How to play guitar - intermediate, 6 weeks to become a better acoustic guitarist | Christopher Richter | Skillshare

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How to play guitar - intermediate, 6 weeks to become a better acoustic guitarist

teacher avatar Christopher Richter, Learn to create music the way you want!

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

Watch this class and thousands more

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

Lessons in This Class

97 Lessons (4h 15m)
    • 1. Welcome

    • 2. Week 1 introduction

    • 3. Introduction to bar chords

    • 4. Bar chords F Major on the E shape

    • 5. Rhythm pattern 9

    • 6. Picking pattern 1

    • 7. Picking practice track 52 bpm

    • 8. Picking practice track 62 bpm

    • 9. Picking practice track 72 bpm

    • 10. How to learn the notes on the guitar in 5 steps

    • 11. Chords to use in the key of D Major

    • 12. Week 2 introduction

    • 13. Top 5 tips to become a better guitarist

    • 14. Bar chords G and A using the E bar shape

    • 15. Rhythm pattern 10

    • 16. Picking pattern 2

    • 17. Picking practice track 2 - 32 bpm

    • 18. Picking practice track 2 - 42 bpm

    • 19. Picking practice track 2 - 52 bpm

    • 20. The notes that make up a chord on guitar

    • 21. Chords to use in the key of G Major

    • 22. Week 3 introduction

    • 23. The basic Major scale on guitar

    • 24. Bar chords Fm using the Em bar shape

    • 25. Rhythm pattern 11

    • 26. Picking pattern 3

    • 27. Picking practice track 3 - 52 bpm

    • 28. Picking practice track 3 - 62 bpm

    • 29. Picking practice track 3 - 72 bpm

    • 30. Notes in a Dm chord

    • 31. Notes in a Em chord

    • 32. Notes in a Am chord

    • 33. Basic structure of songs

    • 34. Week 4 introduction

    • 35. Introduction to reading guitar tab

    • 36. Bar chords F7 G7 A7 using the E7 bar shape

    • 37. Rhythm pattern 12

    • 38. Picking pattern 4

    • 39. Picking practice track 4 - 52 bpm

    • 40. Picking practice track 4 - 62 bpm

    • 41. Picking practice track 4 - 72 bpm

    • 42. Notes in a D Major 7 chord

    • 43. Notes in a G Major 7 chord

    • 44. Notes in a C Major 7 chord

    • 45. Chords to use in the key of C Major

    • 46. Week 5 introduction

    • 47. How and why to use a capo

    • 48. Bar chords B, C & D using the A bar shape

    • 49. Rhythm pattern 13

    • 50. Picking pattern 5

    • 51. Picking practice track 5 - 52 bpm

    • 52. Picking practice track 5 - 62 bpm

    • 53. Picking practice track 5 - 72 bpm

    • 54. Notes in an E minor 7 chord

    • 55. Notes in a D minor 7 chord

    • 56. Notes in an A minor 7 chord

    • 57. Chords to use in the key of A minor

    • 58. Week 6 introduction

    • 59. How to use a guitar pick

    • 60. Bar chords Bm, Cm & Dm using the Am bar shape

    • 61. Rhythm pattern 14

    • 62. Picking pattern 6

    • 63. Picking practice track 6 - 52 bpm

    • 64. Picking practice track 6 - 62 bpm

    • 65. Picking practice track 6 - 72 bpm

    • 66. Notes in a G dominant 7 chord

    • 67. Notes in a D dominant 7 chord

    • 68. Notes in a C dominant 7 chord

    • 69. Chords to use in the key of B minor

    • 70. Chord practice 'Berlin' (G Em C D)

    • 71. Chord practice 'Berlin' 52bpm

    • 72. Chord practice 'Berlin' 62bpm

    • 73. Chord practice 'Berlin' 72bpm

    • 74. Chord practice 'Noumea' (G A D Bm)

    • 75. Chord practice 'Noumea' 52bpm

    • 76. Chord practice 'Noumea' 62bpm

    • 77. Chord practice 'Noumea' 72bpm

    • 78. Chord practice 'Noumea' 82bpm

    • 79. Chord practice 'Abu Dhabi' (Gm Am Dm Dm)

    • 80. Chord practice 'Abu Dhabi' 52bpm

    • 81. Chord practice 'Abu Dhabi' 62bpm

    • 82. Chord practice 'Abu Dhabi' 72bpm

    • 83. Chord practice 'Abu Dhabi' 82bpm

    • 84. Chord practice 'Prague' (D D/F# G A Bm A G D)

    • 85. Chord practice 'Prague' 62bpm

    • 86. Chord practice 'Prague' 72bpm

    • 87. Chord practice 'Prague' 82bpm

    • 88. Chord practice 'Canberra' (Am Bm CM7 CM7)

    • 89. Chord practice 'Canberra' 52bpm

    • 90. Chord practice 'Canberra' 62bpm

    • 91. Chord practice 'Canberra' 72bpm

    • 92. Chord practice 'Canberra' 82bpm

    • 93. Chord practice 'Singapore' (Dm CM7)

    • 94. Chord practice 'Singapore' 62bpm

    • 95. Chord practice 'Singapore' 72bpm

    • 96. Chord practice 'Singapore' 82bpm

    • 97. Thank you

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About This Class

Intermediate Guitar will take your guitar skills up a notch. It will help grow your confidence and give you a little edge to help impress an audience.

Take your time. Have fun with the process. Love the result.

In this class you will learn:

  • bar chords
  • fingerpicking techniques
  • various strumming patterns
  • a little bit of music theory
  • chord groups to help with your songwriting
  • lots of practice tracks at different tempos to help you with your playing. 

The class is divided into 6 lessons with each lesson building on the next. 

The lessons are followed by a collection of practice tracks for you to try out your guitar rhythms and practice your chords.

If you already know your basic open chords like Em, Dm, C, D, G, A and E then this course is perfect for you as it will help you progress with your playing and make you more confident to play new songs and create your own music. 

Meet Your Teacher

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Christopher Richter

Learn to create music the way you want!


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1. Welcome: Welcome to the intermediate guitar addition. My name is Chris Rick done, and it is awesome to have you here. In this course. I'm going to teach you some intermediate guitar techniques. But before that, just a little bit about who I am. As I said, my name is Chris Rick down. When I left school, I told Australia at the age of 18 with the third AMP spanned, studied music and then taught music private lessons for that ten years. A top guitar, bass, drums, keyboard, to diversities numerous times and I've taught thousands of students had apply, not just Qatar, but other instruments as well. And also I mentor many musicians, bands, singers and songwriters resulting in some awesome musicians to singles, just like you being able to write and record their own music and tour as well. So with this course, I'm going to take you through learning backwards, learning new guitar rhythms, guitar picking techniques. A little bit of music theory will be stuck in his well 40 plus psi much more that will help you become a better musician and a better guitarist. So it's great to have you here in this course. I look forward to hearing some of your music and hearing how you play in watching you progress. And it'd be great to see you complete the whole course as well. Getting practice consistency, that's where we'll make it work for you. I'll see you in the intermediate guitar addition course. 2. Week 1 introduction: Welcome to your first lesson in this course. At the start of each lesson, I'll take you through a quick summary of what you're going to learn in a lesson. Now remember, you don't need to spend hours and hours each day working through this. You can just spend 1015 minutes each time going through the lesson. And if you like, divide each of the lessons up into awake is probably quite acceptable gap to use for each lesson. So listen one could be week one, lesson two, You could be whipped to if you like, or if you want to go through faster than that's quite up to you. But for less than one, we're going to learn about barcodes and backwards are obviously different to your hybrid courts, which you've already learned. So pretty Lenton, yeah, DJ, so backwards away we will use a bar and I'll explain how backwards work and teach you a whole collection of backwards. Starting off in lesson one, we will learn the f backward using the shape. Then we'll have a guitar rhythm for you. We also going to look at some finger picking using a D, a, and D, and they'll be in 44. And then we'll go on to how to learn the notes on the guitar in five steps, which were just teach you a quick way of learning what the notes are done in the first five friends. And that will help you along the way, especially with your backwards lighter as well. And finally, we will look at the chords in D major scale that you can use with songwriting. So if you are a songwriter and you're looking at some running that'll be really useful for you. And then the last part of it is the practice trick, which is cool Canberra. And we'll look at the practice track and give you some example templates you can practice to practice your guitar rhythms, to practice your strumming, and to practice some of the new chords that you're learning as well. So I hope you enjoy and look forward to seeing you in the rest of this lesson. 3. Introduction to bar chords: Welcome back again to look at an introduction to backwards. And barcodes are a way of playing the same chord shape on different threads of the guitar. It's sort of like the best way to explain it is like the day chord. Let me play a D chord and we use a KPI, moving the D chord up two frets. So if we put the cap on the second fret, you remember using a KPI previously, and we play a D chord here. What that's doing is taking the pitch of a D chord up to the pitch of an E chord and making it an E chord. So he's still using a D shape, but it now becomes the sound of an a. So what we're doing with backwards is we're doing the same thing, but instead of using a KPI, we began to use their finger to replace the copper. Couple of important things to remember when you're doing this is one. We play a lot of cords like for example, in a chord like this shape. Obviously, we need to swap my fingers around because we don't have a finger to use as the bar as a way of making that replacement for the KPI. So what we'll need to do is swap their fingers instead of using a first, second, third fingers here. We will need to swap them around to second, third, fourth fingers. And if you have a crisis, you can see there that now it leaves us with our first finger to use as I bar. So instead of being a just yeah, we can then use our first finger as a bomb and create a new backward. And that's what a backward looks like. So that's the first finger barring across all the strings and then the rest of the code after that. One thing that I will get you to do is make sure that he learned the knights on the a string. So I started with a lean F on the first fret, G on the third fret, and I am the fifth fret. So lynn, S nights E, F, G, and I also learned on the fifth string I, B, C, and D. What that will do is that will make it so much easier for you to learn. All of the other barcodes that you need to learn and the positions of those backwards. So you all know that if you are applying a certain chord, for example, in Asia, on the fifth fret, you will know that that chord is an i, because you all know the notes B, F, G, I, and you are neither. If you put your finger on that string, the fifth string, which is an i bar, the fifth fret. And put your fingers in the right shape. After that, you will know what code to call that out, the name of the NO2s or name of the chord. So it's really important that you do learn. Just dies a, f, g, i. And on the fifth string I, B on the second fret, on the third fret, the fifth row. So I once while on the a string, D, F on the first fret, G on the third, and I on the fifth. And then on the fifth string, I is open. B string. Second fret. C is the third and the fifth forever. So I learned HE dies nights and I will make it so much easier when you get to use or to learn backwards. 4. Bar chords F Major on the E shape: We're now going to look at that first backward. And fs bytecode is quite simple. We are using an E chord shape. You remember a knee with our first finger on the third string, second finger on the fifth string, and the second fret and third finger on the fourth string. And the second thing, and that is an E chord. What we need to do to, to create backwards is we need to get our first finger free to uses the bar. So we're going to swap all of those fingers or for a code, sought them all around to second finger on the third string, third finger on the fifth string, second fret, and fourth finger on the fourth string, second fret. A shape of a class. Look at that. You'll say we're still using the same shape as a, but we're just swapping things around. Now. Now that we've got our first finger free, we can now create a backward. And tobacco began to create, looks quite simple. We slide out e, fingers up one fret. Push your finger onto the first fret. Make sure it lines up with the fifth fret. Really important. And we look in the back of the guitar and you'll say where the thumb is from seeing running the middle at the back. Now some type don't have it up too high because it's too hard to put enough pressure on to the bar. Go back to our backward. And we have an, a slot up on fret. And we bound the first fret, and that becomes an F chord. And this is quite difficult to start with. You'll have to put a lot of pressure on that one finger to try and hold all of our strings down. You can practice using just the one finger. If you lock, practice that on the first fret, going down a string. And you'll find it's quite a bit of pressure. Now we'll try it again without E code. And slide the void one fret. And that becomes an F chord, se, one friend becomes F. That's based on the spring and f night would you now neither because you've practiced dies and you remember that day. So we have an a with a phase, Fred bow becomes F. Let's try that. We're going to play it four times. Take a finger's off, put them back on and get him. We'll try that a couple of times through and just say, hey, give me that. We've got 1234234123 back to F again, 23 5. Rhythm pattern 9: Hey, welcome back again. We're going to look at a guitar rhythm that is very basic. Very basic. It's a simple guitar rhythm, but it's something that you can use a lot. So this guitar rhythm uses the chords G, i minus c and d. You can play all of this with open chords. You don't need to use backwards for this. You can try it with backwards as well, but we use open quotes for the moment. So the cords are again G, I'm Ana, C, and D. Now, the important part with this one is it's in full force or a counting 123 for one. But for you again to Canada a little bit differently, we're going to count 1234. And doing that divides our bar into eight quivers instead of just four crotchet. So that way we can count 12341 technique we've often done is to strum Dan and keeps drumming, sorry, strummed em. And it's from backup again. So strumming and keeping that motion going up, down, up, down, up, down. For this one, we're actually going to strum all of the rhythm, Dan only. And doing this actually gives it a different feel, even though it can be strummed up, down, up, down, up, down, up, strumming it just Dan only gives it a slightly different sound to it and makes it feel different. So the rhythm is, we're gonna take this out first, 2341234, end. So I'll do that again. 3412 and rest band for end. But that we should see that up there. And you can actually be up over here. And you can have a gap that again with a G chord. And what we're gonna do a strum all of these down only. So 1234 N Dan, Dan, Dan, compressed down, down, down. That was rhythm. We're gonna try it one more time. And then we'll have a guy right through the whole cord pattern with G, a minus c and d. You bigger one. I'll do a little bit slower. 1234 and d, n two and rest, and 412 and rest. And for end. Notice it's obeying dance drums all the way through. Let's try it with G, a minus c and e, j 34 and Dan, Dan, Dan, Dan arrest Dan, Dan and I wanna Dan, Dan rest and Dan, Dan see rest and Dan, Dan, De Dan and 234 and then back to G, gh in. So that's a nice, easy rhythm for you. Or with dense drums. Philip, straightforward. One more time through all got through the court button twice is talk a little bit faster and see if you can keep along for you go 123412, then three in my model, they J, C before and the big guy, that's how and slightly more advanced, but still beginner guitar rhythm. We're going to keep getting more complex and much more interesting rhythms as we go through this series on guitar rhythms. 6. Picking pattern 1: We're now going to look at your first finger picking exercise. And finger picking is obviously way use your right hand to pick individual strings rather than strum with your fingers or strumming the peak until the finger picking, you need to get used to your right hand and the position that it is on the guitar. The first thing we're going to start with is using our thumb for the top three strings. So strings 456, and that's the thick, heavier strings. Your other fingers will all sit inside, or our festival, your third finger below, you can have a look in the in-house in clause. You can say that my third finger, this finger here, it's going to be just below the first string. My next finger taxing between the two. And then the next finger talks in between those two and you apply all of them at the same time. So this is what we're going to do for our first exercise and tie them all together so you apply the thumb and then O3 this together. So I have got that. We're gonna count 12341 with the thumb thumb, NAIDOC. They'd have any cords over here at the moment. We are not worried about that. We're just getting used to the way you need to put your fingers for picking. And today this exercise. So try again your thumb playing on the D string, which is the full string. And your other three fingers tucked in together, 100 each string. And then you pull it towards you or backup in that direction and you're fun, pushes down, say funding. So it'll sound like this one, 34123. Once we get used to these. So we can then start doing some more interesting picking off finger picking. Let's have a guy. We're going to use the court's Day. And it's got the j, then i. And then back today. To do this with f, without fingers and say we're going to pick this began to play for the D chord. We'll apply the fourth string, which is a day night there from 1234. Then when we changed the G chord, which has an Xcode, we change to g. I'm going to play a G note with their thumb. So that means we play the low six string on the third fret, which we already have there. You can see there with the G chord. It's still the sine three fingers 234. And then the next chord is I. So we switched to a, and this time we applying the fifth string, which is an overnight. So we have 1234. And then we back again to add D chord without thumb on the fourth string. So I have 123. Let's do this again slowly. Day. We play the full string with their found one up three times. Three thing is that, gee, we change to the sixth string, 1234. I reuse the thumb on the fifth string, 1234, and then back to a day on the fourth 1234. If you need to pause and just guides for that a few times fist day that. And now I'm going to count for you. And we'll do the slide Tampa or kept through. And d, j, d using that finger picking stocks, if we go 123412342344234. And together that, remember, thumb starts on the D string, on the fourth string, then it jumps down to the sixth string, the obligee, then to the fifth string with the icon, and then back to the full string diploid de. Again. Remembering that your other three fingers, old takin underneath and pull upwards, you'd have to pull it really had just gently enough to get the sand from the guitar. Making sure obviously that your fingers are doing the chords correctly because this really nice standard if you don't. Let's try it again. 1234, d four, J four, I 34. D 34. And again, D three for j, three, i 34. Day three. Now, when we go through the discrepancy guarantee, Have a guy Using the practice tracks with this. We'll start off with a slight empire and slowly increase the tempo of the practice tracks for you so that you can try that slightly. As you get faster, you'll be able to increase the temperature one last time and then you can go into try it with the practice tracks. Here we go. 12342234 by four. The three the 23344234. 10. How to learn the notes on the guitar in 5 steps: Hello, my name is constrictor and I'm going to take you through the process of learning the notes on the guitar. There are five steps, five easy steps to lend. That will take you through what the lights up and had to remember what that matter. And the first one is quite simple. Step number one is to learn how to tune your guitar. If you don't know how to do that, go back to a tutorial Opera Lincoln bomb fully on how to tune a guitar. Lick that first. And then already you will know a good part of what you need to do to learn about the Knights omega tau. What they are now, the Netsilik tat, I'd just the, why'd I name the different strings based on the musical alphabet, which is the letters I to J, by B, C, D, E, F, G. And on a guitar with standard tuning, those nights will be the for the six strings. So strings, one is ministering to the extreme. And the letters are a, a string, number six, the fifth string is i. Then we have d. Then g. String, B is the second string, and then a is the first string. So a very easy thing to remember is by strings on other end of the day. And being a dad, I just remember every afternoon dead guys. The ID gb, there's heaps of different ways of remembering those particular notes on the guitar. But Len heterogenic guitar and that will teach you those notes in standard tuning, sorry, E I, d 38. Now, when he learned to tune a guitar, you will also learn that if you put your finger on the fifth fret, on the sixth string and play that note they eat hope she changed the next open string. So dyes to strings or that note should see on the side. That night is the Simons this map. So what that actually means is that if you already know that the fifth string is I0, then by putting your finger on the fifth fret on the sixth, implying that night, we should see on the sign that you are learning that this knight heat is an i naught, sorry, the sixth string. Fifth fret is an ionized same as the constraint on the fifth rate. So by learning that when you Ching a UTI, you've already starting to learn not just to be led the six knights open strings, but you will by tuning but learning how touching. You will have lent the knights on the fifth fret, which is, can we start from here? You starting in, I, remember our AID JB. Well we've got a, i, d, j. And notice I went back one thread for the J string. When we tuning a guitar, us jump like one fret on the third string. Ci nicely. So I, remembering a night's again AID GBA 3f name that gas bananas. The constraint. Then I, D, G. The day. So that's the first step to learning. The second step we are going to cover is to lend the knights on allows two springs. So the sixth and the fifth string, you just have to learn these, just actually lend them by memory. Once you've let dies lending them, they make it easier to lend the rest of the guitar. He, we got we've got a string. A night. The first fret is f, the third fret, G, and not a sworn member that they are dots on the guitar. And replies, Look, here's some dots there, and they are on the third and the fifth fret. So you can say this threat. And so I hope you learn the G and then up to your eye, which you'd already led. So if you can memorize that, if G And then you're already again power they, this is the second, second section or second stage of letting the night. And as part of this, Learn the fifth string as well. And that's on the fifth string, a, b, c, and d, which is, you're cheating. So we now have the g, i, and then i, B, C, and D. So I'll just go through them again. The F on the first fret. On the third fret. I is the fifth fret, and that's changing that to chain the next string. So it's the sign, it's an i. Then we have b, which is on the second fret, on the fifth string. C, which is the third fret of the fifth string. And then achieving night, the scientists, the open D string. And there's that day. So again, memorize, you'll have to memorize this bit. The F, G, a, B, C, D. So we're getting through it really quickly. The third thing to learn is that you already neither nights on the string, thin string, because you've led to D, E, F, G. It's exactly the same. So it is a gift from the face writ J on the, say Fred, I on the fifth fret. If g i. So it now let this be the g i, i being C, D. And then we've also linked because that's an extreme and that sending string a, j, and i. Okay, those props rate pitfall code you might not choose to lend octaves. What an octave is, is the same sanding night, but one, OK, defy or White Nights higher. So to do that on guitar, it doesn't work for every string, so I'll let you work on the lowest strings. Hi. But if we, for example, we plan F naught, which is our first fret. We know that F, if we go up two frets and Dan to strings. So for that night, up two frets, the anti strings, that is also an F as well. So by letting these safe, we write this as f by learning that this is G, which we've learned. G is the third fret, sixth string. If we go up two frets and the anti strings, that is a G, If we slot up even further, we go I and I naught is the fifth fret on the six spring. We got up two frets, Dante's strings. That's an ionized. So what this means is we've just land the knights on the D string. Because if we have an AIP and a, we got up two frets down to strings is a. So I've got a, f is f, g, that is g. I is i. Now, even further than that, to lend the knights on the third string, we know that that's i on the fifth string. If we go up two frets, the empty strings, there's an eye as well. So I've now let that there's I, there's I. We neither the second fret of the fifth string is being scaled up to strings, up two frets down three strings, a, b. And we can go up to S, say nitrogen, which we know that from lining the strings that nights on the fifth string, we now have C guy up, two frets to empty strings. There's a sea slug that up. And we've got the, what you've just learned in last four steps. The nights a, f, g, i, i, the C, D, D, E, F, G. We let us, because the octaves remember to the fifth string. And we will sell land. I, The C, D, because they both octaves again. So the only string left, and this is tip number five. The NSString left is to learn the knights on the base string, which I just a little bit different. Just Member Awesome. They see is the first frame is the third fret. And which is achieving that, which you've already knew. The tuning. That a string. That's a little bit at the, So I got a C and a set from those first steps. You've now let me i, i B C, D E, F G, G, a, B, C, a, B, C, D, and E, F, G. And if you find that the look confusing, go right back to the stack, then had achieved epitaph. Then the knights on the last two strings learn how to do octaves. So you know that f and f are the same night was Vern octave higher and then lend the knights on the base stream and the, Your Five Steps to lending overnight on the bottom, five frets of the guitar. 11. Chords to use in the key of D Major: Some of you are songwriters and you may be wondering which chords you can use in a group or in a collection to create a song that we'll work together really well. And the way to do that, we'll work out what that is, is to choose a key. And a key in our case is a collection of notes in a certain pattern. If we're looking at, for example, this one, we're going to look at D major. So the D major scale actually has the notes D, E, F sharp, G, a, B, and C sharp. So it has each of the letters, but a couple of the machine shops, so we have an F-Sharp and a C-Sharp in there. Now, what we can do with each of those notes, we can write out D, E, F-sharp, G, a, B, and C sharp. And we can make each one of those into a cord, and there's a certain pattern to do that for the way. Or what happens with those chords then, is those chords work really well together when they used in the key of D. So let me explain by playing that through as well for you. So if we're playing a D chord and our fiscal is D. Now next, note in the scale is an innate. To make that fit into a D major scale, we need to use an E minor chord. So the first two chords we can use our d, followed by a minor. And next note is an F sharp. And if we make that an F-sharp minor, it will fit into the key as well. And what I mean by fitting to the key, it means that this court only uses notes out of the scale, D, E, F-sharp, G, a, B, C sharp. Second chord that we can use is F sharp minor. Third chord is G, o G minor, just a G, then an a and a B minor. Day notice I've left out the C sharp on the end. We're not going to deal with the c-sharp. It actually becomes a C sharp diminished chord. But at this stage, we're not worried about diminished chords. We may look at that later on. But right now, we're looking at is a d decoded and the D major scale, D, E, F-sharp minor, G minor. And the collection of chords that all work really, really well together in the key of D safe, your song starts on a D chord. And this isn't a rule, but this is typical of what songs do. If your song starts on a D chord, you can pretty much choose any of those chords that we've just looked at for your next chord. And it will still work quite well together and it'll make it easy for you to create a melody over. So for those song or is what we're going to do is use those chords to create a, let's call it a verse for a song. So we're going to class, we're going to fit this over eight bars, and we're just going to use D, E, F sharp, G, a, and B minor, and create a four bar verse for song. So let's do that. So starting on D. And a couple of important or useful things to know is that the first chord in our list, the fourth and the fifth, which notice they are the major chords, D, G, and the others are all minor. There the courts that we can typically jumped too, in a song in the key of D, And that will sound correct, the assembly good. Say for example, if our first one was D And then he now second by we changed to G because. The next major coordinate list, then to NIH. And back to a day. He, he, there's four bars, just their central, really good to get up already. And we haven't really done anything complicating. So let's just let's just try that again. Dave, is i 1234 day to an a by two a day. So I DG I date works really well and we've just used cords out of those ones in the D major scale. Let's make it a bit more interesting for the second half of this. So I've done have d, j, d j. Now we'd like to use one of those minor chords in here as well, at least one. So there's a thing called the relative minor. And what that means is if you have a G chord in this case, and we go back two nights in a day may discuss. So I get from G down to a minor. That's the relative minor of a G chord. Religious gained back two nights. And the reason they call it a relative minor is because the notes in a minor and g only changed by one night. So there's one note that's changed between the two. We take one app and running. It should say that one change between G and a minor. Well that slight change makes G similar to a modern it's sound, but because it's a minor, it has dissect the extra nitrogen there. So what that means for you as a songwriter is if you have a G chord and you want to use something similarly, your melodies still works over G chord that you want to change the code using the relative minor is a useful court to change g. So 2.5th formats will be G minor. And then we can go back to i And then d. And that's a patent all the way through. Nice and easy. We haven't used to made the other court yet, but we could have some of those in. Let's try going from o to three for D to the k, for i, back to D, to G, a minor I and D. And there's a verse for some created using those cords out of the D major scale. Happy, that's been useful for you and feel free to obviously use other courts and that. So you could use G, a, D to G, a to obey Maya. To an F sharp. Here they all work really well together. Gee, I beam honor again, to a G. So I'm just using cords out of that list, a Mona I. But today. So you have a go and try that out using nice chords, D, a minor, F sharp, G minor, a, and B minor. And so what you can come up with. 12. Week 2 introduction: Welcome to lesson two. In lesson two, we're going to cover the top five tips to becoming a bit of guitarist will also look at G and I major backwards using a shape. We have a guitar rhythm for you to learn. It will say some picking, and this will be in 68. So this will sound quite difference, are really nice y of a finger picking when you're playing the guitar. Then we will learn the nuts that make up a chord on a guitar. So that's an introduction to some music theory for you to teach you how that works. Then we have the codes used in G major, which is really useful for some rotor circular or somewhere at this part will be really great for you. And then we'll finish off with your practice track. 13. Top 5 tips to become a better guitarist: There are 55 tips to becoming a better guitarist, and these won't be what you think of the normal type of guitarists tips that you would get. So you've got Tip number one. When you're starting out with the guitar, Start with a nylon string because it will be so much EC50 fingers, so much easy to apply. And that way you will actually stick with it longer because you'll be more comfortable, say, if you like, this is for intermediate guitar, but you still may be using a non-strict at the moment, and that's called RK. You can learn so much and you can practice on an island string. And then go and grab your steel string or an electric. Once your fingers have got really comfortable with playing those nights and holding chords dam. Or if you do need to do a big practice session and you're working on songs or your songwriting. Nothing wrong with grabbing a nylon string just because it will be easy on your fingers later, playful longer. That's quota case. I use a nylon string guitar if you can, or when you can jump to the other guitars when they're needed. Number to be consistent. And consistency with anything is what gets you to a level of success. So people who are sports people, they're consistent with their training. People who become programs are consistent with learning the technology and learning how to implement it. And they just kept working through it very consistently. So consistency is one of the most important things with anything and with guitar obviously so consistently work at a time that you're going to practice and use that for your, for your lessons. But then consistently Also make sure that you are doing other things that kick guitar playing funds. So you go out and do stuff with guitar playing and I'll talk about that in point number 3. Number three is exactly that. Make it fun. And to do that, he's a couple of things. One is to find some songs on the Internet to apply. What is a gotta Google type in the name of a song and then type in the word chords after it. And you're pretty much come up with a whole selection of websites that will give you all the chords you need for each of those songs. So I do that. You discover stacks and stacks of songs that you can use. Ultimate guitar is one of the places you'll end up with guitar chords. So have a look at those and that will make it more fun for you to actually implement what it is you're learning on guitar. Now, if you'd like seeing you say not a singer, find someone who can sing with you, someone who can play along and practice, and then I can practice this singing. So if there's someone who's interested in singing as well, you can be the guitarist, they can be the singer. You can work together. And that way you're enjoying the process of going through and learning how to play music. But again, if you are a singer, You can just sing yourself senior songs yourself. So that's a great thing to do to keep it, keep it fun and enjoy it. Peeking out songs that you love, that your favorite songs. Now, number four. Number four is to make a fun project out of what you're doing. And what do I mean by a fun project? What I mean is choose something that you can work towards. So it's not just a case of on learning how to apply in that seat, but learn how to play for a reason. And that could be they might be a, let's say an open mike night that's coming up and or there is one every month and you think, Okay, in three months time, I'd like to be able to apply this particular song at an app and mach nine in front of everybody. And you work towards that psi practice, guitar, practice supplying. If you're a singer as well, practices seeing or like I said, one another singer and organize them to be part of it. And that way you're working towards a project where you are actually having something you can achieve by a certain date. And that will push you to make sure that you practice consistently and that you are enjoying what you're doing and you're working towards the target that actually has an actual ending. So you can say, I've achieved that now. I can now move on to doing the next thing. And that might be writing your own song. And then the next one after that could be recording that song or performing that live somewhere. So there's all these different things that you can do to help you use the whole project concept of being able to improve what you're doing and make it better for you as a guitar so you can become a better musician by putting those targets they are few to work towards. And last of all, number five is find a mentor. So doing this course is part of that sort of mentor program for you. But it doesn't hurt to find someone else or you can also work with or someone that can help you. Someone who's a great guitarist as well, who they might not be a teacher, but there could be a performer or musician that plays gigs, ran the place or something like that. Find them and talk to them and learn things from them as well. Because there's so much you can learn from other people or from everybody. When you put that all together, that's you becoming a fantastic musician and you become a better person by working with many different people, as we'll say, find yourself a mentor. If you can't fundamental, let me know I'll be your mentor. One not. So there's top five things. First of all, most start with a nylon string or user nylon string when you need to for practicing. Because it would just make it ASR and the hands for the long term. And you can practice a lot more with their fingers getting tied. Number to use to be consistent with everything that you're doing. Number three is to make it fun by learning songs that you like and enjoy. Gone funded Google look-up, Google for that. And number four is to make a project of it by finding something that you can do to work towards with a fixed date and with an actual activity that you have to do at the end. And then number five is to give yourself a mentor. Hopefully those five things will help you, or they definitely will help you become a better guitarist and a better person as well. 14. Bar chords G and A using the E bar shape: We're now going to use that sign f code and slide up two frets. And let me slide up two frets, that becomes a J code. So we've lent it out with a different fingers. On the fifth fret. And Nas leading up to the third fret where the gene IT's, we now have a G backwards. So you go to three and j. Sorry for this exercise, we're going to apply F up to J four times on h and then back down again. See if you can play along with me. He, we got 123412 on F and G, 234 back to F. Three up to G to F. 3423. Osman, simple. Sort of your fingers probably getting a bit taught me a thumb's probably bit so already from that. But that's okay. Now, what we can do is slot up to the fifth fret. And because that's an eye on the sixth string, we know that this is an IVR code. So we've now learned and F bar code, a code. And then I back over 01 guy. And that I sense similar to how I can code to IBM. And he says out of hiding, backward. 15. Rhythm pattern 10: For this guitar rhythm, we're going to use just three chords. The courts will be g, c, d. Back to g again. Now, the difference between this rhythm and previous ones we looked at is this will be in 68. And what 68 actually means is we have six notes, or six beats in the bar. And the type of base that would be an eighth note, or in our case, an eighth notes are quaver. So that means we count, instead of 1234, we count 123456123456. Now, the unusual part though, is about how we Strom this. We're going to take it very slightly to start with an a G chord. And we're going to strum dam up, down, down, up, down. So we're dividing it into two groups of 3123456. And the rhythm will be down, up, down, down, up, down, or a bit slower. Down, up, down, down, up, down, down, up, down, down, up, down. Let's try this by counting in 68 would just stay on the G chord for now. 123456 Dan, Dan, Dan, Dan. That's in dam. Dam, 123456123456. What you'll notice is we accenting the first so the 123 and the four, 4-5-6. And that's the right place or the right position to accent a 68 pattern. When I say write, it works for a lot of songs to be ADA accent on the first and the fourth bait. So let's try this with all the chords G, C, D, and back to j again, you go 123456. Dan, Dan, Dan, Dan Si De Dan, Dan, Dan vector gene. That was down, up dam, dam, dam. Let's try that a little bit faster or cantered in 1-2-3, 4-5-6 Dan Dan Dan dam dam dam dam. Dam dam, dam, dam up. Damn Dan. Say they. They, the guy that was S6 ICT rhythm using the patent dan up, down, down, up, down. 16. Picking pattern 2: For this fingerprinting exercise, we're going to use their fingers as sign position as we have done with our first finger picking exercise, we will change the thumb to be different nights, but our fingers again to, instead of pulling all three together at once, there'll be played individually and there's a bit of a patent of this. And we'll start on our plate G chord, a fumble do the J Night, which is not there on the sixth string, third fret of the G. But other three fingers will one at a time play these notes. So it will be g, then an account, the string numbers for you. So I'll be strings 123. So I have got g. Then we've got string 3231323. Did you get that? We'll write that up there so you can see you you'll see it written just over he. Try that again. So we start with the thumb. Then String Number three to three. In string 132. Why we came this is in a group of eight, so it's 1234567. I do it again slower. 12345678. Or if you need the string numbers, it'll be thumb 323132. Right? And you're probably wondering, what does that say? I'm Mark as an actual piece of music. Apply it for her bit quicker and it will say, I'm colonoscopy ready. Here we go. 234. So that's what you're going to work your way up to you and be able to play villi soon. Hey, you got back. Now, we're also going to play a few other courts. It's not just a G. We're also going to play a mana, beginning to play C and a D. Now, the fingers and the finger picking doesn't change except for the thumb. The thumb will change, so the thumb will stop on J with J Knight. So that was FS part that first night. Then we got down to a minor and our thumb will play the open a string because that's an E string and a mana. Let me get to a C chord. And for C the same night. And you remember that from your backwoods. Cyanide is on the fifth string, third fret. And then we finished with the date. And the day will get fourth string. Say a fun place, the fourth string. So let's go through and work out the thumb again. On G, we start on the sixth string. He's a Jane ate. And then we place for him to a minor and the thermal play, the open E string. We go to a C chord and the thumb will play the same note, which is the third fret on the fifth string, on that one. Then for the D chord, the thermal play, the D note, which is the fourth string, is ending I, just there. So let's play the whole thing through j, a minor, C and D, from g, 23415678, and C and D. And back to a J naught. So we tried again. Now that I've played it 34 years, your ten, jump in and have a guy standing on j 1234123456781234567, back to say 5C. 17. Picking practice track 2 - 32 bpm: Okay. 18. Picking practice track 2 - 42 bpm: Okay. 19. Picking practice track 2 - 52 bpm: Okay. 20. The notes that make up a chord on guitar: Hello, I'm Chris Rick during Welcome back again. We're going to look at the notes that make up a chord and how codes are created. To do that. Before we go into looking at guitar, we need to look at what the notes are that we have to use and what, what we can actually make a caught up at off. And then water chord is formed with, then transfer that onto guitar. So bear with me and we'll start right from the beginning. So we know that in music, we have urbanites from i0. Will the Y2, G, I to G, a, B, C, D, E, F, and G. But just to confuse things a little bit, which is why this makes it more confusing. We have some extra notes in between those. So if we start at i and work our way through, we have IE. Then we have I shop, which is also a flat. Then we have B. Then there's nothing between Bain CSR's just base strike to C, sorry, C. Now, then we have C sharp, which is also D-flat. Then we have d. Then we have the shaft which is also a flat. Then we have a spread to F. Then we have if shop, which is G flat, then we have G. Then we have G sharp, which is also a flat. Okay, so they overnight, so we've got working through a little dice. It is exactly the same as, and there was 12 altogether when we got back to the Octave, which is the same night, Abbas I, I2, I0. If we're going to start on the guitar and have looked at the Guitar Works, you'll notice that they are open string. We have this b, and then we have knee on the 12th fret. Tell its can't ignite 123456789101112. And these are octave site. We're going to play through those nights and look at them as we play them. We've got 80. If F sharp, G, G sharp, a sharp, B, C, C sharp, D, D sharp, and went back to a again. So we've worked out that they the 12 nights we have all by up to then run extra to take us to the octave. So we've got 12 nights to work with. Okay, that's where we start from. The actual have-nots. How accord is structured according is created by using a certain combination of those notes. And unusually, accord has three Nat Turner anywhere to get three nights. And the first type of code that we'll look at is a major chord. An a major chord is made up of a certain distance between the first, the second, and the third night. And that distance we're talking about is what's called semi times. So when we look at our guitar, one fret to the next frame is called a semitone. So that means eta F is a semitone. F2, F sharp to G flat to G flat is also a semitone. So when we make up a major chord, all we are doing is taking a pattern of three nights divided by a certain amount of semi times. And for magic chord, it is four semitones, then. Four semitones than three semitones. What I mean by that, if we start on a scene action is R sin actress t. And on our live music then that we've got the inner grand nights, we start on C and we go up four semitones. So a guy 1234, that Texas from C all the way up to date. And we then got three semitones, 123. And that's taken us from C to a to J. And so they're the three nights that make up a C major chord. And the reason that they greatest C-Major chord is because they are split by that pattern of four semitones than three semi times. You shall you again, if we're going to do a G chord would stand on G. We go up 1234, sorry, from G. That Texas to obey because I got g b, and then we got 123 semi times. So it's forcing returns than 3c times G, B, and D. And there the three nights that make up a G chord. Now, how do we transfer that to guitar? If we're looking at the night synergy chord G, B, D, we have to do is find the strings or the notes on a guitar that will make up any dies or create any dies three nights. So to do that, we're looking for a g first and we know that that's a gene actress. There is a G. We're looking for either at G, The word de node. Now we have an open day stream just there so we can keep lie map. We also have a bainite just here on the fifth string, second fret. So we've got a G, The Bay and the day. We've also got an F and G string, so that's another night we can use any of those three nights. We also have an icon base string. That's pretty convenient. And we also have Dan here, E, F, G on the thin string. So a G chord is made up of G, B, and D. And because we found all of those nights on the guitar, if we put our fingers in that position, that should look very familiar to you as a G chord. The sign works with any other chord we need to do is find the knights on the guitar that fit that pattern of courts. So for a magic code, it'll be forcing me times followed by three semitones. This trace C code. So SQL, we start on C. We go up 1234. That takes us to an a night and Sunday night day. So c, d that we got from got 3123, which is a gene that so the nights are C, D, and G. There are three nights, the microporosity code, this guy find dies. We know the two outside notes are E, so we can use those because in a C chord image, good. We've got N_hat. You'll sign I, that that is I say night, i, c is the same day. So that's part of our SQL. We also know that because that's an E. And from an octave straining, we also know that that's an eight. So we've got a C and an a. We have an icon J string, which is part of a say code C, G, that congestion. We also have that base string. Just today, we put our first finger on that becomes C. So there's another night for C, two epsilon streams or by theme, which is part of a cycle. So we now have all the nice we need for C code. And there is outside the magical. And that's where chords are created, how they're structured, and how they are created for you to be applied them on guitar. So you could go and work out all different combinations of SQL. Wherever SQL fits. And that code will have those nights C, D, and G in that code. So let's all say a and j, say j and j, C, i and j. 21. Chords to use in the key of G Major: We bet come to some routing section. And with this, we're going to look at the chords that he used in a gene major key. And what I mean by that is we work out the notes of the G-Major scale first. So let's start. We have G, a, B, C, D, E, F sharp, and back to G. So then the notes that we have in a G major scale, the chords that fit with those nights. G. I'm gonna be mana, C, D, and E minor chords we can use in a G major scale. Now remember Geomagic key. Remember that you can use other cause. You're not restricted just to those, but by using or choosing from those chords, it makes it easy for you to put chords together that work really well as a collection that will make your verses and choruses sort of fit together really nicely. So let's try starting on G, And we're going to create an h bar. This could be a verse or a chorus in a song, but it will be eight bars of music. We're trying to keep it to a one chord per badges to keep it. Now, let's have a look. Starting on G, J code name I remember I mentioned that the fourth fifth chord. So the g, c, and d, which is the fourth fifth chords in a group of chords are sort of the, in a major key. So the more important chords, somewhere important, they're the ones that people use more often. But for this one, we're going to mix in a couple of the minor chords as well. So I'll start with G for efforts, but I'm going to jump straight to see. Remember I mentioned to think or the relative minor, which means going back to notes from the major chord. So in this case we're on a C chord. Relative minor would be. So from C will get into a mana. And then we'll go to a G. So back to j again. So our first four boss, G, C, a G. Then next few boss would get to a C chord. And that's the fourth chord. And if these chords D, then to an a minor. Now, why name Ana? Just because I thought I'd try it and see what it sounds like and so I cannot do that. Try them and see what you think. That's second four battles. See It's trying to stay on that you might have thought, I wonder how that works, but stay on that theme minor there. I'm just going to write that the entire amendment, a minor. They began to say, let's play that all where 31234 and G 234, which we can use, G, C, D, and E minor. And that sounds really nice. That's a collection of chords in the key of G-Major that you can use. You can try any app yourself, but have a guy through those. So I'll leave that up before you. G, C, a, G, C, D, E minor, E minor. But again, you feel free to try any of those combination of chords from G. I might have B minus C, D and E mana. Just remember that we left out the F-sharp. The F-sharp becomes a diminished chord, which we won't play it. We'll leave that for later on. Gun rights, some songs and enjoy. 22. Week 3 introduction: Welcome to lesson three. Less than three, we're going to look at the basic and major scale. We will also look at an F minor chord using the aim on a shape as a backward. We have another guitar rhythm that will be great if you to learn. We also have some more finger picking. This time it's in 3-4 and you'll enjoy this. That's quite different than the notes in the minor chord. So this is again, a little bit of theory for you, just to teach you how chords are created. And that will help you learn how you can create your own chords lighter as well. Then we have the basic structure of a song. This is the little part for songwriters which will be helpful for them. And then onto our practice trek, let's get into lesson number three. 23. The basic Major scale on guitar: Welcome back again to your lessons on acoustic guitar. We're going to look at something that we have looked at much shit we choose scales. Now, the biggest question I guess people ask is I'm playing acoustic guitar. Why do I need to know anything about scales? Becomes quite practical. Now a little bit later on when you start needing to add a little extra bits to your playing that are not just part of playing the stripe chord, applying an open chord and you start to learn what the different notes, and you start to learn different ways, different different notes you can play in-between the courts as well. So I'm going to teach you a major scale. This is to start with the G major scale. And we're going to base it completely on a pattern. I'll tell you what the notes are, but you don't really need to worry about what they are or how that's structured. There's a whole nother video for that one so we can look at that later. But this is the patent and how it works. So the patents starting on the third fret, but because it's a G, we've actually seen a G Major scale. And we'll go through the notes in a G major scale are G, a, B, C, D, E, F sharp, and G. And neither notes that make up that scale called a gene may just go to play that on guitar. We just need to learn a pattern that looks like this. Is the pattern up that the patent will probably be over this. I wonder we put a patent update for you. So that's G, a, B, C, D, E, F sharp, G. So I felt that again, we applied three. And you can see the shape of that pattern starting on your second finger. On the third fret, we got G, a, B, C, D, E, F sharp, and back to j again. And that's a nice, simple, straightforward jain My Japan. Once you get used to playing that and you can start working your way through, getting a little bit faster at it. Use if you're picking, you can use alternate picking. What I notice you've got the first two are down, then up, then you go down, up, down and needed to skip a string and go up, down, up. So you will need to do a string skip. If you're using a peak, they'll be down, up, down, up, down, skip a string, up, down, up. Also notice which fingers I'm using. Apply the scale again. Second finger, fourth. So basically keeping one finger per fret just to keep it simple for now. So that's the second fourth. If you can't get your little finger to hold that Dan, you can switch to your third finger, but try and get use to it. And say, gee, I, B, with the first finger, c. But the second day with the fourth, we've got G, a, B, C, D, then a with the first F sharp is the third. And then the G octave. Like that, I feel like, gee, octave using a little finger. So let's do this nice and Sally what Cantor, and see if you can play it on here we go, 12 341234124, and there's a notes, G, 234, a, B, C, D, E, F sharp, G. Now once you've let that patent, if you need to play an, a Major scale, you can play that quite simply by moving that same pattern up to the a t here. So it will become, if we just follow the pattern, that's all you need to do. And that becomes an a Major scale. If you need a C major scale, you can start the same pattern. And let's say now, just remember that this patent only works for scale starting on the bottom two strings. So I only use this pattern if you're starting on a string or an ice cream. So we're gonna start on the ice cream, but on the third fret which has a c. And that will give us the notes C, D, E, F, G, a, B, C, and D. That again, C, D, E, F, G, a, B, C. So Lynn that pattern. And if you want to record yourself playing, in this case a SQL or SQL Abernathy. Once you've recorded them, play that back again on while you're playing that chord, practice the scale. And you'll find that those notes fit really nicely. Ivr just to seek or so I hope that's been useful to you. 24. Bar chords Fm using the Em bar shape: We're now going to look at a slightly different shape using the E bar chord that we learnt already where we used an a shape. I mean, it moved it up to you, become an f up to a G at two. And we're going to change it just slightly by removing one finger and making it a whole new got. Remember out with an E chord is, are equal, they are equal. According to an a minor. We simply take this finger off, and that gives us just the two nights with just the two strings. So the fifth string and the second fret, and the fourth string and the second fret with those two fingers only becomes an a minor. What we can do is the same thing as we did before with the E. We can slide that up and make that into a backward slot up one fret becomes F minor. We're gonna try that will count for apply F minor tick I think is off, back on again and see how we go. Let's give it a go. 1234, F minor. Thing is off to three. Ready? F-minor. Back off. We try that one more time. On the first fret, 1234. That's if one. And notice that I used my second finger to help put pressure under the first finger just by pushing on behind it. And that allows you to add a little bit more pressure if you need to. Some people find that comfortable. But if your fingers are getting a bit tired and you need that extra push up, just a little bit extra pressure on that first finger. And that's if mine up. Again because this is a backward, we can move this up frets at a time and create new chords. So we are getting from F minor up to G minor chord symbol J minus is on the third fret. And we know that so G minor or not so g, because the third fret on the sixth string is a G note, we know that two genome, it's where that dot is too. There's a dot there. So all we do now is use a Minor Shape. Slide it up, and borrow on the third fret, and we now have G minor. Again, we can go one further than that and move up to a minor. A minor is on the fifth fret. Sixth string is where we bar. And then we use an a minus shape. And that becomes a mana, which sounds similar to record. What we're going to do now is play from G, G minor, a minor and back down again and go through that. Not too fast, but let's see. Hey gang, studying on G minor, 12, 343131341. That was a bit fast, almost slowed down a little bit for a. Okay. 12341234, up to three negative j minus 10, F minor, G minor. And I might add, is about good. 25. Rhythm pattern 11: For this guitar rhythm, we're going to look at the Cohen's d i by mana. So we'll need to put a backward in here and a G. And back to being in. The cold beta_1 follows. It's in full for the rhythm again to use, uses 16th maps. In this case, I was still counting 1234, but we're going to break each of those beats up into four parts. And to do that we can't 182340 and up. Let's tap the rhythm out as we can't eat consider with him up there now. So I've got a quiver. We've got two semiquavers. We have another two quavers together than we have acquired. Arrest them ever quadrant sine two semiquavers and acquirer to finish it off. So when we count this, we count. So if it's four 0s and 1234 and up, and do that again, try not to do it too fast. So if you can follow along and we counting One and studying with 40 NDA to cantered infinitely. So for E and one e and a, two e and wrist. And for a And I, got that bit cipher, right? We're gonna move on to the actual strumming part, which is down, down, up, down, down, rest Dan, down, up, down. But that one more time slide. Dan, Dan, Dan, Dan wrist down, dan, up, dam. As you'd like, faster becomes easier. He began to three can't 4n for a and 182 he and wrist and for the and one rest down, down, down. And I just lost count with get-togethers 1e under 40. So we'll do that again for a and 1828 and wrist and for a and down and down. Damn damn wrist. Down dam, dam. Alright, we'll try it with all the courts. Try not to go too fast. With D, i, and j. We go one for D and Dan. Dan. Dan. Then rest. Dam, dam, dam. Now I damn wrist. Dan, Dan, Dan be mana, Dan, Dan, Dan, Dan wrist, Dan, Dan, Dan. And g. Wrist. Dan, down, up, down and back. Today. Say at that tempo, it doesn't feel as comfortable as if he planted a faster tempo. So I'm gonna play it faster for you and see if you can form. I will go through the corporate unto us. So that's 40. And then do that begin. I'm gonna play this a little bit faster for you. It sounds better at a faster tempo. And I'll go through the code patent twice four 0s or D, a B minor G, UB game for a endow 1234. And why a four and a and B Minor rest. G. Rest. Then down, up, down dam, dam, dam, dam. Rest. Dan, Dan, Dan, Dan, Dan, Dan, Dan, rest and Dan are damn. They minor rest. Dam, dam up, del G. Rest the dam up, down. And then one thing you may have noticed when I say rest, strumming down as though I'm going to hit the strings but don't touch them. So that just helps me keep that tympani, keep that pattern moving nice and smooth as you're streaming through. So one more time at an even faster tempo, he began for me and the guy that was our pet and using a, D, a, B minor G, And Planck's him 16th notes. 26. Picking pattern 3: We now going to look at an arpeggio or a finger picking pattern that is in 3-4. And instead of counting in groups of four or greater, IT began to count in groups of three. So 123 years seemed very quickly understand the sound and the type of music that this might fit into. The chords. We're going to use R, c, i mana, they mana. And if. And when we counted in 3-4, I'm going to use our farm fertile one. And then we're going to use all three fingers, four beats and beats three. So that'll be all three fingers. Thumb first starting on C because it's a say you should be getting used to that base, Matt. There's a CBC-MAC lobby, the thumb, I'm C. And then we follow that with the three fingers playing all three together. So it will be 123123 with playing a C code. So just be careful on that note there that you don't accidentally touched that string below. You need that to just reach your inside curve your wrist a bit more if you need to. Go again, 123123. So play that patents through to us and then we'll change chords here. V i one t honestly code. Now and I mana. Yeah, just the thing with the I'm on is your fun plays the note because it's an a minor, which is on the fifth string. So 123123. Then we go to a minor. And a minor, we are using the a base net 123123. And then for F we using this extreme as workers because that's an F tonight. We're using a backward HE, you've lent you backwards. This is the only backward we need to do in this particular pattern. And this will really test out how good you are at doing your backwards on an F chord. So you really need to have that nice and time to get those notes down the bottleneck. Let's try it. Now. Since life starting on C 123123123 delta a by a minor, 13 a manner using the sixth string. And the F barcode. You can say they, they doubt it really typed to make that work. That's played through again, 1231231231, T a mana on the sixth string with 123123123123123. We try it again. Last time three. And remember you can practice these with the practice tracks at the end of these as well at different temperatures. Here we go, 123, see I mana. And we wanna F, C, F, Back to say click. And there we go. That's the threefold law. Finger picking, exercise it again today. Again. Have we got that is three with the PEC strips and see you again. 30. Notes in a Dm chord: Alright, we're going to look at how a monocot is created. And in this example, we're going to look at a D minor chord. To grant a D minor chord, we need to know what three nights makeup a D minor chord. And the way to do that is we first of all need to remember what the notes are that we have to use. So let's look at the chromatic scale, which is the name of all the notes that we have available to us. Starting from D, we have D, D sharp, which is a flat, E, F, F sharp, which is G flat, G, G sharp, which is also I flat, I, a sharp, which is B flat, B, C, C sharp, which is D flat, and D. So these are the notes that we can use. With a mana chord. A minor chord is created using a pattern of three semitones between the first and the second note, and then four semitones between the second and the third night in the minor chord. So to work that out, we doing a D minor chord. So let's start on deep. So Fundy. From D we go up three semitones. So D, D sharp, E, F. So a secondary is going to be f because we've gone up three semitones. From f, We now need to go up four semitones. So studying and F, F, F sharp, G, G sharp eye. And that was their fourth. So we've gone, we have the nets D, F and a make up a D minor chord. Again, that's because we're using the minor spicing or the minor pattern that is used to create a minor chord which is three semitones followed by four semitones. So studying again, start on the D. D, we got three semitones, which takes us to F. Then from F we go up four semitones from F to F sharp, G, G sharp a. So we have an i naught. D, F and a are the three nights in a D minor chord. Let's work out where they are on guitar. We know we have a D-string. We also know we have an asterisks or those two strings, the fourth, fifth string, can both be played as open strings. So we know we've got that sorted. We also know that this here on the third string, second fret is an a note. And we also know that this here, which is on the second string, third fret is a Dina. So we've got D and I uncover. What we don't have is define an F. So to find an F, we know that this isn't a string. So therefore the next Fred up must be an F. So that means ADD D minor chord can be played like this. If tonight is, if that's the second note in the D minor chord is D night, that's their first. We have an i, which is the third. Third night in the D minor chord. We have an open day string, which is the root night. So that's the D. We have an a, which is the third night in accord spent. So the fifth thing, it's actually the third note out of the three nights. And that gives us a D minor chord. So you've never learned how to create a D minor chord using the pattern three semi times, followed by forcing me tie-ins to create or workout what the three nights are there in a D minor chord. And then we get to the guitar and we find, using the names of the notes and the strings. We find out where, where those three notes are. And we can create a D minor chord. And you would have already played a D minor chord by nails. Well, Minnie and I had to create a D minor chord. So you could create a D minor chord in a different position on the guitar as well. 31. Notes in a Em chord: We're going to look at how to create an E minor chord. An a minor chord uses a special pattern, which is three semitones followed by forcing me turns to create or workout what the three notes are that belong in an E minor chord. A minor chord. When we play it, I know it sounds like and we know how to play it. But how did they come up with those notes and decide that was what the fingering had to be for an Amana. Let's have a look. Let's look at our chromatic scale again. You can see we've got all of our nights that we have available to us. And we're using the patent of three semitones followed by four semitones to work out the miner. So we start on IE or a night. So there's that night. We got up three semitones. So we've got 1231 guitar. Or if we're looking at and night Sweden, gay, E, F, F sharp, G, That's three semitones up. So our first tonight, so we're going to use in an E minor chord are E and G. Now to work out our third night, that's in an a minor chord, we need to go up four semitones from the gene out. So we need to go 1234. And if we've gone up four semitones, we shouldn't have a B note. Let's look at that again. From G, we go to G sharp a, a sharp B. And that gives us B. So a three nights in an a minor chord are E, G, and B. Where do we find them on the guitar? Luckily, and it's actually pretty easy. We have our load denied. So we've got one a night there. We've also got an e-mail on this string. So the first and the sixth strings about e. We'll say need a G night. And if we have a look, this open string is G. We also have a b string. So that covers the MB, so we could just play that and that is an a minor as well. But we'd like to work out what to do with these other two strings. So we're looking for a, b. If we can find it, which we can, that's an ignite or ice cream. We've put their finger on the second fret of the fifth string. And that gives us a bainite. Also put out next finger on the fourth string in the second fret, and that gives us an EIN out numero. Remember the octaves 12 up to the unto gives us an octave that's air up there. So we know that's an eight and that's an anion. So we've now got a, a, B, which is the third node in our code. Another ie, we have a G, we have a b, and we have another E. So we've covered all three nights in an a minor chord by just putting two fingers on the fourth fifth strings. And there is our D minor chord. 32. Notes in a Am chord: We're now going to look at how to create an E minor chord. We already know how to play an a minor chord, but where did the notes come from? And why did they use dice, particular nights love as the fingering, a mana. Where did that come from? Let's start by looking at what the notes are that we have to choose from. So we have our chromatic scale, which is all of the nights we have available to us. There's all the notes they. Now, what we need to do is use our minor chord spacing or the pattern that we use to work out what the three notes are that will be in an, a minor chord. And to do that, we start with i. So we've got a finite there. We then go up three semi times to work out the second night in the cord. We then got forcing me times to work at the third note in the chord. So studying on a night, we then go up three semitones. So from a, let's have a look. I, a sharp B, C. So our second note in the chord will be a scene out from the c. We then got four semitones. So from C, Let's got four semitones, C, C sharp, D, D sharp, E. There's air for. So we have the nodes a, C, and E, make up the notes in an E minor chord. How do we apply that on the guitar? Let's find the knights, AC and eight. We know we've got E. We've also got another a here. So yeah, these are covered. We also know that we have a finite just here. And we'll say now we have another a night just T. So that's covered as well. But we've also got D and D up to Dan to is a. So we've got an a they so we've got the eye, the eye. And so the night missing from an a minor chord is the C naught, which is at the middle note for the court. To do that, we have a base string, and if we got one strip from the base string gives us a say night. So let's briefing is back on. And does that look familiar to you now? There is a minor chord using the nodes i, a and i. C night, just there. And then we have a few A's. We've got a0 and a1. And there is the notes that create an, a minor chord, working it out using the mana chord pattern, which is three semi times four semitones to work out what the three nights are that are in an, a minor chord. 33. Basic structure of songs: One of the questions I get a lot is about the structure of songs. And you might notice in songs that one of the consistent parts of a song is that there's a chorus. There always seems to be a course pretty much in a song. And the course is the part that gets repeated that everybody generally now's the lyrics do. It's usually got a really good melody to it that's easily recognizable. So of course is an important repetitive part in a song that's used for that it's the main part, the meat of the song. So there's also other parts there that make up a song. And they are the introduction or intro. There is a verse and there could be more than one v2. You could have this one verse to verse three bits for there is a chorus and there can be variations on the course as well. A bridge, and a bridge is just there to add or his editing to a song, to add color or add a change or something different that keeps people interested in the music rather than just having the sound of a verse and a chorus repeated over and over. A bridge can break that up. So I can break it up by slowing the tempo down or by changing it a half-time or double time, or giving it a different collection of chords to give it a different sound, a different feel. And then you can go back into the course, which is the familiar part people know. In addition to that, you can also have a solo, and ASALA was an instrumental part. So typically that would be a guitar solo. I, it could be any instrument silo, but it's used just again to break up the song and give it that different change, that different sand. And then finally the outro or the ending of the song is the last part. Now, each of those are generally divided into your certain amount of bars. And typically in Western music for why that he's created using 4812 or 16 bars. What I mean by that is typically a song could have an introduction of four bars, then the reverse could be eight bars. Of this one can be eight bars, the chorus could be another eight bars. And then the bridge could be four bars. The solver might be another four or eight bars. But you can see how the music is consistently divided into 4812 or 16. So the chorus could be 16 bars for the chorus, and the verse might be eight or vice versa. It doesn't, it doesn't really matter. It depends on the lyrics and on how the songs written. But it's unusual to have outside of their 4812 or 16, except for a common thing to do is to add one extra bar, or maybe two extra bars at the end of a verse or at the end of a chorus to sort of give that fill-in gap between a verse and a chorus, or between a chorus and the verse. So sometimes there may be an extra one or an extra two bars added in some songs, but generally 4812 or 16 bars is how the Psalms and divided up. And the last part I just wanted to cover for you in relation to song structure is there is a couple of typical forms. So when we talk about the form of a sudden, we're talking about the order that the verses and choruses are in. And a couple of typical or common forms are an introduction. This, of this one. Of course. This two, followed by chorus, followed by the bridge. This three T courses, and then the ending of the song. And that's one very typical format. So if you look at songs that have a listen to different songs, you start to see that form a PR in their songs and better recognize our KSR gas from the verse to the course, to the rest of the course, to a bridge to a vase two occurs to a course, and you can start to get used to what that order is for different songs. Another typical format is to have an introduction, to have this one then verse two, then of course, verse 34, and of course then a bridge. And the bridge leads into a solid from the solar. You go into two courses and then finished the song with the ending. Sometimes in that format, they also gave back to an extra averse and might be just one verse after the, after the solo is a common thing to say. There are a couple of different forms that you can have a look at. You know, actually do song structure. But hopefully that's giving you an introduction or a basic idea of how the song structures work. And you'll notice them as you're planning, that the VS will all have the same set of chords. Reverse that there's eight bars in averse. It'll have a set of codes, the play for the verse. And then a different set of code, or different chord pattern is played for the chorus and that's repeated. Every chorus has that same code pattern, unless there's a slight variation. But typically that's how it works. Say, when you're learning a song as a guitarist, you learn the verse one code pattern. You'll end the course is another code pattern. And then you just need to know which order the verse and the chorus is planning. And that's how the structures of a song work. 34. Week 4 introduction: Welcome to lesson number four. In lesson four, we're going to introduce you to guitar tablature or guitar tab, they call it, which is a specialized reading music. Then we will look at some more backwards. We've got F7, J7, I7 using that P seven Backward Jump and guitar rhythm for you. Then some picking. This time it'll be with a man at G and D And say, good. Then we are going to look at what notes make up a major seven chord. And this will be really useful for you to learn a little bit of extra theory. Then for some writers, we have the chords used in C major scale. So that'll help you with your songwriting. Decide which called the work best in C Maja. And then we'll finish that off with your practice track for this lesson. So let's get into lesson number four. 35. Introduction to reading guitar tab: We're going to look at Guitar temperature and introduce you to what guitar into which it looks like. And here you can learn to play guitar tablature. Guitar tablature or tab as I call it, is just a way of representing music that makes it really easy or easier for guitarists to understand what it is they need to play and where to put their fingers on the fretboard when they're playing guitar. So I could add tab, which is often used for guitar solos, but it can be used for any type of music that relates to guitar or any, even any string instrument. So we might have in a piece of music, for example, the night I end on that note, that music it says plied the night I. Now where do we apply that on the guitar? Well, it could be this or this I, this I, or this i, this i, this i. There's so many different notes that we don't know which note we should be playing and whereabouts on the guitar. It's a tablature solves that by giving us the lines on temperature as the strings. So if you look at our tablet so that we've got there near the thickest string, which is aim is the line at the bottom. Then we just work our way up I, D, G, B, and E string. Say All it is is just the strings on the guitar. And they could be tuned differently. It might not be E, a, D, G, B, E, But for example, that's what we're using. We can also have the time signature there that would just help tell us what timing we applying this in. And not all old tablature has that, but it does make it easier. So when we're looking at our temperature, you'll see there that the very first night that we have, we have a 0 written on the second line from the bottom, and then a number three written on the second line from the top. Remember our lines of the strings on the guitar. So if we start with the lowest one, and because they're lined up together there in a straight line, one above the other. That means you apply them both at the same time. For example, we have a 0 written on the fifth string. And what that means is to play the open string. The 0 is which fret, and because it's a 0, we don't actually put our fingers on a friend. We just applied the open string. At the same time is that there? We need to put our finger on the third fret, on the second string. Now it doesn't tell you which fingers to use, but it tells you where to put there so you can decide what's going to work best. Once you start playing some temperature, you'll start to realize or start to learn which fingers are easier to use when you're transitioning from one night or from a group of notes to the next. So it's okay to not know which fingers to use, but you get to decide that depending on what's comfortable, what's gonna work best for you. So we have our ag Tartaglia jump with a 03. So 0 means I can string on the fifth string. And then the three is the third fret on the second string. So all we do is play them both together. So we just go like that. And so there is to it. If we look at the next Rob Knight, So the next two that are lined up, it is a two. And in open. So I just gone from three on the second string down to a T. And then it shows that carrying on. So that's sort of held. And then it has a fifth, the fifth fret on the first string, which is up there. So you can decide which fingers to you so you can gain Madison just for pates. So I've got the same thing repeated in the next part. And you've already led the first two bars because they are paid either Nivea, I've been unfair together. Then I believe the second together, those notes, hold on while you then play the fifth string. That's the basics of what tablature looks like. Now, notice the timing. It doesn't always have the timing there. Sometimes it doesn't, but sometimes the timing can be written in the tab as well. Other times it's written below. So if you look at their timing DMB lie this, you can say that it has a dotted crotchet. So the timing would be 1234 at that, that, that, that so that's their timing. If we playing it with the music. And I won't go into how the timing works because we are concentrating on the temperature at the moment. But trust me, that's the rhythm that I'm playing nearest. 12341. If we now look at the next team, as you can see, we have the second fret on the fifth string. Second fret on the eye just yet. And at the same time is that we playing the third fret. Third fret on the base room when the second string. And then the next night after that. Because the fourth fret on the fifth string and the second fret of the second string. So you've got and then a3 psi third fret on the second string, second fret on the third string, second fret on the fourth string. So I have got, and then the very last bit of the fifth fret on the fourth string. Fourth fret on the fourth string. Then we have an open string. And then second friend. After that, the second string and fifth fret on the festering inside, that's not too happy either. Just like that. I written as quavers 1234. And so doing just those two because again, that's what it sounds like. Say 32, then foreign t, then a three to two, and then slide up to the fifth fret. Let's play it through slyly. Are right from o for bass, 123412341234 and T 34123412341234234123 and thought and then that self-paced guys, just that's full bars say just from those basics or from that introduction to you Qatar tab, which you can see that it teaches you where to put your fingers on the guitar based on the strings. And also it gives you the rhythm as well, say gun, the internet, google guitar tablature. And you'll find heaps of guitar temperature that you can lend. Just look up some basic ones first, if you do wanna have listened to the complete peace that this comes from, I'll put a link down the bottom for you so you can have listen and see what the whole song actually sounds like. 36. Bar chords F7 G7 A7 using the E7 bar shape: We're not going to lend another shape that we use for our bytecode. And this one is based on an E chord. So I will start with a, and normally we use these three fingers. Became a swap that ran in new states. Three fingers, fast fingers, thumb is available for us to users about. And we're going to turn out a into an A7. To do that, we just remove F will what was previously a third finger. Now full thing enough. That fourth finger have that nice day seven sound. From the A7. We can now make that into a backward slide up one fret and we have F7 slideUp to add GNI. And we have said is about code. Let's go back to F7 and practice that. Could we go 1234123? Take it off T three, back on again. 123412, 34 last time, 123. And there's our F7. Obviously that's for an F7, but we can slide that up to G. And then we have a J7, which sounds similar to the seven, is actually seven code. We can again go up to the fifth fret. And we now haven't. I got G7, F7, I7, I7 based on the ionized that you remember them memorized? Yes, you did good. We're going to play three, G7 to I7, not too fast, okay, at 340 and we'll just keep going backwards and forwards a few times. Let's go 123473737373. You can see now why I said you need to learn these nights, B, F, G, and I. Because knowing dies Knight's ally sheets now where the different chords are, where the different bows will need to go to make those correct chords. 37. Rhythm pattern 12: This guitar rhythm. We're going to look at playing an a and a and F sharp minor. So we do have one barcode and this and a deep with those chords. Instead of just doing normal strumming, we're going to mute the guitar and give it a more of a driving sand. It would be all dance, drumming. And if you have a peak, you can grab a pick and use of pick for this as well if you like. And feel free to use or pick for any of these rhythms to, because mostly we're still streaming down and up. But this one sort of works well for a peak. In fact, acronym. We have a good topic. And we're going to play this rhythm strumming down. So we'll all be dance drums and muted. And the way we meet it is to put a palm of their hand, this part of your hand against the strings. And as we strumming. And it gives that sort of music sound, which is the sand we want for this particular strumming pattern. The pattern will be as I sitting for four and will count it as 1234. And if we're going to set the tempo would be 12341234. And we're gonna strum it through just on a chord. First, we'll play to browse through and see if you can get the idea of meeting while you're playing in the only need to play the three strings. For a chord would just play the fifth string. The fourth and the third string. Only. Like that. He began 123412341234. And on its own doesn't sound all that exciting, but we'll just play it through all the chords. First, a F-sharp minor D, alphabet that tempo, and then we'll speed it up. See Hagar with a faster tempo. He began 34 and the D and E, and 2341234. And so I remember looking at the music there. We've got two quavers, the one end, then arrest than we play on the end after two. And then we play on the big three and number four. Let's try this a little bit faster. 1234. And so you can see there starting to sound like a rhythm that you would actually use in a song. One more time, a little bit faster again, see if you can keep up. He began with do you agree or being the one, just one last reminder. We that is when I'm playing a chord and playing the fifth, fourth, third strings. When applying the ii chord, I'm playing the sixth, the fifth fourth springs. When I'm playing F-sharp minor, I'm playing the 65th four strings. When applying the D chord, I'm actually playing the 432. So that's denied. And that's why we playing the fourth string because it's a dinitrogen. So that means the name of the chord is the lowest note that we're applying. And we only playing three strings at a time. 38. Picking pattern 4: In this finger picking exercise, we're going to use 68 or the time signature 68, where we count to six and stayed we count 123456. We're going to be picking individual fingers, and this one's a little bit more complicated. The chords, we will use our A-Minor chord, G, perfectly a D chord, and a C chord. And you can add the extra G note on the sacred if you like. I'll show you a couple of different ways of playing that as well as we go. But we can think 1-2-3, 4-5-6, and we'll play each chord through twice. So let's practice on a minor to start with the pattern. We're going to do an old name, these based on the strings. So starting with the thumb, thumb on the open a string. So it's fun to 123 or 12345668 part that's six Bates, again, numbering the strings for me, one with the thumb 32123. So it's not an idea, it's just starting with the thumb, then each finger one after the other, and back down again. It takes a bit of practice to get your fingers to slip back into the right spot. But with a bit of practice, it will sound like this. 12345612345612456123456. Let's practice that p minus z0, D and a C. The important paths is the bass notes are plat 3 first and I'll go back and explain what they are fully. You will get a mana, 123456123456123456123456. And D, one, T3, full flat six, C 123456 and back to a mile. So what should I do with my fun this time? A miner. It was the open string, open E. For the G chord, it is the baseQ string. Third fret is a GNH. So I applied that. When we go to the D chord, we use our d naught, which is the fourth string, just pay. And then for the C chord, we use the fifth string, third fret, a note. And again, you'll start to get used to these quite a lot. Let's try it all the way through and we'll make sure we get the bass notes right as well. And we're in six out, so it's 1234561256. And again, code 123456123456123456, C 123456 40. Picking practice track 4 - 62 bpm: Okay. 42. Notes in a D Major 7 chord: We're going to look at how to create a D major seven chord. And a D major seven chord has four notes in the chord and the spicing in semi-tones between each of those nights. It's four semitones, three semi times, and four semitones. Let's have a look with our Schuyler chromatic scarlet shows us every night. Starting on D, we got up festival four semitones from D. We get a D, D sharp, E, F, F sharp. So a second note in ADD D major seven chord will be if shop, we now need to go up three semitones from F sharp, UB guy. If shop guys up to G, G sharp and I, there's a 33 semitones. So the next night is I. So we have D, F-sharp, and a. And then we need to go out for semi times this time to get to our last note in a D major seven chord. Studying on a, we've got a sharp, B, C, C sharp. So that's F, four semitones. So C-sharp, the four notes in D major seven chord then will be D, F sharp, and C sharp. Now, let's look at N D chord first before we work out how to make that a major seven. And D chord has in it the nights I, which is the open Ice Cream Day string, which is the open D string. And I night, just eat with our first finger, a D9 with our third finger. And then our last finger sits on the F sharp. So we've got D, i and f sharper, all covered in our D chord. Note that's missing is our C-sharp note. And the best place to find Len is a d there, that's a see. The fret in-between is a C Sharp. Second fret on the second string is a C sharp note. So we can change, add D to a D major seven chord. Just by doing that. Or you can put three fingers in there if you like. Whatever works out best being. But you can see now that a D major seven chord, using the spacing forcing me times three semitones and forcing me times gives us the notes D, F-sharp, C-sharp. And to make that work on a guitar, we just need to change a D chord from that day damper C sharp. And we have ADD D major seven chord. 43. Notes in a G Major 7 chord: The next chord we're going to look at is a G major seven chord. A major seven chord is made up of four nights. And that's for notes have a certain pattern of spacing between the knights. And the pattern of spacing is four semitones, three semitones, and four semitones. Starting from g, we have achromatic sky with the lights on up. Starting on G, we go up four semitones first. So from G to a, G-sharp I, A-Sharp, B, there's four semitones. So we have the two nights, so fad g, And they physically nights at our G major seven chord. From B, we go up three semitones. So let's go from B. We have N, a, B, C, C sharp, D. There's are three semi-tones. Say the second night, or finance or it is G, B, D. We've just derived it. We now have four semitones from a third to a fourth note in a D major seven in G major seven chord. The third night is a desolate stuff from D. And again to go D sharp, E, F, F sharp, G. So there's our four semitones taking us all the way to F sharp. So right, that one then, G, B, D, and F sharp. Let's see if we can make the G chord into a G major seven chord. So it's r, g, which we have an a G chord. We also have a jade in the bottom here on the E string. So I've got two Gs. We have a bainite, which is this one just him. We also have a B string, which is a string, so it covered the G and the B, which is good. We also have a d. I can screen as well. So that Saturday night. And then we also have a G string. So we've covered GB and deep, quite well. You're just abnormal G chord with gene out in the bottom, which is really nice. That said G chord. And that's why you can also play a G chord with the extra finger on just here. Because that is Dina. It's a, B, C, D, There's a day, night there. And a G chord has denied in it. So it's quite okay to play GIGO or play a G chord like that. Either one works. It's quite okay. Sounds a little bit of a different sound to it. What we need to do is work out how to get out if sharp note into ADG code to make it a G major seven chord. So easy way to do that. That's a gene out there. And if sharp is just back one fret, or there's F, F sharp. So a G major seven chord can actually be played like just like that. And that's one nice way of playing a G major seven chord just by getting that F-sharp 19 name. 44. Notes in a C Major 7 chord: We now going to look at how to create a C Major seventh chord and what the notes are in a C Major seven and y, That's notes were chosen. For a major seventh chord. We have four notes that are a part of a major seventh chord. So we need to come up with for different nights and the pattern between them using semi times is four semitones, three semitones, and four semitones. That's the wider count them out or to work out the spacing between each of the four notes. So I, starting on a C, we have our chromatic scale. We get into garp forcing me times first. So C, C sharp, D, D sharp, E, there's four semitones. So our second note in a C chord, C major seven chord, is an a night. So I've got C and E. The next one is three semitones, so we need to go up. So from E will start on a, we go to F, F sharp to G, say f third night will be g. So I have got C, a, and G So far. We then need to go up, forcing me times this time from the finite to work out the last night in accord. So starting on G, a, G-sharp, A-sharp, B. And there's four side, the three notes that we need as C, E, G, and B. Let's have a look at a C chord. C. What Next we have in a SQL it first and then we'll work out how to add that extra bainite. That is part of a C Major seven. Let's have a look. We've got a lead there. The two strings are, the sudden, say is covered in a secret. We also have a C night just here. We have another dynode here. Remember to Dan to tells us that's an octave. So we've got a, C, B, an open G string. And there's a G in our court as well, that was the third note. We also have a C chord and other senior out here. And then I'll open a string. So a C chord has the night seeding in G. We work that out, that's good. We now need to find a bainite. And the easiest way to do that is to use that open string, that is a base string. So the difference between a C chord and a C Major seven chord is to just take that first finger off. And that gives you a C Major seven chord. Because we now have that extra bainite or B string in there to give it that major seven sound. Let us C Major seven chord using four semitones, three semitones, and forcing the times as the spacing between each of the knights. 45. Chords to use in the key of C Major: We're back again for those songwriters, I'm going to look at the key of C major and wicked what chords we can use in the key of C major? So if our sun were starting on a C chord or was in the cave, see my job, these are the codes we can use. The ticket the knights first in the C major scale, we have C, D, E, F, G, a, B, and back to C again. Let's turn those into courts. Starting on C, we have a C code for the D will make that a minor. So D is D minor. The E, we will make an a minor. For F will lead that as the F-Major, or an F-Major half bar. G, because g Maja. And then I will make a minor, I might add, and we will leave out the b at the moment because that becomes a diminished. So the chords that we can use in the key of C major, what you would typically using the QC magic because you can use other codes, would be C, D minor, E minor, F minor. So let's create a 4-bar section of a song. And in this case, it could be a chorus or reverse, doesn't matter which one. We'll start on C, just to keep it simple. You may remember I mentioned the relative minor way. You go back to notes. What records from the magical that urine at r1. See, we go back to so I guess the baa gives us a minor. So the first code we can start with the C and they're going to go straight to an imam. Now, an Xcode we can choose. And typically these T courts often got together in songs and then the last two chords before you get back to starting a phrase. And that's using the fourth, fifth cords in our key. So in this case, the fourth fifth that f and g. So if we play F and G, the G chord, the F chord tends to want to lead to the G and the G code wants to lead to the sea. And what I mean by laid it has a sand that it says though it wants to go to that code. You don't have to go there, but it's, that's what it leads to, just by the sound of it. So if we play again C, Then a minor, F to G, leading back to a C. And that's generally what that pattern will do playing and F to G wants to get back to the sea. But we're gonna change that. We're going to make it something a bit different because we want to try out some of those other courts. Say, Let's play C. And you might say, second man, F to a G. Now let's go to about relative minor from G, so G back to Texas to E minor. And just for the cyclotron it out. Let's see what our name on a sounds like next. Mission that sounds cool. And then we'll finish with our f and g, which would take us back to the C chord at the start. If j and vector C. So let's try that. In 600 feet from the top, 234. Let's say I F, and G. A minor E minor, F, which is not a bad sanding silver cords. Don't know if that is a course that might fit better for this. Some, but you have a game. There's an example fully, you try using C, D minor, E minor, F, G, and a minor, and see what you can come up with for a ves Or a course for a song. 46. Week 5 introduction: Welcome to lesson five. In lesson five, we're going to teach you how to use a KP. Oh, if you don't know what that is, what's the lesson five, you will make complete sense once you get through that. We're also going to look at some new chords. And this would be backwards again using b, c, and d codes based on the shape. We have a, another great guitar rhythm for you, getting more complex as we go, we're going to look at some picking. And with this picking, I'm going to teach you some alternate bass notes this time, which hopefully you'll find really useful for you. We're also going to look at the notes in a seventh chord. So this is part of the theory, part of music for you. Then after the summer others, we're going to look at a minor and the chords that you can use in a mana when writing a song. Last of all, we'll finish off with practice strike. And again, the practice track will be in three different templates for you, so you can go through that. So let's get into listened Number five. 47. How and why to use a capo: Welcome back again. We're going to look at chaos. And if you haven't heard of or similar KP Oh, is this is what a KPI looks like. Duplicate by one. You just squeeze it like that and place it on the guitar. But let me explain what it actually is first, what would you have one? If you're guitarists and you're playing, and you learned to play backwards, what a backward is essentially doing is moving the not from here. Further up the guitars or might be to the first fret, second, third. By burying it, you're basically shortening the length of the guitar. And that's fine, except that they can get really had to play. And it also means that you can't play those nice open chords that you liked line. You might quite enjoy. Klein has open chords and they're more comfortable. So to make it easier for you to play in different keys, you can use a Kapow instead. And that basically just shortened so length of the guitar by certain amount. So let's grab our KPI. If you haven't got one gravy software that's really useful, especially for acoustic guitar. But he placed the Kapow, well maybe that class, so you can see plus two k pi on the fret and slided up to the front edge of the fret. So its just before at the same spot that you would put your fingers if you're playing a chord. So position you kept by nice and close to the fret to double-check that you've got it. The co-pay on correctly. Just play each string and that will make sure that there isn't any buzzers. So if you do have the K by back here, you can hear those buzzers that Helen. So make sure you slide the Cape out all the way forward. What does it actually mean when you use a Kaibao? Let's say you're playing a G chord and you apply j coordinates position. If you put a KPI onto the guitar on the second fret, is G. And you play a G chord again. Imagine that this is the nut of the guitar starts back here. Ply G code. You actually now playing an a chord. So the Kapow allows you to change the key of the music you're playing without having to change the chords that you've learned. And the way that you've learned the song. This becomes extremely useful. And there is a chat which I'll give you a copy of. Its the kPa position positioning chat. So basically says if you play a G chord, and if you play the G chord on the second fret, in, that basically means that you're playing an ACO. If you add another. An example is if you play a C chord, but you have a cape on the second fret, then that means you're playing D chord. And what I mean by that is you're playing the sound of a D chord. If you place, see, remember that sound. And that sounds very similar to a D chord in the sound of that, of that actual code, Hotel de code. So a Kapow is really handy to do that. So I'll give you a copy of the KPI positioning chat. You can have a look at that. There'll be a link four down the bottom. Grab that and that's really all you need to understand and know how to use a Kapow. Obviously, when it comes to you having a song, any need to translate that song from one k2 and other key. You may need to go through to the KPI chat and go, okay, so if I'm playing, if the music's is, say for example, it says G sharp is the code. But you don't know how to play G-sharp yet. You can actually, if you put a g there, you can put your cape on the first fret and play G. And that is actually a G-sharp. Courts have the music says G-sharp. You can be playing a G chord rather than learn how to play G-sharp code. And that's the very basics of Heroku paperwork. So I hope that's been useful to you. 48. Bar chords B, C & D using the A bar shape: We're now going to look at a different shape. We've used out a shape and lend some courts based on a world, again to lend chords by stoney a shout. And there is our iii chord, because we've been playing an a chord with those three fingers using a second, third, fourth finger already. It makes it relatively simple to jump to. And I back order using the shape as a backward. To do that, we've already got our first finger ready and waiting to use as a bar. So we don't need to worry too much about that. It's, it's already there. So what we're going to do is playing and I chord. We're going to slide that up two frets. And then we're going to bow on the second fret. When we borrow on the second fret using an a shape, we basing it on the fifth string called the notes on the fifth string. So that's an, that's an a chord. And we slide up two frets and we'd buy here. It's based on that bainite, which means this is a B bar chord. So all we need to do now is put our three fingers on with our first finger. And now we have a V chord. And that's a B bar chord. Obey backward is actually pretty hard to do. And often can be shortened by using the half code by just putting a finger down on the bottom and applying for springs. But we'll come back to those later. Right now let's learn our b backward. It looks like this second fret. Three fingers began to practice that. Okay, I'm in and say, hey go. Yeah, yeah, 12341234, fingers off. Two, on the second fret, 1234 members and a shape to three thoughts and they could fall off. So a bytecode second fret with the bar using an ICE shape becomes B. So we have a, we have B, and we also have one more friend as a say night just there. We also have a C chord. And there's fc. And slideUp to more frets. To a day, night, we're on the fifth fret, gives us a DNA, and we now have a D chord. So let's try playing a C chord. Back to a day backward, 123412342234, up to c. Third fret. Day on the fifth. T. Three back to C again. 1. Third for the fifth fret is a D chord. So again, what you've learnt now is the shape. And using the I shaped to create a record or a B bar code, c bar code, and a D backward. 49. Rhythm pattern 13: And this particular rhythm, we're going to look at the chords, a minor, G, D, and C, or email at GDC, yes, in that order. And the difference with this rhythm is that we're not so much worried about the Dan upstroke, but we're looking at accents. And the way accents work is how you, how hard you actually strongly guitar on certain beats. And the way this works in music width, if you playing with the band or with a group or other musicians, is the accent will give a different feel to the song depending on where those accents happen. And typically those accidents will happen. If you have a drama or a best plan. The beat that they play, the kick drum, or that the bass player plays the bass notes will often change the feel of the song. And that's where you can accent certain beats in a rhythm that will fit in really well with the rest of the band or with the rest of the musician. So to explain that, we're going to look at a rhythm in 44. It will have eight quavers and 44. And we're going to accent one. Then we have end to end after two is where our next accent will be. Then we don't accent on the 33 end, but we'll accent on beat four and not on the end after that. So if I was going to play this through with at the accents using an a minor chord. And that's just going to strongly through just nice and simple. I will meet this a bit too, so it's not quite as noisy. And you can tell the difference between the accents then. But if I go 1234 and that's playing it with accents. If unguided accent it, I will go 1234. And so you can see that as x ends on one, the end after two, and on beat four. I'll try that again. Little bit slot 3412341234. And so let's try that through with all of the chords, a minor, G, d, and c. We'll keep it fairly slightest doubt with, so you can get used to that accenting part. If you need to meet the guitar with the palm of your hand, you can see your palm just on the strings lifted up when you don't want to accent. And then for the rest of the rhythms, keep that planned dram. So let's go studying on a minor. And he began 341234123412341234 and sends a bit strange that slowed us know. Let's pick the tip up a little bit and it will start to make a bit more sense and make it easy if you'd apply here we go to N3 and thought and 12341234123423412234 vector C two. So you can see that it makes more sense. We're going to pick the tempo up just a little bit and have another listen at a faster tempo here. Yeah, 123 and thought, and 1231234. So you can see how putting those extra accents or particular axions into a song or into a rhythm can make that rhythm quite useful and work really well with very specific songs. 50. Picking pattern 5: We're now going to look at quite a different arpeggio. At this one, the finger picking will be a little bit different, but the bass notes, here's where things change quite a lot. So this will be what F Fund, as I fumbled, do quite a bit more than what it normally does with the bass notes. The chords are quite simple. We start with the G chord, play a C chord, a minor seven D chord, and back to a G. And then finish off by asking, all of that is the same as what we normally do. So that bit's not complicated. The finger picking for this as a little bit different. Let's start with N G chord. And I will name this time the string numbers. So 123 of the three thin strings and thumb. So start with thumb. On the sixth string. That's done. Then we have strings 321323132, orbits law 2132. That's a little bit back to front to what you're used to it. Now, what happens with the rest of the song, while the rest of the chords is that began to play a different base net starting on G will start with that. It's in 68, so we've got 123456. Then our thumb will play, we still stay on G. So we do j for two bars, but we're going to play a bainite. And the reason we can play a bainite is because a B note, which is on the fifth string, you're still part of a j code. So we don't have to change anything on the left hand. We just play a different pace, not so it'll sound like this starting on G 1456, then we apply a bainite. Let's try that through 123456. Then a bainite we changed was C code and with the C chord F thermoplastics Ignite, which is the fifth string. In straight to an eye, mana, which is the fifth string, open. A D chord, thumb will play the full string. Then this is a tricky bit. A D with an F sharp dice. And if you can do it, reach your thumb right over the top and hold an F sharp, which is the second fret on the sixth string. So that's a d slash, F-sharp. That means D chord with an F sharp bass note, and this is an F-Sharp just too young. But the white apply it. Hopefully if your hands can reach. Rod out of the top day. After we've plied ADD D with an F sharp ice, we get back to a G chord using them six string, and then back to a d using the full string for the thumb, 123456. Just locked that. Apply it right through slyly and see if you can follow it. Remembering the thumb is the path that's really busy. Soft focus more on what the thumbs doing. You guys starting on G, 1234561234563456, say code. I monitor, decode. If shout dice. Steward the day code G. And a day. I'll do it again a little bit. Sloppily stone. It's little bit How did apply slack? Here we got 123456, g, four, 5-6 bainite stack that Jacob would say code. Say nice. Now, I want to thank David and F shout base. Then a G and a D. I just check as biased maps again, g, then a, b. This savor the C code, then an IF that Gandhi. But the daikon, then a gift shop with a decode and then a j by snack with a G chord. And then back to a day, night with the Descartes. That say we can play this up to tempo. 123456123456123456. C. I mocked up. David, an F-Sharp G. Day. They began one more, even faster again. And you've got a guy 3D practice tracks today. There's anyway, I say one more time, even faster again, and you'll get the feel of what it sounds like as an actual arrangement that you use with the song. 1-2-3, 4-5-6, one low 5-6. Say j, d j, b basement on a j, say I'm on a day to day with the F-sharp vice nine, g, d omega 52. Picking practice track 5 - 62 bpm: Okay. 53. Picking practice track 5 - 72 bpm: Okay. 54. Notes in an E minor 7 chord: The next chord we're going to look at is an E minor seven. And see if we can work out how to create the notes in an a minor seven chord and why those notes are in an a minor seven chord. Where did that come from it. So we have our chromatic scale with Ole nights. There's are the nets were land to use. We know that for an E minor seven chord, we need to have four notes in that chord. So this is where we put our four nights. The spacing between the notes in semitones is three semitones, forcing me to ans, then three semitones. And that's how we space out those four notes. Let's start with a look at we do not want any mitochondria is already starting an adenine. We're going up three semitones verse, so he would go from B to E, F, F sharp, G. So our second note in the chord will be a genome. We now go up forcing me to dance. So from G, Let's start on G. Got forcing me times G-sharp, A-sharp, B. There's four semitones, so we've now got a, G, and B. They are the first three nights. When I need to add our fourth note to make it an E minor seven by going up three semitones. So we're on a bainite, that's got three semitones from B. We go from B, C, C sharp, D. So D will be the fourth night in an E minor seven chord. Let's have a look, E, G, B, and D IRF4 nights. Let's see. We've got it listed out E, G, and B to start with. So we have a administering the open string and other end. We have the octave just there. We have a bainite on the fifth string. That's MBI night. We also need to have gotten other bathe a, which is the second string. And we have a G. I can screen as well. So I've got a, J, and B are perfectly exactly where we want them. Now we have a couple of options of adding in this day, night to make it, and a minor seventh. So one option is to just take this finger off and give us a D9, which is what we're looking for, isn't it? Yes. Yes, we're looking for a D note, so we can just play that as an a minor seven and that's correct. Lee said that word again. That is a minus M. We can alternatively use this day, night up here. So we've got a baby that again, the C, C sharp, D. There's a day, night, day. So he can play an E minor seven Mike that's on a mana, adding the extra denied. Or if you'd like to swap fingers range, you can. It doesn't matter which way. And there's an extra day night here. Or we can play an E minor seven by taking off this finger to give us a diamond string and playing this day, night up here as well. And that gives us an aim on a seven. So whichever way you want to play an E minor seven is completely up to you, and it depends on the song as to what's most appropriate. D minor seven chord work for you. So that's the structure of an E minor seven chord, eight G, B, D, using the spacing three semitones, four semitones, and three semitones. 55. Notes in a D minor 7 chord: We're going to look at how a D minor seven chord is created and what the four notes are. Because there's four notes in the D minor seven. What those notes, and where that come from based on the spacing of a minor seven chord. So we need four nights. So we've got three semitones forcing me times, and three semitones are used to space each of those apart. Let's look at that chromatic scale with all of your notes. Starting on D This time. We know that decoders, but studying Monday, we're going to go up three semitones sphere. So D, D sharp, E, F. So a second note in a D minor seven chord will be F. So I've got D, F Next to go up for semi times. So from f regard F, F sharp, G, G sharp a. And there's our forcing retains out. So I've got D, F, and I so far, three semitones as ethnic spacing from the Iron Age, we got a, a sharp, B, C. So the notes in their corner in our D minor seven chord would be D, F, a, and C. So let's look at our D minor chord. Because we're going to turn this into a D minor seven. Let's see if we have a D, an F, and an a in there first, let's check. We haven't opened a string plus the fifth string. We have an open D string, which is the fourth string. We haven't. I note just here on our second finger, on the third stream, another D, and we have an f. So let's just check that's D, F and I have covered all of those df. Only then do we need to add an extra note, which is a finite. So where are we going to find that same night, there was a subnet up here. But that's probably not going to work very nicely. So we won't use that one. But there's a sane actress here. So if we keep out if and use this same note here, and our IBEC in there, still with that open day string, our agonized stirring. And he can, he let sand. That's a D minor seven chord. That's what it looks like. So they've gone from a D chord to a D minor seven. D minor seven. So the 99, again, R, d, f, i, and c. And the spacing that we used were three semitones forcing the tines and Thrace m0 times. And that's how you create a D minor seven chord. 56. Notes in an A minor 7 chord: We now going to look at the notes that I in a minor seven chord. An a minor seven chord is similar to a dominant seventh. Say, it has, What's classes are flattened seventh night. But don't worry about what that means yet. Let's just look at how to create this particular code and what the spacing is between each of the notes in semitones. So here's our chromatic scale and we're looking at Festival an, a minor chord or an, a minor seven chord. There are four notes that make up an a minor seven chord. And the first night being a, because we're starting on a site that part lazy. I start on a were ganging up three semitones, then four semitones than three semitones. So starting on a up through 70 times, we got a, a sharp, B and C. So a second night is a finite, got i and C. We got forcing me times next, starting from C, C sharp, D, D sharp, E. That gives us a third night. So I've got a, C and E. We then need to go up three semitones from the E. So we've got a, F, F sharp, G. So that's our last night is G. The four notes in an a minor seven chord, I, C, E, and G. We know from our A-Minor chord, we already have that. We should have the knights IC and a already in that. So let's just check. We haven't, we have a string and string. We have a scene out here. There's a base string, so this is say, night. We also have an E. So there's the dangerous thing. We also have our AI octave. So on the fifth string up to, down to, and there's an either as well. So we've covered I, C and a quite well. What the i minus 70 is looking for is an extra Gina. And there's two ways we can find that night. We can, if we like, take off our third finger. And that gives us an open G string. And that's the extra night is no, that's a genome that we're actually looking for. So I might, by taking your third finger off, gives us an, a minor seven chord because we're adding that extra G note. We can also edit genomes up here. So that's a G, just a F. So we can add that note and make that an, a minor seven. So and I'm on a seven can be played like this. Your third finger off and adding the G9. And I want to sit with the gene copy, which means you can leave the third finger on an Agile little finger to make NMR seven. Or you can take the third finger off and just have two of the extra G night in that code. And it still is correctly, correctly. That still is an a minor seven chord using a pattern of three semitones. Also me times and three semitones, which creates the nodes a, C, E, and G. And that gives us a really nice, I might add seven chord. 57. Chords to use in the key of A minor: Okay, again, to look at the notes or the chords in the key of a minor. And start off with, we need to know what the nighttime. So the nights in the key of a minor, a, B, C, D, E, F, G, and a. The, the Knight's, let's build our code on each one of those. So starting with a, we've got a mana began to leave out the, the, because that becomes a diminished. We're not gonna use that code yet so late that whenever finance, we jump straight to see which is a C major, D minor seven, D will become de Mona out. A net will become an a minor chord. F will stay as f Maja, and g will become just gave Jay cord. So the chords we can use in the key of a minor, a minor, C, D minor, E minor, F, G. And I might. So we're going to create a verse or a course for our Sun will make it eight bars long. And we'll use the chords out of the key of a minor, starting with the name Ana. And simply, let's say next. Now suddenly I had mentioned before he spit, it can actually jumped straight back if you like, to the record again, say it back to the first chord or back to another chord. I've always been jumping onto a new chord. H time for a 4-bar phrase. But you can play in a manner ghetto was seeing. Then you can go back to a minor. And because we're in a minor, let's try using the fifth cord out of that, which is an a minor. So our fist for boss. And this is just to try it out and see what it sounds like. I went to a C, to an a minor, which sounds pretty cool. Next quarter we can use is ID mine. We'll do that same good. This is played out again and play it from the beginning and see if that D-minor fits in nicely. What are the other day mana. Yeah, that works. Let's go to a G bedtime. I'm starting, I want it to bounce, which you can do that as well. So there's no reason why you can't continue on the same code for two bars or change more than once in a bar as well. As quite a guy. Say, here's my CT PET. And I've put together for this particular piece of music using the chords out of the a minor key. And we got to the floor. You can play along if you like. I am on an a minor, D minor. D minor. And that's an interesting and very different set of, set of coords for some number K, VI minor. Give that a go yourself and see what you can come up with. See what variations you can try if you just want to very a few quotes from what I've done, feel free to do that or come up with your own collection or combination of those chords in the key of a minor. 58. Week 6 introduction: Welcome to listen them six. In lesson six, we're going to look at how music topic, and we haven't use a guitar pick a lot in this book and ashamed and techniques that will make it easier for you will also look at some new backwards. This is our final section in backwards. We will look at B minor, C minor, D minor, based on the shape. Another great guitar rhythm for you to use, then some picking. And this one is a bit unique as well. So enjoy that it's in 4-4. Then we have some theory where we'll look at dominant seventh chords and see how they're structured and what actually makes up those chords. For some writers, we're going to look at them, at the Mauna Kea, a beam on it. And what cause you can use in B minor if you're running this on eBay Mana, we might jump into some extra chords that you can add as well. And then finally, we'll finish off with our practice track for less than six. And the practice striking list and six will take you three, D minor and C Major seven. We just some awesome quotes. So I look for the singing in less than six. Let's get into it. 59. How to use a guitar pick: We're now going to have a look at how to use a guitar pick, which we haven't looked at too much. The way to hold a good topic. Although the best way to hold your topic is to sit the peak on your finger. So it'd be on your pointer finger. And you can pointed away from yourself to start with move it ran towards yourself, so it's pointing at you and your pointer finger is tucked writing. Say I'm nice in class like that. And then just sit your thumb on top. That's the easiest way to do it. So really it is Tech fingering, sit that peak on top, fun about that. And what you end up with is a little bit of the peak, just a small amount of the peak actually sticking out, say not, not too much. And you'll get used to that. Some people hold the pick further out. Like this. It tends to get too lazy to sort of to drop that, say tech you finger in instead and put the thumb 90 degrees to the angle of that, the peaks pointing with the thinner end of the peak. By the way, that's the way to hold the big. So let's grab that. You can say automatically, I've actually taken a down a little bit further back from being tapped writing to you just back a little bit because that's comfortable for me, but you work it out. What's comfortable for you? Going to be easiest for you. Say the peak. We're going to look at strumming first. When we strung, obviously with a D chord, we play the a string or the fifth string down. We downplay this light a string. So you need to get used to using a peak and not playing the strings you're not supposed to play. So if there's an X on the chord chart, that means don't play that string. So let's have a game that playing it and we'll go 123 from just strumming down at the moment. So 1234 on a D chord. And it's just like you've been struggling with a finger. So same sort of thing, but we're using the peak and it gives them a much brighter or harsh or sand as well with a peak. When you're coming up with the peak, the peak back upwards so that the peak doesn't get caught because obviously accounts from up while the peak is on an angle pointing up, because that might work, it'll just get caught. So you strapped down with the pick on a downward angle. When you strap up, you tilt the peak back the other way and strum makeup so it's really tight because if you do, it will become harder to scram. Damn damn. Tilt the pick until the peak back for the way up until that Dan when you strike it. On the way back again, Dan. Dan. And then angle. So that's what you can do when you are strumming with a peak. What you can also do is play single nights with a pick. What I'm going to show you as an exercise you can use to help with your peaking. And this exercise is to practice picking Dan in app on single strings. To do that, we start with our first finger on the third fret, on the sixth string. And what we're doing is we're picking down, then back up as we move up to which fret. So I'm using my little finger here as well. So that will help strengthen your little finger for courts. But down, up, down, up. And that's on the sixth string. We then move to the fifth string, down, up, down, up. And so you'll notice I'm using my fingers to support my hand on the strings and that's okay to do that because I'm not playing those other strings anyway. You can support your hand on the guitar as well and the body of the guitar, that's okay. Whichever you get used to is fine. It actually is quite okay either way. So let's try again. We go down, up, down, up, down, up, down, up, and we just keep working away upon next string. Down, up, down, up, down, up, down, up. So that's a little exercise for you to practice to get used to using your peak and getting to control the peak. So down, up, down, up. So you have to do, if you want to make it more interesting, you can use the first finger, third finger, second finger, forefinger, that'll say like this. And work your way up strings as well. I'm still using down, up, down, up, all the way through. So that's just a second exercise for you to use to help. I get used to using the peak. Dan end up picking down and up, but also to strengthen your fingers on your left hand as well. So it's a little exercise that will work for both of those reasons. So that's the introduction to using a good topic. Obviously there is a lot more to using a pixel. For example, if your finger picking what, repeating what we would do with speaking. So normally we would go, you can do the same thing with a pick. But that does take quite a bit of practice and it's learning to skip strings, doing down, up, down, up and keeping that motion going really nicely through the strings. Say, that's something you can work towards, but festival, just practice strumming Dan and up with the peak. And also practice the exercise of going down, up, down, up. Now three each of the four fingers or four frets. Keep practicing that and get used to that technique first. And then we'll be able to look out at some stage. Hey, you can use a peak to produce what you do when your finger picking as well. 60. Bar chords Bm, Cm & Dm using the Am bar shape: The next backhoe began to look at is using the Skype. Now I already have an i Mona. We already have an idea based on using out second, third, fourth fingers. So they've already had got that before. It's quite simple. We have our first finger free, so we're ready to go. We can create our next backward really quickly. To do that, we're going to slide up two frets. Put our first finger on the second fret, and that becomes a B minor bar chord. Which sounds quite nice. I took California, I think if I'm on a slide up two frets becomes B manner. Making sure that you hold that, that night they down that one that tends to get left behind a bit like that last string within string. That they might not. We're going to try that will play a minor. Take your fingers off, put it back on again. Here we go. 1234, the minor, using an ion, a shape on the second fret. 234, again 1234, fingers off T, three back on again. 234, type them off t. And remember it's gonna shape 1234. We can also use our new b minus shape, or it's an aim on a shape. Creating a D minor chord. We can slot that one fret to a C, And this becomes a C minor chord. In a similar fashion. We can do the same thing. Slide up to the fifth fret, and this becomes a D minor chord member. We, using the sine shape, that's based on shape. We're going to play C minor up to D minor. And say, hey, give me that. I'm trying not to do it too fast. He began 1234, C minor, D minor. Back again, 12313 x to the third frame, 1234123. Very good. So we've learned and using our backward, we slide up to the second fret and we have a minor, C minor, which again sounds like NDA mana. Very similar to at the moment I've been shot. 61. Rhythm pattern 14: For this guitar rhythm, this one's quite complicated, so I'll take it slowly through step-by-step and teach you how the rhythm works. And then we'll look at adding some chords to that and then see if we can play it up to tempo. It's in full, full. But we're using 16th notes for some of this rhythm. So what we've got is we have a crotchet, and the crotchet will go for one hobbit. So that's not an easy book. One is down, but two is down as well. And it will be a dotted quaver, which means it's a quiver that goes for 1.5 quaver Bates. Then we have a semiquaver, which will be an upstroke. Then we have a semiquaver rest, which is like a it'll be a 16th note rest. Then we have an up strum on the end after three, and that will be a semiquaver again. Then we have a quaver down on the end after three, and then I'm bake for strummed and again. Then on the, the end, we'll have another dance drum and back up again with our last 2 16th notes, which will be our last semiquavers At the end. Sender complicated saying it that way. Let's canter through as one E and, and tap the rhythm. Here we go. We'll start from Fourier NDA so we can get back to the staff for E and R, one and R on an account that again because 10x and there is actually just a four crotchet, four 0s and 12341. More time for e and 1234. The end. Good. Let's try that in a G chord is G and C for this. So a G, C, it's actually a C at nine. If you want to add that DNA to sands mass. Ok, let's go for E and R, one E and to B. And at 3.5 for a and the sky through again with the strumming and telling you where you're spamming Dan and up four and down. Down, up, up, down dam, dam, up, down, down, up, Dan, Dan, Dan, up. The guy. Once you get the feel of this, it'll make a lot more sense and feel more comfortable for you. We're going to try it with G and C. And I went spit the temp up yet, but we will start to spin it up so it becomes more comfortable sprung. Here we go. 48123412 a and up up dam, dam, dam, dam, dam. Up up dam, dam, dam, dam. Dam. Dam, then dam. There. Yea. That was when I was going China Sea was not constraining the magnitude or the rhythm was ripe for you. Let's pick up the tempo a bit. And we're going to count it as Fourier Enda, and go through G, one by G, one by fc. And repeat that again. Every guy for the end. And to me and say, gee, which is a really nice sanding guitar rhythm. Pick the ten Bella, and we'll try it again and just play through GC, GC, and see if you can keep up with the template here. Eager for Pete and blindly and TV. And that was our extremely complicated guitar rhythm. But as you can see, once you start to get the feel of that tempo and the feel of the rhythm. It becomes much easier and even easier when you start playing along with a song that, that, that particular rhythm fits into it, it'll become even more comfortable and easier for you to play. Then obviously you can start doing variations on that. So you don't need to be doing the down, down, up, up, down, down. You can change it. So we're still using them basic rhythm we started with, but then just adding in a few extra Dan ups in different spots that feel comfortable and work really well with the song. 62. Picking pattern 6: The next arpeggiate, it began to look at our finger picking. It's not quite an arpeggio. This one is just finger picking. It's using nice simple decor and ego. And back to a, again. We're going to work a bit again on what funders and the bass notes. But let's start off with the patent that's in 44. That's nice and simple. The slight difference that we will do. Instead of putting your fingers under the strings 123 and playing those three, we're going to play strings 234 for some of those chords and we're going to change for other ones. I am at the moment with the accord, the eye bass note. And then use my three fingers under the second, third, fourth string. So it'll sound like this, 11234123, using strings 234 and your thumb on the fifth string. And just getting used to them. They're going to change to a D chord. When we change to the D chord, we're going to use our D bass note. And we're going to move your fingers down to where we normally had been playing when we've been picking. So apply it 1313, database name, full string, and then the other three under the 123 strings. So back to the a, thumb and strings 234134, D. So in nearly all the why they would now get an E chord. Let's go back to our E chord. Iii chord would play an, a base Matt API. And then our fingers can either stay on strings 123 or move back down to 234. And in this case I'm going to move them back down to 234. And by the ABI snack. And then back again to I. And then my fingers were already in 234 psi. They are already in the spot where they needed to be. Just like that. Let's play it through slyly. Four bits on each code. 12341234, day. Make your fingers. Then a megaphone is back again. 3333. Take that nasa and Islam get used to swapping between the three fingers being under the strings 123 and being number strings 234. The tricky bit is, we've played an IC is the bass note, but you can tell what's going to happen here. K, we're going to do what's called an alternate, alternating bass note or baseline. So what's going to happen is will play an, a note for the first bait, and then on the third bait, we apply an inert. So again to alternate between IE. And now we're talking about base nights here, not cords. We're still playing and I could find a batch time. Practice doing that fifth string, then the six, still buying an icon. When we got to add decode, we change from day banging and the full string. I can full string to playing the fourth and the fifth string. While blind eco. Let's try a to d. I is the fifth sixth strings on the thumb, to a decode, fourth, fifth space for the thumb. Now an ACO is a little different. We start on the sixth string because that's a. And we apply the sixth fifth strings instead. So back to front compared to what we started with. So let's try it. A vein six string, then the fifth string, string, the fifth string. And then we're back to the acorn again. Playing the fifth sixth strings. Altogether, you will sound like this. 12341234. A, I, D, a. And we like to add, I note again that little run at the end was playing with an a code as playing a like an, a base night. Then the fifth string with a template, just a single night time play the other three strings. And we've got an a and F sharp and a G sharp. So it's the second fret of the fourth fret. If you're not sure what the notes are, the F-sharp, G-sharp. Back to i again. I from the a vector that I caught again. So that now sit around just like just adds a little bit to the end of it. So you can see what sort of music you would probably use our CTO. And thats out for four finger picking. 66. Notes in a G dominant 7 chord: We're going to look at how to create a G7 chord, what the notes are, and what the spacing is to create that chord, and then where that code will be on the guitar. So let's do them. Starting with our chromatic scale, we have all of MIT, so we know what notes were led to use. We then start on a g. So that said, gee, night is the first one because we're doing a G dominant seventh or G7, good. Yeah, spacing for a dominant seventh chord in semi-tones and times between each of the notes that we need. Four semitones, three semitones, and three semitones. So let's start with our gene ICT. And we're going to go up to, I'm going to go up forcing the times to work out the second that gene starting on G, where G, G sharp, a sharp, B, salesforce semitones. So our first team, that's R, G, and B. The next spacing that we need is three semitones. So standing on a bainite, so we've got a bainite starting on B, we get B, C, C sharp, D is three semitones. So we have three nights so far are G, B, and D. We then go up another three semitones. From D will be D to D-sharp, D to F. There's three semitones. So we've now come up with the note F. So we've got G, B, D, and F. And they're the four nights that make up a G dominant seven, or a G7 chord. Let's work out where they are on guitar. And we'll start with the G chord because we know that. And then we'll work out what the difference is to make it into a G7. Let's just check what the nights are. We have so far, we have G, which is right, that's a G chord. We have a bainite. That's good. We also have a D-string just there, which has a d Good. We have a G string, which is good. That's day. We've got that in our code. We also have another B, which is part of the G chord. And then we also have a g, r ps at E, F, F sharp, G. So there's JSON, G chord has the 19th, G, B, and D. So that's looking really good so far. Or we need to do now is find an F. And the easiest way to find an f naught is to change this finger here from a G down to F and just rearrange our fingers. And that gives us a g 700 dominant seventh chord. Let's just check the knights. We've got g, which is good, we've got b, which is good. We've got D, which is out of the nights. We have injury again, another B, and now we have f. So we've got at least one of each of those nights that make up LG, dominant seventh chord, G seventh chord. Making sure we use down four semitones, three semitones, three semitones spacing, which is here we create a dominant seventh chord. And then we have G dominant seven. 67. Notes in a D dominant 7 chord: We're going to look at the notes that make up Id, seventh or D dominant seventh chord. And there are four nights that he used to create that code. So let's first of all look at the chromatic scale, which tells us all my notes were led to use. Now because we starting on D, we choose the day, night, which is easier, that's the first night. Now when we do a dominant seventh chord, like I said, there's four nights in this code. We need to work out what the distance or what the spacing is between the first, second, second, third, third, fourth courts. The patent for that is four semitones, three semitones, and then three semitones. So remember that was four semitones, three semitones, and three semitones. So that's the gaps between each of the knights. So let's start on day or a day night. From D we gave up forcing the transverse. So I D to D sharp, E, F, F sharp. So there's our four semitones. So the first two notes in our code will be d, then f sharp. We need to go up three semitones. So from F-sharp, A-sharp. Try that again. From F. From F-sharp, we got one semitone which takes us to G to a, G-sharp, then from G sharp to a, and there's their three semitones. So we have D, F-sharp, and a. The last spicing We need to get our fourth night is another three semitones. So we're going to start from a, and we're going to go up to a sharp to B. And then a third is C. So that's the last night that we needed. Fred decor is finite. So we now have D, F sharp eye and see, how do we work that out on the guitar? Well, let's start with a D chord because we know what that is. And we know that we have the notes as the ice during the day string. So I've got IMD by for those who are in, that's the first third, 19 echoed. We have another with our first finger. We also have a D9 that's here with our third finger on the second string, third fret. So that's another D. And then we also have here an F-sharp, E, F, F sharp. So we have an F-Sharp. Second finger. They, so we've covered the notes D, E, F sharp, and I, but what we don't have is a C. So how can we find that C? Well, we need to change one of those notes to become a C. And the only or the easiest way to do that is to move this day, night here. We've already got a D-string there so we can move this day night, Dan, to a scene out instead. So that's a B string, C night. If we change that around now, at day seven, looks like that. Which if you remember the seven, that is a D7 chord. So we have this notes, which is the fifth string, D, which we've got there in their codes. And other. And then if shaft, so we've covered D, F sharp eye and see we've got all of their four nights in AD D7 chord. And that is a D7 or D dominant seven, it's called. And they, the notes that make up that day, dominant seventh chord. 68. Notes in a C dominant 7 chord: We now going to look at how to create the notes in a C Dominant Seventh Chord. What does a dominant seventh chord actually mean? Well, it means that we're using the three nights that we would use in a major chord. So in a C major chord, but we'll say adding in an extra, what they could dominant seventh, which is actually the seventh note in the scale, but back one semitone. And the easiest way to learn what this is is to remember what the pattern is all learn the pattern between the four nights. Remember it a seventh chord or a dominant seventh chord. And it can be written as C dominant seven or C seven are the white is correct. How we work out what those notes are, what those four notes are, because we have four notes and a dominant seven chord is by using the pattern four semitones, three semitones, and then another three semitones. So that's the gaps between the first, second, third, third, fourth notes in a chord. So let's look at that slightly. We have air nights written there for us. So starting from C, we go up four semitones first. So I, starting on C, we go up four semitones. So C, C-sharp, the D sharp, E. So a second night in the chord. So it will be E. So we have a C chord. As a night, we have an ignite. We now got three semitones. So from a, we go E, F, F sharp, G sub S3, I think yes, E, f is one. If sharps to G is three, say f third note in the chord of a, B, C, D, and G. To create a dominant seven chord, we also need to go up another three semitones to work up a fourth night. So let's start from G. G. G sharp, sorry, G to a. G-sharp is one. G sharp to a is two. And then to be flat will be three. So that's the three semitones. So we've gone four semitones, three semi times than three semitones to get to that B flat. So the notes in a C dominant seven chord, or a C7 chord will be C, E, G, and B-flat. Let's look at the guitar and see if we can find all of those notes. Now we already know what a C chord is. Salads guys, straight to the C chord and see what notes we have in there. We have an E, which is correct. We have an a, that's the second night. We have a c which is the root node or the C note in the chord. We have another day working our way down eight string. There's an e there. We also have a g, which is the open string. And I'll say good. We also have another C Night, which was our first finger. And then we have an open a string. Say we already have C, D, and G. What they're looking for now is the B-flat. Where are we going to find a B-Flat in all of this? So you've got the string just there. So that's MB, which that's the bainite. But if we take it back one fret, we get B-flat just here. There's a B-Flat. Let's see. If we put on, We actually have a, C, B, B flat, C, D as well. And that gives us the notes in a, C, seven, God. 69. Chords to use in the key of B minor: For the songwriters, we're going to look at the key of B minor and work out what the chords are we can use in beam Ana. And obviously, we can create ourselves a bit of a vessel, of course, for a song using the chords in the key of a minor. First of all, what are the notes in the b minor scale? We have B, we have C sharp, we have D, E, F sharp, G. And the other night that we have. So let's build a chord on each of those. First chord will be B Minor. We're also going to use a C sharp diminished, which is the second chord in a minor key. And if you're not sure what a C sharp diminished is, sounds really cool. It's really interesting sending code, that's what it looks like. I'll put the chart up there for you to have a little bit of a look there. That was nice close up for you. So you can see really well. I see sharp diminished. We also have a D chord. Now, a rulemaking to a minor, E minor, F sharp, or make a minor G. Okay, that is a DJ magic code. And i, okay, Bateson, I imagine quote as well. So we have B minor, C sharp diminished. The a minor, F sharp minor G, a back-to-back monitor. How are we going to fit that into a sum? We're going to choose any one of those chords. We will start on a monolayer just to make it easy for us. And because we're in a monarchy, let's try using lots of these minor chords. And we'll start with that bay mana. Mona will go to 1234 fifth chord, which is F sharp minor. And that's a common challenge that you can do. The monitor is Shamma. There were Guide to g into h. And we're going to put two chords in the one bar here. And just has a monarch as that's the key that we're in. I'm Ana because it sounds good. Gy leads up to an a. And then we're going to put in our C sharp diminished right here. And take that back to a B minor for the next chord. Why? Because I thought it just semicolon. And then we'll go to you. Let's try at the E minor and see if that works instead of the F sharp minor. So if you're looking at the two, the four bars, you can see we've got the minor, F sharp minor G, a C sharp diminished. Then in the next four bars, we could gave B minor, F sharp minor, a different chord, and then finished backend BMI, but we're going to get B minor. And let's try that. Back to our a and B Minor again. And that's a nice ending. That's a nice, nice random collection of chords with that extra unusual see, shout, diminish that we're going to put in there. Let's try and play through 123413, blue Islam. You have Sharma Ji. To then that chord, 12341234. Now I played it. Philip's life or you just say that because if you're not used to the C sharp diminished, you'll be able to spend a bit of time working out where that actually sits and where to put your fingers for that. Say, let's try that one more time. Dielectric pattern, I thought actually is quite nice. B1, here we go, 341234. They might, if Schadt one and it's the same one. G. They may, they may out. As I say, sharp diminished minor, a minor, B minor. And that's just a nice collection of codes based on the B minor key. Try those out, try your own variations as well and have a go at that C sharp diminished in that as well. And see what you can come up with. And hopefully that will help you write some of your songs in a slightly different k then what we've been looking at, the mass to the other. So that's useful to see in the next lesson. 70. Chord practice 'Berlin' (G Em C D): We're going to look at the core patent could Berlin 62 beats per minute. And we'll start with, and for this one, it's a G, a, C, and a D. And for this we're going to Olin backwards. G. On the third fret, a mana upon seven friends. Can see I'm a third. But on the third and the bad on the fifth, it's good to go. Three. J, three for a martyr on the seventh fret to 34. C T, That's it. Today. The you like Jay to drain or a monitor on the senate Trent say 2343 to three and again, and again, J, J, three for a minor. Let us say three, then G to G. Well, you should've finish from the J backwards. 71. Chord practice 'Berlin' 52bpm: Okay. 73. Chord practice 'Berlin' 72bpm: Okay. 74. Chord practice 'Noumea' (G A D Bm): I'm now going to play chord pattern, an email. It's 52 bits per minute using the codes j, i, and a minor. In this case, we're gonna do them all. It's backwards for me. So I practiced them as backwards. That's what we're learning. G barcode. Away backward. In the backward, they might have an element. Here we go. Three or two and I two. You can just try for like for the three, I can do this fine. They might say, well, three, ready for J, J two, That's it. For I. 234 day barcode. To the other. I feel like for the minor details of DRE respect to j 1234, I two. And the two, the three. The minor 2342231234. The 234 last time on Bay minor, J, J, and K. And your hand, it's probably pretty so been FM plank, Well, there's backwards. You're ten, haven't got 52 bits per minute and then work your way up to 16 cemetery and even 82 she like 75. Chord practice 'Noumea' 52bpm: Ok. 79. Chord practice 'Abu Dhabi' (Gm Am Dm Dm): We now are going to look at a, another code pattern. This one's called a VW, and it's 50 terabytes per minute. Take this one nice and slightly says, oh, backwards again. G minor, E minor. And then 2 thousand de Mona. Last slide say, Hey Gary, this for G minor. D minor. D minus the, I'm on a shape on the fifth fret, backed into J martyr on the third fret. So I'm gonna, on the fifth fret is back today matters. Gallop. And again, J1 and the three to four, then they pray for, and again they might last for trade. 82. Chord practice 'Abu Dhabi' 72bpm: Okay. 83. Chord practice 'Abu Dhabi' 82bpm: Okay. 84. Chord practice 'Prague' (D D/F# G A Bm A G D): We're now going to look at the CodePen Prague and 60 beats per minute. And this is the D chord. David Neff sharp base G to an a i, j back today. And we'll play it through fairly straightforward face just astronomer gap to get through the courts and play the bass notes. And then we'll go through and pick it as well as its gang. So I sitting follow-through and have shown show CI three, show up. I showing yes, they monitor and they wanna maybe 34. I say four to shore and then date. That is somebody going to pick stocks. This class, say mama, eyes and XA. And finish on day. She'll dynamic guests who and how we got here. 88. Chord practice 'Canberra' (Am Bm CM7 CM7): Again, just take you through the first chord. Beta_1 is cooled camera, and I'll plant it very slight tempo. Remember we're using backwards for all of this, so I'll take you through once and finish off. Then you can go through and start using the practice stripes. So this is your first code pattern, a minor B minor, C major seven, for two beats, and apply that through four times and finish on bar chord, a minor. Here we go. I just seven. My disabling entered tobacco to a tip, B minor, C major 71 and get back essentially very thin backwards. Use the other version of a minor Sheila. I just simply getting hurt. The Amana. 97 to three, I could tap camera. Your turn. 89. Chord practice 'Canberra' 52bpm: Mm-hm. 91. Chord practice 'Canberra' 72bpm: And in fact. 93. Chord practice 'Singapore' (Dm CM7): We can look at the pattern. Could Singapore a quite simple, this one. It's a D minor to C major seven. And remember when you apply this, it's all those backwards. So it'll be continuous backwards to bass on day one. And then two baths on C major seven. Apply it through. And when I finish, you can then go on and have a guided practice. Stretch yourself. We go someday might say 97. Free de Mona. 34 vector is same. I just seven, maybe. 34. Why? They brought on by a very, for the three, fall back to C major seven. C, three for an iota these time moment on three. So that was a quote patent Singapore at 60 beats per minute. It's your turn. 95. Chord practice 'Singapore' 72bpm: Ok. Have that effect. 96. Chord practice 'Singapore' 82bpm: What 97. Thank you: Boy, you've made it this far in its spin along cause we had lots in that we've covered a lot of different areas. So hopefully you're really comfortable with your backwards. You're comfortable with finger picking. Now, you've led to a whole collection of new chords and some practice tracks that you are. You're kept up to play and fan really is it apply? You also should have led, snuck in there some music theory as well, which will in the end just make you a better musician because you'll understand more what you're doing. For those are just some routers. Hopefully the songwriting parts are really helped you out with your songwriting. And I really look forward to hearing you play or to hearing some of your songs that you've written. So please put some comments and let me know. Definitely review the course as well and tell me what you think I'd love to hear from me. And thank you again for being part of the course and I look forward to seeing you in the next one.