it's not running into each other. Every note has got his individual short firsts way. Use any kind of small core shaped like a small mark worship to do a rake. Oh, so while doing this I'm raking is very similar to what we do. If we were going to do sweet thinking where we would just push perfect or pole or pick all in one direction so pushing until I arrive at my last note so way could use the same technique what we're doing open courts just fine. You can use this technique over anything. I'm just showing you how I like to use it on small manager for quarters using a full bar board. Okay. Oh, really? What's happening is just trying to use the rest of the cord to give you a percussion, the because of sweet inwards land on that one. So, Theo, trying to rule my hands so that knows we're not remaining two were trying so much so obviously this gets a little harder when we're doing open courts. Wakey oh, trying to minimize the other notes ringing. So as many of the other knows that I commute, that's good. That's for good. Rake So way. The last thing that you hear at the end of it, good rake is either the high note for the loan out. Okay? And that's really what you're left with. And it's not that I'm just going like you can hear the difference, right? Yeah, because I'm also stopping it trying to stop on. And I've got this sort of lose a meandering other percussive string knows before it. Oh, all right, So this is raking, and this is an awesome technique that you can use to control. It's really about controlling the rhythm and how much of the court your leg bring out. So if we want to after size is certainly note or too good for accord, we can really control it by pulling back. Were raining in a leather hoods of the court and doing a rake. So this is an awesome technique. It takes a lot of skill Bill control so gored on your raking, and I will see you in the next video 21. Tremolo Picking (page 27): Let's work on our tremolo picking tremolo picking. Also cold trim picking. Uh, this is a pretty cool technique. Um, it makes this sound like you're flying on your guitar solo, but is you know, so many of our techniques. That's what they make it sound like, Really, we're just doing a technique. Essentially, what's going on is we're going to pick the same note multiple times, rapidly picking the same note. Now, as with so many techniques, we want to know what the rhythm is that we're doing. So it makes sense is not just a random technique. When I am doing tremolo picking, I like to think of it as either being sets a four course institute. Let's take the, um, let's take the pentatonic minor scale K way using one just a pentatonic minor scale Cuba. Yeah. So if I am going to do trouble picking, I'm going pick each note in the scale four times. So, Theo, But what I'm doing is I'm trying to go super duper duper fast, as fast as I possibly could go. All right. So what? I need to get used to doing this taking in terms of like when he had to three things, okay? And that's groups before that way. So I'm just doing four picks really fast. And when I'm going like this, I'm not doing regular pick I'm actually getting When we're doing alternate picking. We're just letting our risk dual working. Oh, so I'm not using that same muscle I'm actually getting or my arm muscle into it. I'm just keeping my wrists straight, you know, just trying to use more. And also, I am just letting the tip of my pick brush against the string, so try to pull back on the way. So that is trouble picking in groups of four. I also said herbs, too, So if we just do the exact same technique, but we just do to change the way just exactly Teoh start getting into what is really trouble picking. Removes, he professed. I'm just trying to go for my or my arm muscle, not using my wrist using my arm. Do you have a fast move? My hand just trying. Pull back as much as I can see. My pick is brushing against the way. So this is something you can throw in to mix of all your techniques it makes some pretty cool. Makes you sound like you're going really fast. But really, what you're doing is you're just saying the same dope to profess. All right, to go work on your trouble of living. I'll see you in the next video. 22. Closing Thoughts: you did it. You got all the way to the end of the course. Good job. Well done. All right, so you complete the course, which means that we have covered on all of the major techniques that can be done on the guitar. So I mentioned this a few times before that there are always gonna be a couple of other techniques, but there going to be much more rare. And so you're going to spend the rest of your guitar playing existence trying to seek out these other techniques or invent them yourself. So some of the craziest guitar players in the world will always try to invent a technique that's never been done before. So guitar players use a technique that is special, and most people have never seen it or learn how to do it before. So these were the kind of things that you will maybe be looking for. Always be looking for this new, weird kind of technique. But we've done all the basic ones in this course. So now that you know them, you should be practicing. I said at the very beginning that we don't wanna be doing techniques constantly. Okay, so This is something that when people start learning how to slide the next thing you know when they take a solo there, just sliding every single note slide, slide, slide, slide, slide, slide, slide that's good practice. So when you're practicing slides, yeah, you should do that. But really, when you're soloing, you wanna play if you know it's to a slide if you know it's to slide play if he knows you slept, play. If you know it's doing Deborah life, he knows you'll pull off. Play few nose to hammer poll place. He goes to a slide hammer. Pull plays a few notes to a friend. Tile our mark. So you want to be mixing it up between play a couple notes. Do your technique if he knows you technique so that you're not just doing techniques exclusively. So learn has just thrown into right the right ratio, the perfect amount. So you are going to be working on this. Try to get cleaner and more accurate rule. We try to get more accurate with your techniques. Techniques on the acoustic guitar are generally more difficult to do than on the electric, Um, on the other hands. That's not to say that. I think something electric are easy because if you are too strong or if you're too powerful . For example, I play the acoustic guitar so much so often that when I played the electric, if I go for a bend, I'm used to having to use a lot of force. And so I over bet on the electric. Or if I'm doing a hammer on, I even hit too hard, and that's just a little bit. So you have to get the right amount of pressure, the right amount of exertion in order to make the technique come out really smooth. Uh, so a lot of that is just how well you know your guitar. So start working on these incorporating techniques into your playing, um, and the hammer on pull off llegado drill. This is definitely a great one that you can work on when you are doing techniques. I've said this several times. We are for the most part, going from a note in the scale or key to a note in the scale were key. So all of the notes from point A to point B from the beginning of technique to the end of the technique. It's all notes from the scale that you're in or from the key that Iran, so we're not necessarily hitting any new notes is all from a note in the scale to a note in the scale, from a note in the song to another song. Generally, that's how things were going to go. So they should make musical sense in what you're playing, and they should be done appropriately. Okay, so technique is kind of cool, cool flair. So maybe if you're trying to be so you're playing, don't do attend me at that moment, but what do you want to show off a little bit? That's the time for the technique. You have the appropriate time to use it, start practicing them and using them. Um, pretty free will be really comfortable doing them, so that when you go to execute to make you comfortable, that is going to come out. It's going to have to go to sound good and loud, and it will make sense, and this is also going to start developing your own style, your style, so eventually people that know you are go here, you playing will sail that sounds like so on. So style. That sounds like how someone so place that bu you're so and so And so they're going to start hearing your style of play. Which could be that maybe you like to do Venza lots and a certain kind event, maybe Like to do this particular gotta slide. Maybe you like to do hair pulls a lot. So whatever you like to do if you're comfortable with is going to start developing your style, which is great. It's good. Having a style is a good thing. So anyway, thanks for being a part of this course with me. It was a lot of fun. I love talking about guitar techniques. I love showing them to you. And there are always new techniques out there to learn. Like I said So also, guitar players are always experimenting with new ways to make sounds come out of the guitar . So always be on the lookout because there are more crazy techniques out there. Maybe you will event one and maybe one day you'll teach it to me. That would be pretty cool. Okay, well, thanks again. It was a lot of fun, and I will see you next time