Essential Acoustic Guitar For Beginners

1. Introduction: Hi, guys. My name is Matt, and I'm excited to talk to you about the fundamentals of guitar and playing like you mean it. I've been playing. It's alive and in the studio for over 15 years on I still get inspired every time I pick it up and I want you to feel the same way. But it wasn't always easy. I went from gay. I'm gonna be a star to why am I even alive after about six months without the right guidance? Looking back, I realized that there were three important things missing. I want to bring them to you in this course so you don't have the same problems. This course is for you. If you're inspired to learn but haven't started yet or have struggled to make progress, I want to make it easy if you to learn quickly in many guitar lessons. You're an audience member and you watch someone else play and then you need to turn the cord or notes around to play yourself. This actually makes it more difficult and frustrating for you in this course videos, A shot from your perspective, making the easy if you to remember and practice chord shapes and melody lines. Even the court notations are designed with this angle in mind rhythm. A common problem is that when playing louder or softer, you could end up playing faster, rushing or slower in just getting out of time. Getting control of your timing will make you sound more professional on your future. Bandmates will thank you. The band in a box is simple. Custom written backing tracks to play along to playing with a beat, no matter how simple, will improve your playing and prepare you for playing with other musicians in the future. There was another dimension to any instrument playing, and that is expressiveness, musicality, feel emotion, many different words to explain this dynamic plain and techniques that can be learned from Day one on even the most simple tune to make you sound better faster. At the end of this course, you'll be able to master techniques for picking and strumming play with rhythm, aided by custom written June and backing tracks. Plain melodies and chords smoothly understand cords, chord shapes and music theory fundamentals in simple ways to know your way around the fretboard without feeling lost. So I'm looking forward to helping you along the way. As a guitarist, No, see you in class 2. What You'll Need For This Course: For this course, you will need a guitar. I recommend learning on an acoustic guitars. The strings are a bit tougher than on an electric. An electric guitar and amplifier can hide some sloppy playing and forgive more mistakes than an acoustic guitar will. But if you do have an electric guitar and you prefer to learn on it, then that's fine as well. Now, whether you borrow or buy a guitar, please make sure that you take it to a store and ask for a set up to be performed. I'll cover this in a little more detail, but it will make sure that the string height is comfortable. The neck is straight and the Internation is correct, so when you tune it, the tuning is evenly correct across the whole fretboard. It's not expensive, and it's really quick for any guitar store to do, and it will make your life much easier for learning to change strings. You'll want a string wind, er and clipper like this one from Ernie Ball, cheap from Amazon on a huge time saver so you can change strings quicker and easier you'll see me use. This is a lesson on how to change strength to tune the guitar. Either download one of the free atmosphere iPhone or android. Or better yet, get a tuna like this that will clamp to the guitar head and show you that the string is in tune. You should also lend to June my ear, but it Souness certainly helps. You get things tuned up quickly and easily. Now picks many different big types, and it's worth buying a pack of different thicknesses so you can experiment. What feels good for you. I find the light pick is good for streaming, but it limits your tonal variety a little bit because it's so thin. A heavy pick gives you more possibilities of changing how you attack the string, giving you more Tony heavy a tone as well as a lighter tone. But it's harder to strum with a thick pick because it's not as flexible. An immediate gives you the best of both worlds. But as you go through these lessons, try with different pics and you'll see and hear the difference and find out which one you prefer. Of course, if you prefer to play with your fingers only that's also a possibility, and we'll have a video, especially for finger picking. Optional tool. But it's really great way to expand your playing across the fretboard to transpose into different keys really easily on. I'll cover this in a short lesson later on as well, and finally, you'll need just a little bit of patients as you get started. It will take some time to get used to the different court positions and note changes, and your fingers will take some time to get used to. Pressing down on the strings before they grow callous is in the end, will become a little bit tougher to that point. I recommend practicing about 20 minutes at a time or per day and always start and finish a practice session with something you can already play well, no matter how simple, because it will keep you motivated for the next time. 3. CSI: Guitar - Brief Anatomy and Overview: the guitar is an ingenious balance of tension where every component can change the sound and the tone and gives you the possibility of playing it in a way that each sound you make his unique to you and your guitar. Let's take a journey around the components, what they do and how they combine with each other. The main components of the body, the neck and the head and everything else in one way or another is attached and influenced by these. We start at the bridge, which is attached to the sound board of the body. Here, each of the six strings is secured under a pin. Acoustic and classical guitars usually have wooden bridges, electric guitars. They usually metal the six strings air suspended tightly over to saddle on. Although the saddle is small, it has a big say in how your guitar sounds, because when the strings plucked, that vibration is transferred by the saddle down to the sound board of the guitar. So why does that happen? Strings only have a small vibrating movement with small vibrations that transferred to to sound board, which is made of springy would, and this in turn moves the air inside the body, resulting in a resonance and the pull and the push of Aaron announce of the sound hole talking about strings. Each string has a different thickness or gauge. The thick of the string and the lower the tension, the lower the note it vibrate at and the thin of the string the tighter. The tension means a higher pitch, such as the high E, the far end of the strings air suspended over the nut and secured by tuning pegs on the head that adjust the tension of each strength. So now you can tune the string, adjust the tension to the pitch that you want and the standard tuning is a d G B. On on. We'll look at how to get it all tuned up shortly because of the flexibility of the strings and the wood and the overall tension and even environmental changes. A small retuning is something that asked to be done frequently, usually each time you play strings can also get dirty over time, and I'll cover how to change them. In another video, the strings air suspended across the fretboard and over the frets. When you press the string down behind a friend. It shortens the string and vibrates at a higher rate, which increases the pitch. Each fret marks one semi tone, the smallest interval in Western music. Position markers help you find your way around with two duck generally marking the 12th Fret point, which is one octave above that open string on the halfway point. Between the saddle on the nut on that nut to saddle distances called the Scale and On is also really important in determining the overall sound of the guitar and also the intonation, which is how in Xun, the guitar is across a lot of strings and all the frets on the fretboard. Now, when we plucked the string, it vibrates at the pitch that you tuned it to, and that vibration is happening between the nut on the saddle. And that note is a combination of the fundamental frequency of the note, for example, that note A and also a series of overtone frequencies at a much lower volume, but that creates the overall tone or the overall tumbler of the guitar. The height of the strings over the fretboard is called the action and is an important thing for the most comfortable playing in keeping the guitar in. Chewed inside the neck is usually a trust ride, which can be used to adjust how straight the neck is the neck and walk over time, which affects the action and the intonation. And this is best done by a professional, so you can see that a lot of different things combined to meet guitar sound the way it does . And that's before we've even plucked to string heavily with a pick or creative strongly. Brattle with the left Hand. You have a lot of control over the dynamics and expressiveness of how your guitar sounds, and it's important to keep that in mind even if you're just starting to learn, because you can use some simple techniques to give your playing more interest in musicality than just statically pluck in or strumming SSM courts. So let's move on 4. Posture: a little note about posture, which might sound boring, but it's really, really important. Okay, so when you're sitting on playing the acoustic guitar, then find a stool doing any arms on a chair. And he also don't want a very comfortable chair with these kind of deep cushions because it will make you sink back and be super uncomfortable. As as, well, it's just being generally bad posture because it influence every other part of your body. So sitting on a stool is generally, in my opinion, the best way to try and keep your back in your shoulders nice and straight, and your arms all naturally fall into this position. So the guitar is going to be relatively vertical like that. Don't let it sink back like this, even though you might be tempted to, because you want to see what you're doing. Don't do that because it makes you hunt your back, which is really bad for you as well. So try and keep everything as straight as possible, because effectively, the ultimate goal is to be able to play without really looking too much what you're doing, okay, and most guitars have got the fretboard markers on. They also have little dots on the top of the fretboard so you can look down and see where you are by looking at the top of the fretboard. Okay, which is super useful. But it means you don't have to do that to see where you're going. Okay, so try and keep a straight as you can, right on met of roughly 45 degree angle. So it gives you a nice bit of movement in your wrist to be out of strong. Your palm will rest naturally on the bridge, which is super useful because you can use your palm to mute the strings after you from a court. Okay. All right. That's very useful to do. So everything will fall into line quite naturally. That again. Don't do this. I see a lot of people strumming like this with the thumb trying to pick down here. No, keep it nice on a balanced like this. Okay? You don't wanna be moving your wrist to your arm too much. Okay? All in the wrist. Nice and loose with your left hand. Put your thumb behind the neck. Don't chlorate like that you don't need to put it to fire back. Okay, Just kind of natural again. Keep it loose. Don't grip too tight. You gotta watch out for your attendance in your forearms because the tighter you griffin, the more uncomfortable the position through. The greater the chance of getting rs i onda injuring the attendants. And you really don't want that because playing guitar supposed to be fun not supposed to hurt you by during it. What you'll find is that when your thumb is behind the neck that your fingers naturally fall into a kind of arch like this. Which means that effectively, you'll be fretting one finger per fret. OK, so Avery Colin exercises to take like, the top string, for example, and use each of your fingers to fret. One of the frets each like this. Okay, Super boring doesn't sound very musical, but the point is that when your fingers cover that kind of area, it means that would be very easy to create cords. Okay, I'll show you a live those cords later on on. And that is super super important because the more you hunch your thumb overlay that which is a very common habit, but it actually reduces the amount of coverage you can get with your fingers 5. Is Your Guitar Ready?: one really important thing to keep in mind on the guitar that you will learn with is to make sure that the intonation and the action are set up correctly or give you the best and most enjoyable playing experience, especially if you bought an old guitar. Even sometimes, if you bought a new guitar guitar store can set it up for you. Uh, to make sure that you get off on the right foot. Action is simply the distance between the string on the fretboard. If it's too high, your fingers will hurt, especially after some time of playing. And if it's too low, it will be easy to friend. But the strange will buds and now sound really terrible as well. And sometimes that's due to the neck being not exactly straight over time, and especially in extremes of temperatures, the neck can walk a little bit on most next have got a crush road, which is a metal rod on the inside that successful usually at the head. And ah, professional can just that to make sure that it's straight and to make sure that that action is pretty much as perfect as it can possibly be. So what's the intonation? Well, between the nuts and the saddle is called the scale length. It's actually twice the distance from the nuts to the 12th fret. The 12th fret is exact. Halfway point between the on the saddle claimed the 12th fret is usually marked by the two dots right there, and an easy way to check the intonation is to pluck a harmonic and then, from the note itself, when they should sound exactly the same when they sound exactly the same. Then you know that where every you fret, a string or a note anywhere across the fretboard that it's gonna be in June. If they don't sound the same, then it basically means that the length between the not on the side or for that particular string needs adjusting a little bit to get that flying Internation sorted out. So the easy way to do that is to pluck the harmonic so you rest your finger right above the 12th. Fret on, just pluck it like that and now fret the string so press string down right behind the 12th Fret, unplug it again. Sound exactly the same. That means wherever I play up and down this fretboard. Everything is going to sound in June, if that was a little bit flat, which means it's a little bit lower or is a little bit shop, which means a little bit higher. Then something would need adjusting to make sure that this scale and is exactly right with electric guitars. It's a little easier to do because each string typically has its own satel adjustment with acoustic guitars. It's typically best to take it to a guitar store, and they can do that for you as well. So once you've got the action so it on once you've got the intonation, sort it out, then you're pretty much 90% of the way there in terms of making sure the guitar is playable and you can get it tuned up and start enjoying playing it straight away. 6. Tuning Up!: Okay, so let's tune up. Will use a tuna to guide us, but will also use the fifth fret trick because notes on any string are going to be equal to the next open string along. We can use that to help us validate that everything is in June as well. So let's get the low e. That's the bottom string that's get that sorted out first with the help of the Junior Seau , let's just check the screen down here and his d two. That's too low. So let's pull that up a little bit. Okay, looking good. So the fifth fret on that bottom E string is a which means the next string up, which is also the A string, has to sound the same. Really, that's not about a string is too low. Juno reckons. It's somewhere near G, so let's just pull that up a little bit as well they sound about right now. Let's go to the D string. So the fifth fret on the A string that we just tuned is the note D on the next open string . So that's the third Opens drink that should be equal to D as well. So Let's get that a comparison. Definitely not sure thinks it's seek. Let's give that tune it up. Uh huh. OK, fifth, fret on that d string is G, and that needs to match that open G string, of course, which is the next one now, so that is definitely a little bit loathe. Any difference to the fifth fret rule is the G strained to the B string. It's the fourth fret, so the fourth fret on that G string needs to match to be open be string definitely doesn't match either. So that's true on. And then, finally, the B string. The fifth fret of the B string is E, which matches the top E string during the things it's flat. Wait, just quickly validate that he's drifted a bit with new strings. It's gonna take some time to sell in. Uh, I always like to finish off with B E Chord because it's a nice God that uses all six strings. So once we've got the guitar tune up the first time round, then what we can do is just stretch the strings. So just pull on each string, not too hard to kind of stretch it now. when you first put them on. This will send the strings back out of June again, and then you can go ahead and reaching them. You can see that it's got a little bit lower because it lost a little bit of attention. Now it might take you two or three times to go through that stretching exercise to get them to be a little bit more stable. But it's really worthwhile because otherwise, you know, 2030 minutes into your plane, you won't find that it's gone out of June and you're gonna reaching them again. 7. First Chord Combo & Don't Lose Your Plectrum!: make sure you're holding the Plec trim the right way, so the way to do it is to curve your fingers around, so it's not a clenched fist or anything, but the finger is killed back on itself. Elektrim facing in toward the guitar and just hold it down with the thumb. Don't hold it too tight. Otherwise, you won't get the flexibility when you're strumming on. Obviously, don't hold it too loose because you might drop it if it goes inside the guitar. Believe me. Lost forever. Make sure you don't slip into this kind of position with the fingers out like here, because you totally lose control as well. Once a guitar is tuned up and ready to go, a nice little practice exercise, I feel is playing the e major chord and a strumming pattern and changing between the E major on the E Suss four. So we'll go into those naming conventions a little bit later, but this is a really easy court. Practice sounds really, really nice, and it's just a good warm up as well. So to make the major court, the forefinger will be behind the first fret on the G string G shop. The third finger will be behind the second fret off the D string, which is the note itself, and the second finger will be behind the second friend of the a string, which is the note. Be those your three fretted notes, and you can play along the other strings open Bonomy The root note. Open B string on the top E string as well. So if your thumb is nicely behind the neck, then your fingers should automatically arch over, and that should prevent any buzzing of the other strings. So make sure you've got that sounding nice and clean, and when you pretty comfortable with that, then just pressure pinky on the G string on the second fret, just like the other two fingers are not A, which is The fourth note in the scale of the major makes it the e sauce four Court on It sounds really, really nice. So what we can do is a strumming pattern is to play the E chord on, then just at that pinky and then take Pinky off, impressed out again, and there are a couple ways of streaming. I'll show you one way and I'll show you my favorite way. You can strum all six strings at once, which in the case of the major here sounds nice anyway. But quite often you'll want to leave a little bit of space because by playing all those notes across two octaves, it's a lot of frequency information all at the same time. So what I suggest is strumming with B bottom strings and strumming with the top strings and alternating between the two. So, for example, on that leaves a lot of space for potentially other instruments that you might be planning along with. But it also adds a little bit more interest into your strumming technique. So let's try adding that technique together with those two cords to make for a nice little warm up exercise. You can always mute the strings with the palm of your right hand, so it's a nice clean stop, and you can also double up the speed off the strumming. So we're playing there, just quarter notes. You play eighth notes and just give that a nice little chugging feel 8. Notes, Scales, & Semitones: in the next couple of videos, I'll go through a brief introduction to music theory as it relates to guitar on what will be learning in this cost will talk about scales, chords and chord progressions and will keep your basic. For now, We start with the notes of a scale, which in Western music, given the names of the letters A through G scales of combinations or sequences of those notes in a way that sounds pleasing and recognizable to the ear. And from that system, we can create cords, harmony and melodies that all fit together without sounding dissonant or out of tune with one another. On one scale fits inside one octave, which is the distance in pitch between two notes where the higher notes vibrates at twice the frequency of the lower note and note sounds the same just higher in pitch on that interval is one octave, and between the low and high point of that octave is where notes can be combined in different ways to create scales of various moods or feelings. Most scales contained seven notes, but on the other hand there are 12 possible notes within one octave on what gives the scale is character is the interval or distance between each note's pitch or, in other words, how those seven notes are spread across the 12 possible notes in one octave. The two most common scales a major and minor, and there are many others. But these are the two will focus on. For now. The major scale has a particular character again due to the intervals used between the notes, and it sounds more pleasant and happy. So here's the C major scale, meaning it starts and ends with a note. See, now the minor scale has different intervals and sounds more sad and melancholy. If we started the note A. We actually use the exact same notes as in the C major scale, which is starting at a different point. And because of this relation, the A minor scale is referred to as the relative minor of C major. And when we say a minor or C major, this is called the key. So if I write a melody around the notes of a minor, I could say that I've written it in the key off a minor, and this key then dictates the notes that we can play on the cords that we can combine. Remember, I said, there are 12 possible notes now if we fill in the gaps to create all of those 12 notes. The interval between each note is the smallest possible distance, at least in Western music. On that's called one semi tone. Each fret on the guitar neck shortens the string when you press the string down behind the front and increases the pitch of the note by one semi tone. But we only have seven unique note names, a through G. So we need to give a name. Told these in between notes on these air cold shops and flats, shop means one semi tone up on flat means one semi tone Down on the flat is essentially the same note is the shop. It's just the relation that's different. So instead of going up for example, from D two D shop, the same note would be going e down to e flat de shop. And e Flat is exactly the same note. If we take the open east ring, we can go from the open string all the way up to the 12th fret in the same way and we can do the same exercise for each of the strings when you know the open string notes. But don't worry about having to memorize all this notes right now. The first few lessons will be focusing on the C major scale, which has no sharps or flats, and you'll get familiar with all these notes. Step by step, and this is something that you'll get better with as time goes on. 9. How Chords Are Built & Their Character : chords, a combination of notes played at the same time, kind of like mixing colors, whichever color you start with when you add more individual colors to that, they make their own unique new color when combined. So the most basic chord is the Triad or three notes combined together, consisting off the root. The first note, the third on the fifth. Let's look at C Major. So see would be the Route D would be the second. So we're not gonna play that e will be the major third. That's two whole tones up from C F would be fourth so we wouldn't play. That G is the perfect fifth fifth note up from C, so we'll play that and A and B. We wouldn't play those either, because we've already got 1st 3rd and Fifth notes will create our C major chord Triad way. Play that chord. You can hear the character of the major court. It's pleasant, and it's happy sounding another guitar. We can actually play that across five strings or an open chord that actually spans two octaves because the range of the guitar is so big, we go see e g on again, see an e an octave higher, which gives a very expensive, large sounding court way. We look at a minor chord, for example, a minor. The difference here is that the third note is called a minor third rather than a major third on that smaller, reduced interval. Compared to the major chord gives the minor chord it's sad and moody feel is amazing how just one little change can alter the whole character of your music. So if we look at the note, A is the Root B is a second C minor third. So one whole tone on one semi tone from the root note a de being fourth there we wouldn't play that e again is the perfect fifth from the route a note and there are many other combinations of notes. But these triads of the most common forms that will be covering, and I'll revisit the others later on in the course to increase your cord vocabulary on on the guitar with six strings and all these frets on the fretboard, we're lucky to be able to play lots of variations of the same cord all the way up and down the fretboard. So how about putting chords together into progressions. When we do that, we're able to play and write songs that have specific feelings to them. For example, if we used all minor chords in a song that would sound pretty melancholy on all major chords, for example, in the Sunlight Happy Birthday, it literally sounds happy. So a combination of both major and minor chords can take the listener on a journey of feelings between the two. 10. How Chord Progressions Are Built: in the last video, we covered combinations of notes into scales and notes into chords, and everything is related, and this fundamental understanding is really important to keep remembering. As we put all this into practice, let's talk about combining cords into progressions, which is the underlying rhythm and feeling for any song or tune. So once again we have a system where all cords are related to the first note and given a number, and these numbers are usually written in Roman numerals. So let's local the notes in the C major scale again, and we can figure out the cause we can play if a song is written in the key of C major. So each note from sea all the way Up to be is the root of its own particular court and, in a major scale, some of the cords of minor and others a major. So, for example, see, is one major de is too some minor. E three is also a minor. F is the fourth is major G five. Also Major A is the six is a minor and B is the seventh is diminished, which has got a slightly different feel and we can play these chords in any combination or progression to make a song. Ah, lot of popular songs use the same progressions, just with different melodies over the top. A very common progression is 145 or in this case, C, F and G. This is using 12 bar blues in tons and tons and tons of popular songs on that five chord G , in this case, harmonically sounds like it wants to resolve back to that original See court again. Serve. You listened to those three chords plays together. You'll find it very familiar on the song that will be learning, and playing along to in this course uses all the cords in C major scale except the diminished. So with this basic knowledge of notes, chords and progressions in mind, let's actually go and play some of this stuff. 11. A Short Note On Creativity: a little bit about creativity. Now some people say the more musical skills you know, in the more theory, you know the moral, inhibit your own natural creativity. But I totally disagree. Every new skill in every new technique that you learn can be applied in a creative way. That means, even if you're just beginning is the perfect opportunity to combine those two things. So every time you learn something new, try applying a little bit of randomness to it, to come up with something new yourself. Personally, I'm only satisfied when I sit down and play the guitar and after half an hour, if I come up with a new little melody or a new little riff, then I'm happy. So that means any lesson in this course or any of the course will taken. If I show you, for example, a three chord progression, then once you've landed that way, try playing it backwards or try turning it inside and out and you never know. That might spark a little bit of inspiration in you that will lead you to write your next song, lead you to be inspired to learn a new technique, and each will feed the other. So I really encourage you to apply a little bit of randomness and work that creative muscle right from the very beginning. 12. A Short Note on Tablature: tablature is a common way of notated guitar music because it's very easy for anyone to read and play quickly. It represents the strings from the low E at the bottom to the high E at the top, on the front, positions on each strength. The advantage of this is that it's available on lots of websites where popular songs of being transcribed. But on the other hand, it can also make you a bit lazy in learning the notes on the staff. A good compromise is to look at both the tab on the notation at the same time, because you can usually play any note on the guitar in two or three different positions on the fretboard. The tab will help you figure that out. So for the videos for the rest of this course, I'll only show the musical notes to help you learn and remember their positions on the stuff 13. "Stargazing" - Download and Listen: all right, download the three MP three files of the tune, called Stargazing, that will learn to play first, as well as the PdF court sheet for the C major scale. It's a very simple piece with a verse and a chorus section and uses six chords from the C major scale with an easy to play melody on the first few frets. The second verse melody is played at different positions on the fretboard, which will look at later after mastering the cords and the first basic melody. Listen for the change in tone ality as the first melody is played in the second section. One of the MP threes is the full recorded June for your reference. Another is the beat only for practicing along, too. On the 3rd 1 is the base on the backing beat so you can practice with streaming and the melody with full backing track the Tunis slow at 76 beats per minute to give you a chance to practice court changes while keeping in time. But once you're comfortable with playing those cords and the changes, you'll still need to concentrate on not speeding up or slowing down because playing to a slow rhythm can actually be more challenging than to a fast with them. Having only the beaten track available means you can practice even just one chord to get comfortable or your own combination accords if you want to try something new. So once you've had to listen to the tune head to the next lesson, well, we'll start with the first chord. C major. 14. The C Chord (I): the most effective way to begin to learn guitar is to practice combinations a little bit of theory, chords, melody, strumming and picking. It's best to combine them because then you're actually creating something that's a little bit more memorable, something you can relate to rather them practicing individual things that might not sound very musical. So the tune that we have has gotten a section and a B section. A section has got four chords out of the C major scale, and the B section has got another two chords from that scale, which will cover almost every court that you'll get in a major scale. The melody will cover most of the major scale in this 1st 123 frets of the fretboard and the picking, and the strumming will be very straightforward as well. Let's take a look at the first court. The first chord is C major now the C major scale covers everywhere from the root note, which is seat. That is the third fret on the A string. So with your third finger, you wanna press down behind that third fret. Make sure that sounded nice and clean with your second finger pressed down on the second fret just behind the second fret on the D string, and this is the note E, which is the third note in that major scale. That's important. First note. The third note and then the open G string eyes. The fifth note. So the most coming cords made from three notes the root note with one. The third note, the three and the fifth. Note the five. With that knowledge, you can make almost every major court now because the guitarist so many strings we can extend that even further. So we compress down with forefinger behind the first fret of the B string, which is the note. See again? That's one update higher than that low C. So we go 1351 and then three again, which is the open eastern at the top. So if you strum from the bottom sea all the way to the top Ah, that should be standing nice and clean. If your fingers are arched over correctly with your thumb nicely behind the net, that should sound quite clean. If you're having any problems, you might find that your thumb is creeping over the top. Just remember to keep it nice and far back, and then you won't have to strain too much with your fingers when you're strumming the court. See, you don't need to strum that bottom. E note technically is in the scale, but it sounds a little bit untidy, so this is a good practice of being able to target particular strings when you're strumming . For example, try streaming only the 1st 3 notes of that court and now try strumming the top three notes . So from that open G to the top now old strings together. And then when we start combining the cords, then we'll talk about different strumming patterns so we can create that whole tune it together. So let's go on to the next chord, which will be a minor. 15. The A Minor Chord (VI): the A minor chord is special because it is the relative minor of the C major scale. That means the C major scale and the A minor scale share exactly the same notes. But they just stopped from different points. So the sea start from the North Sea and the A minus geologist stops from the note. A see. You can hear how the C major sounds bright and happy, and the minor sounds a little bit melancholy and sad, but they share exactly the same notes. They just stopped from a different position, and there's a whole other section of music there that deals with modes and scales that we all share the same note. They just start from a different point. So that's really interesting to remember. The A minor chord is quite simple to change to from C major. In fact, we only have to move one finger. So let's make that C major chord again on what we're gonna do is move the third finger from away from that. See note to the second fret of the G string, which is the A note there as well. So you want to do is practice changing between that c chord on the A minor chord Just by moving that one finger, it might take a little bit of practice, but getting that transition clean before we start strumming practice is really, really important. So try this C chord and just move that finger. 16. The E Minor Chord (III): And then we can move on to the next chord, which is e minor, which is very easy to get to from a minor, because all we need to do is take off that third finger away from the A note and then move the forefinger from that sea all the way up to the second fret of the A string, which is the note B and the E minor chord is only made of these two fretted notes. Be Annie on Aled. The other notes that played over and changing between a minor and e again takes a little practice. But effectively, you can always keep your second finger pressed down on that e note and just move the other two fingers. 17. The G Chord (V): and the final chord in our A section is G major, so that might be a little stretch, depending if you're small, handle big hands. But in this case again, we can keep one finger press down, which is the forefinger. There will be note, and then we just moved the second finger across to the third fret of the bottom E string, which is the note G. And then we'll have an open D string open G string on open B string on, and then we'll be fretting the third fret of the top Eastern. Now, if you can make it with your third finger, that's great. It's too much of a stretch you can use. Your pinky is well, it is another car that uses all six strings on When we get to strumming again, we'll be seeing how, instead of just strumming all six strings together, weaken target the lower strings and the higher strings to make for a more interesting strumming pattern. So we have our 1st 4 chords in this, a section that's see Major, a minor e minor on the G major. Now changing between those chords will be one of the first things that you'll need to practice getting quite smooth at. And it might take some time because they are quite tricky, especially that G chord. But what's really important to remember is try to keep the open strings clean without buzzing. If they're buzzing, then it means that one of your fingers is touching one of the other strings, and it could mean that your therm is maybe creeping over the top here so you don't have as much movement in arching in your fingers. So try to remember to keep the thumb nice and back there behind the neck. And then there's a practice. Just try strumming each chord once and then moving to the next one, the next one into the next one. So the first trick is to make sure all the notes are sounding clean. The second trick is to make sure that you can transition between each chord nice and slowly , without too much buzzing. It's natural that as you lift your finger off of one string, it might let the open no ring. It's not a big deal, in my opinion, A Zilong is that open note ringing is actually part of the scale itself or even part of that court or part of the next chord, then it doesn't really matter, and it can sound quite musical. And then the third stage is once your satisfied Andi. Comfortable with changing between those chords is to introduce the strumming pattern. The easiest pattern is 1/4 notes down stroke. Now, with the attached backing track, you'll be out of practice that as long as you need. 18. The D Minor Chord (II): So the B section of our tune introduces another couple of chords, which is deemed minor and F major, and with that it makes up with six most common chords of the C major scale. There is another one, which is be diminished, but it's not very common in the using it something you might want to look at a little bit later. But that brings us to see a minor e minor G D minor, an F major. So let's look at the D minor chord. It's quite a simple one again. Forefinger on the top string the top e string first fret that is the F note. Third finger goes behind the third fret of the B string that is the denote. So that's the one on the three. And then the second finger goes to the a second fret of the G string. The open D string is the root. You can also play that chord with the bottom, a string as well, if you like. 19. The F Chord (IV): and then from there will move to the F major court now f Majorcan be challenging because we can play it in a couple different ways. There is the bar chord way on a barcode is simply when you use your forefinger to cover all of the strings behind the friends. Okay, basically replaces the nut but the bike or is very challenging, especially if you're just starting out so well, take a look. It was a more back on a little bit later on as well. So we'll start by doing the F major chord in the easy way without having to do it as a bar chord. And that basically means we'll use our forefinger instead of covering. All of the strings is just to cover the first top two strings behind the first fret. So that means having your forefinger flat the F note. See note. Now we can move our second finger to the second fret of the G string, which is the a note we can move our pinky to the third fret of the D string. Okay, which is the note F and then the third finger. It's the note. See, which is the third fret again on the A string. So depending on again with your small hands, big hands, it might be a little challenging. You might have to just move your thumb a little bit back and forth to get a more comfortable court position. That is absolutely fine. The trick is, when we get to buy cords is eventually you'll be able to move your forefinger from just being on the top two strings toe, actually covering all of them, which will really require you to bend down a little bit, making sure your thumb is right behind. If you want to give that a go, feel free. What you'll be wanting to do is make sure the forefinger is comfortably firm behind the first fret of that bottom East ring, which is the F note, but it's also covering the top two strings. Okay, so this will take a little bit of practice. If you don't feel too comfortable with it right away, that's fine. You can just do this variation. Doing it this way will also make it a little bit easier to change chords between the other chords in the C major scale, because it's a little challenging to not only make that bar chord, but also to change from that bar chord to any other court. Okay, so the change there will be making in this B section is going from the D minor chord to the F major chord and then back to the sea court. Ah, gun from F to see means taking your pinkie off on moving the second finger from that second friend of the G string to the second fret of the D string on old other fingers say, in the same position. So we play f a man will move to see okay, and now we can practice them all together. So stop with the D. My Nagin moved to the F major, uh, and then to the C major. And again, when I suggest play to the backing track is a nice slow tempo. You can play 1/4 at a time for one bar, So that's four beats moved to the next chord. One strum move to the next gored one strum on. When you feel comfortable, you can add more strumming notes in there 20. Chord Change Practice Hack - The 'Phoebe' Trick: so the trick to learning chords is to memorize the shapes. Andi get used to moving your fingers into those shapes almost instinctively. Now it will take a little bit of time to get them fretted cleanly so you don't have any buzzing strings or anything but the shapes themselves. You can practice even without playing. If it's late at night, you don't disturb anybody. Just move your way through those chords and get used to how your fingers can move instinctively across the strings all at once. And even if you don't have to get our and you're out and about and you don't want anyone to think that you look weird, you can still practice those shapes just in your hands so you have the C shape, a minor shape, e minor shape in the G shape, and then just practice making those shapes with your fingers just on your hand like that. And as soon as you can get those fingers into those shape positions instinctively, then you know that you can say to yourself, right, I'm going front and e. What does that look like? E minor about a G major about the C major on a minor and just getting your fingers into that muscle. Memory of knowing how the shapes look and how to make them and change them will really help you when it comes to actually putting that into practice and making sure that you get them transitioning between each other as clean as possible. Don't worry about it. If it doesn't sound clean straight away, just keep doing it. Keep practicing it. And soon enough you'll be changing between those chords really smoothly, really nicely, and that will help you concentrate on playing musically rather than trying to focus too much on the individual technique of pressing your fingers down and fretting those cars. Because in the end, it's all about making it sound musical. Getting these basics out of the way from the very beginning will really help you. 21. Review of Chord Progressions: Now that we played all those chords in different sections, you can see that's a chord progression. And there are many different chord progressions because you can just combine those chords in anywhere you want. Now there are some really common ones used in almost all popular music, and something that you hear very often is that numbering system again. One of the most common core progressions is the 14 five. So that means the first chord in the scale, the fourth and the fifth, never talking c major scale. We have that C chord. I want to play the fourth chord. So what would that be? Well, see is the first note. D is the second note. Here's the third note. Uh, F is the fourth note s I want to play the fourth. That means we're playing the F court again way or if you want to challenge yourself by cord . Okay, so CNF is the one on the four chord and then the fifth, which is well with one right after the fourth chord, which is G on the G chord, of course, is this so the 145 court progression is C F G no matter which key you're playing in, the one the four and the five is very coming. Now. What we were playing in our court progression is the one in the relative minor, which is actually six. And then the e minor, which is three G, which is five, and G naturally feels like it needs to resolve back to see okay, and then that b section we're playing D minor, which is the second to and then, of course, F, which is for so you can combine them in any way that you please. It's just that there are some very common core progressions you'll find. If you listen out for you, get a feel for how those chords sound together on when you're listening to popular songs on Spotify. On the radio, you'll begin to recognize how often certain patterns of chords and chord progressions really appear 22. Verse Melody: uh so over every court progression, of course, you've got melody, whether that's when you sing or one that you play. So we got our A sex an hour B section so that a section melody will loosely follow those chords. This will give us a chance to practice changing between fretted notes and combining that with a good picking technique. So when you're picking individual notes, then you could do the down stroke on the upstroke. The the trick is here is really to make those movements really, really small and the minimal movement of your wrist and even down to the thumb and the four finger creating that movement, the smaller the movement and even the more delicately you actually play. The more softly you played, the more control that you will have. So even if you want to play loud than is best to start off playing and practicing softly, because then you can introduce dynamics and get to the loudness in a way that actually makes musical sense rather than just hammering on the strings. So let's play. This little melody is a combination of fretted notes and open strings, which means will be practicing, keeping things nice and clean, and we'll use alternate picking for each notes, which means the first net will be down on. Then the second will be up and so on and so on. So we'll start with the C note on that will go up to D and back down to see and then with our second finger, will be heading down to the A for when we fall into that, a minor court. Now again, when your thumb is in a good position behind the neck, your fingers will naturally arch over. So, roughly speaking, each finger the 1234 will match to the 1st 4 frets. Now, in this melody, we won't be using the pinky often. A little bit more of a stretch will be just using these first three fingers a A on a good trip to stop the strings ringing out when you don't want them. For example, when you have your finger forefinger on the C note and you have moved to the a note on the second finger on the second of the G string, then you might be thinking, Now what do I do with this with my forefinger? What do I do? I take it off or do I just leave it on there? So here's what it sounds like. Let's say you leave it on there, then it rings out. That sounds quite nice, but maybe you don't want that. So a good trip to do is not necessarily to lift your forefinger all the way off. Because what will happen then is you play your C and then you'll inadvertently let that be string ring out, which we don't really want. But what you can do is just lift your finger off, but keep it rested on the string itself and that will mute that B string so it doesn't actually ring out. So let's give that a try. Okay? So as our press down with a note on the G string, I just let my forefinger arrest on that B string which muted it. Okay, so we don't hear that ring now we'll be going to the next part of that melody which will be using the open B string. So again, this all practice making sure that you're fretting really nice and cleanly on the G string down there because you'll be going from the a the open B string and then back down to that note again. In this case, the B string will ring openly, and that's fine for now. So let's try and bring that all together and you play that open G string now. Another trick to stop that B string from continuing to ring is when you take your second finger off the a note. You let that G ring, and then you can just use your second finger to rest lightly on the B string and not a muted. Okay, so every movement is a good combination of being able to fret the note cleanly and muting strings that you don't want to play. Sometimes you can mute strings with the palm of your right hand, especially they're playing a chord in the one along the strings to mute at once. But if you're playing individual notes in a melody, then it will take a little bit of practice just to practice, resting your finger on a string that you don't want to wring out. So let's play that together now and then the final part of the melody will be down to the D string, the second fret, so let's try putting a lot together 23. Verse Melody On Alternate Strings: So now that we played that melody on the 1st 3 frets and using the open strings, this gives us a little bit of a brighter sound. But we can play that five frets upwards on one string down, so the same notes just on different strings, and this will give us a little bit more of a mellow tone, and we won't be playing. The open strings will be fretting those notes in step so we'll be covering. Four Frets on will be using the pinkie as well, so make sure you got your thumb nicely behind the net to make your fingers arch over to avoid buzzing. And we'll be starting with the second finger on the C note on the G string. So that's the fifth Franks. Okay, so we'll be playing it like this. So instead of playing the open strings of B and G in the D will be fretting them. So the B note will be the fourth Friday G string, and then the G and the denotes will be the respective fifth friends. And this means stretching a little bit more because we are covering for frets space now. But you can see that the turn ality is quite different. There's a little bit more mellow, and again, that's a choice that you have. If you want to play something, sounds a little bit brighter. Play the same thing a bit further up, but on thicker strings. It gives you a little bit of a more mellow toe at the expense of having to stretch a little bit more. But not playing open strings gives you just a little bit more control over what you play. 24. Verse Melody 1 Octave Higher: Let's play that same melody an octave higher. So we played it down here with the open strings, which gives us a more brighter sound. We played the same notes just on lower strings to give us a more mellow sound. Now let's play an octave higher. So again we have the see down here on the fifth fret the G string. And it's also a not Dave higher here, which is the eighth fret of that top e string. Okay, and we'll can just play that same shape again. We'll be covering four frets, so we will be using the pinky as well. But frets are closer together up here, so it should be a little bit easier to play. So let's just go through that again. No. So as you practice this, get familiar with notes you're playing because already we've covered quite a large area of the fretboard. But all of the same notes, just an octave apart, and this knowledge and memorizing these notes early on will help you later when we start to look at scale shapes covering the whole fretboard. So we're going from sea to a e o. D. On his a G no. And if you want to challenge yourself with the practice, play it first, an octave lower. And then whilst keeping with the beats, move up and playing an octave higher. Uh, and as you play that melodic Patton, practice a little bit with the dynamics with your picking hand. Once you've got familiar with the frets and moving your fingers cleanly between the franks , you can emphasize different notes. So the first note see you might want to attack a little bit harder or a little bit softer, so getting into practice of swelling those dynamics up and down with your picking hand will make your playing sound really musical straight away. But of course, it's always good to get your left hand working almost automatically, so you don't have to concentrate too much on changing those fretting notes on when that left hand is kind of on autopilot there. Then you can really start to adjust the dynamics and experiment a little bit with way. You put the emphasis using your right hand, and that's the difference between playing statically and playing dynamically, which is playing musically. So give it a go, makes him practice. Let's move on to the next section 25. Chorus Melody: Oh, so the B section melodious, structured, really similar to the A section. We're just playing the top string as well. And remember, we're playing over the chords D minor f and C, so we'll just follow those chords. So the first note will be playing with the forefinger. First fret the top e string, which is the F note, and then we'll have the open e note and then down to the D and then the sea. So as you fret the denote, their your third finger might naturally fall onto that top e string and muted. Now the trick is to make sure that it actually mutes it and it doesn't buzz. So, for example, if you didn't reviews it properly, it might sound like this. Okay, and then it's not clean. So if you're going to mute it by sort of reusing your third finger than make sure that you actually rest it on it and muted cleanly start again. So the B section melody is a very similar structure. Toothy a section will be just starting on the F note because we'll be following the cords D minor on F major on, then see Melody itself will be and on the A section when we were muting unused strings with fingers of our left hand. Now there's also a technique to do that with your picking hand. So with the Plec trim or with your fingers, what you can do when you pick, for example, the B string. So we're fretting the third fret, which is the note deep. Then we got two options. To pick one is to just pick and let it loose on the other option is to pick on, actually let the pick fall on to the East Ring, but without actually picking it, of course, on by letting it rest on that next string up, it will also mute it. So let's try playing the first part, that melody starting with the F because we're crossing the string now, we might find that we will inadvertently be making that top Eastern buzz. So let's make sure that when we pick that denote way, let the Elektrim rest onto the Eastern, but without plucking the eastern muting. The next string up with your pick means doing a down stroke with a pick during an upstroke with the pick and muting the next ring down is a little more challenging. So if you're going to use this pic muting technique, then you can use it by doing down strokes. Now practice playing that melody along to the backing track. Take your time on when you're feeling comfortable on cleanly fretting, then we can move on to the next section. 26. Sus and Add Chords: we have the ability to modify the basic major and minor triad chords that consists of the 13 and five notes of the particular scale by just adding 4th 6 seconds. Nines Major seventh minor. Seventh to basically make more expressive versions of those courts to give them a little bit more depth. So let's go through a couple of examples. Let's take a C major chord way. Now we know that we have the first note way Have the C a top there. Now if we remove the full finger So we're gonna play the open B string. Okay, Now that is a C major seventh chord major seventh, meaning that instead of playing the top, see, there were playing the B instead, which is the major seventh of the scale. And although the sea itself is played normally, that seventh is added a za modifier, which gives it a little bit more of a melancholy sound. Another court modify is sussed four and suss to so in this case we have the C and e note, so that enough is the third. Now, if we put our pinky there on the F note, which is one of the Evers fourth. That's suss for So instead of playing CIA's, we normally would at the pinky. That's a very clean open, a lovely sounding court. Now we can, instead of doing the fault there, we can take the pinky often. Let the D string ring openly because the D is the second. So it also has this kind of open, unresolved feeling to it. So that's the suss to so this us for on this us, too, very commonly used chords along with major seventh and then we can move on to the ad chords . That's where a note is added to the court itself. So that's typically going to be in ad six and add nine. So in the case of C at nine is very common. So instead of playing, see as we would normally the ninth is one above the top note of the scale. So that is the D you see eyes, the denotes that's gonna be the ninth in the entire cord. There's a couple ways of playing. This one is to just play the sea, as you normally would on add your pinky to the denote up there, or you can move things around a bit and play like you would a G major chord on this time. You can use your pinky and actually play that top G note as well as the ad nine D itself, with your third finger again. Very open sounding kind of unresolved, and six is playing that six notes. So to play a C add six is a little tricky, but effectively, it's like an a minor chord, and then you can put your pinky there for the sea for the root note. Uh, so the suss to this US forward. Add nine at six and major seventh, or, if you're playing a minor chord, a minor seventh. All really, really great ways of adding to your core vocabulary. And you don't need to use them all the time, of course, but you'll just find when you need to add a little bit of extra expressiveness, a little bit of extra depth in your chord progressions and playing. Then those cords modifications will really come to your assistance. So let's see if we can play some of those modifications as part of our initial chord progression that we played. So we were playing see a minor e minor G. Now what have we played, see and then added this us for before going today. - It's a practice playing those chords in this court progressions and just get a feel for what they sound like and how they could fit into your own court progressions as you make them, and I think you'll find that they add a lot more depth and feeling to your plane. 27. The Barre Chord: because of the final chord that will be learning in this section is F. And it's a bar chord, which means you'll be using your forefinger to cover all of the six strings as a effectively is a replacement for the nut. Okay, Now you can use this bar called anywhere along the fretboard, and F is the lowest on its therefore also the most challenging because he had the frets or widest apart. Okay, but the way to do it is simply gets, um, practicing. If you feel like it's getting too strenuous, just moved to a nisi accord from it and come back to it the next day. Um, you will stop with your forefinger across all those strings on the first Fret, because this root note here, that is that is the efforts, the first fret of the east drink. Okay. And this is where it really helps to have your thumb all the way around the back. Okay, If you're like this, then there's no way you're gonna be able to do any of these barcodes. Okay? The great thing about these by cords is this same shape you could use it up and down the neck anywhere because that root note f tells you what court is. So if you move it up here to the G okay or to the A Okay, the shape remains the same on the route. No takes walk. Ortiz. So what you want to be doing after you've got your finger as comfortable as you can, there is. You'll be using ALS the rest of your fingers. On the third fret off the a string and the D string, you'll be having your third finger. And yet, Pinky, just like that. So those of the bottom three strings Okay, so your second finger will be on the second fret of the G string, and that's that, Newt A. Okay, so we've got these four notes, so make sure you can fret those as cleanly as possible and your forefinger again the base that that will be resting all the way down here on the first fret of the B string in the E string. OK, so it doesn't matter if your forefinger is not quite flat on those middle strings because they're being framed by other fingers, but it doesn't matter. That is nice and flat at the bottom down here. Okay, so let's try and strum that nice and cleanly on. This is what is really important. Obviously, to have a guitar that's well set up with good action if it's too high at this point in this court, might be a little painful to do. But as soon as you're comfortable with that position, you can strong that give you fingers a break. That's the F court. So that same shape we can play here to play a G waken, move it up to the A C on into the way, and you might even find that as you come further up, the neck is easier to play because the threats a closer together. Okay, so if you get in a little bit for straight did even with the size of the F court down here , just try and moving it up a few friends all the way to the top so you can get a little bit used to how that shaped feels and put in your finger across. All of these frets is that bar chord, because that is pretty challenging. Okay, but don't let it stop you if you're not quite there. It's not quite clean yet. Feel free to move on to other lessons. Just make sure you keep coming back to practice that every now and again until we can get it nice and clean. 28. Practical Semitones and Whole Tones - Fretting The C Major and A Minor Scale: getting to know the sound of the intervals for the major and the minor snail is really important for recognizing melodies and learning melodies by ear and recognizing what a whole tone sounds like versus semi tone. So let's take PC major scale, starting at the C note on that bottom a string on that low a string that's 1/3 friend. So if we want to make a major scale all the way up string, then the's positioning markers will help us the dots. But also let's take a look at what intervals were used. So the 1st 2 ah, whole tones that means to fret spaces between each note. So Kroc dio, then the next interval is one semi term one friend, which takes us to the F and then the next three intervals are whole tones again. So that's to fret, spacings so from the F and G E o to the again to be. And then finally, the last interval is a semi tone to get from the B to the sea. And if we do the same thing for the minus scale, we used the relative minor scale, which is a minor, which basically means that we use exactly the same notes as we just used for the C major scale. But instead of starting at sea, will be starting in a so we'll take a the open a string and then those tone intervals a slightly different. So the first note is, Ah, hold on the B. But then we've got the semi turn again to take us to the sea Onda tone again, another whole tone, a semi tone to get us to that f and then again, two whole tones to get us back to the O. And even though they're exactly the same notes, just that difference in tone intervals gives it a completely different sound. So that more melancholy sound of the minor scale versus the Mawr. Happy sounding, major scale, same notes, different starting point. 29. The Principle of Chord Shapes Up & Down The Fretboard: a big advantage off learning the notes up the fretboard, especially on the lower strings, is that those notes tend to be the root notes for the cords that you're playing. So, for example, if we play the C chord down here, then logically it makes sense that we can use that same shape anywhere on the fretboard. Actually, as long as we know what that root note is gonna be now the trick is, of course, if you're playing open strings So in this case with the open G in the open E, then if you play, for example, the root note is thes e down here. It doesn't sound nice. It's all it's kind of dissonant because that would end up being the e major chord with the C shape. But we have this open G, which isn't in the major scale, so that sounds pretty odd. So but what we can do is say, OK, I got my sea. But what if I want to play a G? I know that the G major chord is within that C major scale, so it will find my way all the way up to where that G note is on the A string, and then maybe that will work. That sounds pretty nice, Of course, that Top e string gives it a little bit of a minor feel, so it's not really in the court itself, so you can either choose not to strum will play that note. Or you can even put your pinky right up there on the top E string. That's the denote that sounds pretty nice. And that's just the same shape. Is the sea major court. It's just starting somewhere else. And with every other cord, you can do exactly the same thing so we can have RG court and we can move. That'll the way up to, for example, the C note. It's a little bit of an open court is not exactly the C major chord, but it sounds pretty nice. You get the idea now with every court shape that you learn down here in the open string positions. Always remember that you can play them further the fretboard. But it's just a case of knowing if you're playing open strings that there might be something dissonant in that. That means Theo open string might not fit in the scale. Now the other way, too. Always be able to fret a good chord anywhere down fat bodies by bar chords and bar chords. Ah, the most challenging type of cord to fret, Andi. That's why we also have Kappos that will actually go across all the strings and fret them down for you with the bar chord. We're actually using our forefinger to do that instead. Okay, so if we have, for example, that F. Major Kordell the way down here, which is takes quite a bit of pressure to make sure all those strings air fretted quite nicely and cleanly. But we can use that exact same shape all the way up and down the fretboard, because that root note is where your forefinger is. So that's the F. You just move that up to the G to the A P o with CEO into the deep end, and he gets progressively easier to play as you move up the fretboard because the frets air much closer together. But with the bar chords, you know that you'll always get a cleanly fretted cord without any open strings that might not be in the actual scale of the actual key. That you're playing. And so it's worthwhile practicing bar chords up and down the fretboard until you get familiar with how they sound as well. And that's just another good trick. But generally speaking, there are a lot of chords that you can play elsewhere on the fretboard. Combine them with open strings or give them a nice, open, airy feel to them, and that gives you a little bit more vocabulary than only playing the chords down here in the traditional positions. 30. PDF Downloads and Transpose Challenge: Chords In The Other Keys: Now I have a challenge for you. Remember our stargazing verse? Court progression, which was C major, a minor, e minor and G major. This translates to the numbers 163 and five. Now What if this were a song that fit the vocal range of your male singer in the band perfectly, but he trashed a hotel room on tour and he fired him. And then you Drummer found a female singer to join the band halfway through, but her sing in range was much higher, so you can play the song in C major anymore. You have to transpose to a higher key that she can sing in. So let's say that new key was E major instead of C major or you need to do is count that 163 and five from the root note E and you have your cards. There's an extra twist, though, because to keep the major scale character within the 12 notes that we have him or not, Dave, we need to use more sharps or flats. So in this case, E. Major has sharp notes on those cords. Would be e major C sharp, minor G sharp, minor and be attached to this lecture court sheets for all the other major and relative minor scales from A to G. They're printed in order. So I'd like you to do is find the 163 and five cords for each major scale on practice those shapes and the transitions between them using the techniques that we've talked about until now. 31. "The Long Road" - Download and Listen: okay, download the MP three files of the next June. Called the Long Road. It's a simple picking piece in G major, which will introduce us to a couple new cords B minor and D major. Here, the aim is to focus on clean, rhythmic picking whilst let in your left hand do some easy fretting. Once again, we have the full June on the backing for the beat, only it's a little faster and 96 beats per minute. And, of course, you can use the beat back in tractor practice. Other chords and strumming a swell encourage you to get creative with that. All right, let's get on to the first lesson. 32. Picking Pattern: I really recommend starting to pick softly and quite delicately, because this way you'll get the most control. And then when we introduce some dynamics, then that control will carry over to that. Because you want the same amount of control, whether you're plucking softly or whether you're plucking heavily. So we're gonna do some alternate picking. That means picking down. And then the next note picking up down stroke on the DDO upstroke on the G down stroke on the D on going across to the B string. OK, do the upstroke on the beach, and then he can start off slow and then just speed it up to the right of way again. Try to avoid hitting energy of the other strings after your plucking, so keep those pick movements really small. Uh, when you got the hang of this, you can just practice that by itself without fretting anything. Then we can start adding the fretting hand to make the shape of some of the courts 33. Picking The Rest of the Verse: Okay, So once you got the hang off the open plucking pattern, I want to start adding some fretted notes to go along with the e minor called the C Chord and a minor chord. - So what we'll do is to get to the e minor chord. We just take the second finger on press with your fingertip behind the second fret of D String Day. That's the note e. And that'll be the root note of the E minor court and will play the same picking pattern like this. Ah, let's just practice moving between the open court, which is the G major on, then adding that fretted note to make the e minor. Just practice moving between those two way on. Make sure you can pick that cleanly and there's no buzzing strings if you've got your hand in a good position here with the thumb behind the neck than those fingers will arch naturally across and that should avoid any kind of buzzing and again keeping those picking notes nice and small. So you're not making large movements with the pick very small movements there. OK, now we move on from the e minor chord and super easy to get to see Major by adding the C note on top a case. That's your first finger, your forefinger on the first fret of the B string, which is the note. See? All right, and we'll leave. The second finger on the E note will just keep that same plucking pattern. We just practise moving between that e minor and then adding the C note thing. Then we can add our third finger, also on the second friend of the G string. So that's the A on this will actually give us the full A minor court, Okay, just by adding that third fretted note. So if you're on that sea, way have to do is add your third finger there on the second friend and I just practice moving between each of those until you're the nice clean picking pattern between all four chords. 34. Picking Dynamics: Okay, so let's talk about adding a little bit of dynamics to that. So again, just a way to add some meaning to how you're playing. So if we're picking flat alternate strokes, so your pick is literally going flat down and up. Way to introduce dynamics is, of course, just to pick ultimately, louder and softer. And you can try that throughout that picking sequence just to feel where it makes sense to pick louder versus softer. So typically, it might be the first note. Or it might even be the last note before you move to the next court to lead it in to get a bit of tension rising between those cords. Another way of playing that will be to use down strokes only and to add a little bit more strength to those picks. And you can even angle the pick a little bit downward. So this takes a little bit of practice toe, make it sound clean and not very messy. But instead of doing our flat pick waken angle that pick down and only do down strokes, and this is very effective more for lead playing where you can get a lot of attack and dynamic to those notes, and it will definitely come across a lot louder on you can still control those dynamics, but again, this takes a little bit more practice. Thicker strings, a wound. You got quite a bit of scraping that could go in there if you were doing these down starts . We're gonna be careful to make sure that that's no too outrageous, and you can practice adding the emphasis on any one of those notes to make it softer. Make it louder, and that really gives it a bit more feel in a bit more dynamics. 35. Picking B Section - B Minor and D Major: Okay, so let's go into the B section, which will use some of the other chords in that G major scale, which we be minor and deep. So and the B minor is gonna lead to the bar chord, which is pretty challenging. But if we lead up to it bit by bit, then we can get there and you'll be out of practice that a little bit easier than you might think. So remember our little picking pattern here way went through the other chords in the scale . Now we're gonna start off with B minor itself, and there's a specific fingering, fretting pattern that I want you to do, which will make sense because eventually we're gonna add a forefinger to create that full bar chord thing, which is going to be a little bit challenging. But first, just for the picking, we can only have that be note the denote and the F shop note for that little picking sequence. So if you take your second finger, Teoh, be deep and you're third finger to the F shop on the D string there. And then finally you pinky On the fourth fret the G string, which will be the note B, and then we can practice that picking sequence again. Now, if you want to challenge yourself all ready, then what you can do is place your forefinger across all six strings on the second fret. Okay, on what that will do is give us a f sharp at the top second fret of the eastern. It will give us the root note, be on the a string and also give us an F shop at the bottom way. Want to play that now for the B minor chord? It's not that necessary necessary to put your forefinger all the way across the strings. You can also just do those five strings because in the end, that be note is the roots of the court, so that might be a little bit easier on. Then he construct the five strings instead of all six strings. Okay, so you want to challenge yourself? Give that a go. You might want to give you fingers arrest every now and again if you have not done that before. But if we go back to our picking pattern weaken, Just remove that forefinger and use thes three strings again. And then we're gonna go from here back to the open G way, Practice that transition. Take your time to practice between going from that, Be minor to the open G. Once you got the hang of that after the G, we'll just be going to a pretty simple chord, which will be the deep. And in this case before we strung the whole court itself. Just for the sake of the picking sequence will only use the two fretted notes. So your forefinger on the a note, which is thesis fret that g string and your third finger on the denote, which is the third fret of the B string. And we'll just leave your second finger free for the time being, cause eventually that's gonna go onto the second fret with the top E string as well. Let's your d card. But for the sake of the picking sequence, we don't actually need that. So we're not gonna pick that, So feel free to fret it or not, and again use exactly the same sequence on those three strings. Uh, OK, so they were picking the d A and the T again, and then we could just practice going from the open g to the O. Uh, and then we can practice them altogether from going from the B minor. So the G to the D. Uh, and again here you can practice with dynamics not only with your alternate strokes but also with that down stroke as well, to just adjust the volume from playing softly and delicately to playing a little bit harder , depending on the notes and to help you with those transitions. And it really just makes it sound a lot more musical rather than keeping it static. So again, as with every other practice, just try inserting some dynamics when you get comfortable with those changes to play a little bit softer, a little bit louder as you go through and again, don't underestimate the delicate playing with softer you can play cleaner, the more control you have when you eventually play a lot louder and again, dynamic range is all about playing from very soft, very loud, and a really believed that if you start off playing soft and start off playing delicate than that, control will translate to when you're able to add more dynamics, and it will just really sound like you're playing like you mean it and this is really the point of playing musically and playing with feel playing with emotion. 36. Strumming Concept: all right, so strumming is the basic tenet of good rhythm. Guitar playing is very important to get it right, and you can build up pretty much any strumming pattern, depending on the tempo. Your playing at Andi, how many beats you can fit into each buck. So the slower the tempo logically, the more variations in the strumming pattern you can get. So, for example, if we plan a slow tempo like about 84 beats per minute, let's just play the court G on the beat. There's a lot of room there for extra accentuation. Zind variation in the rhythm thing, we get a nice kind of chugging rhythm sound. Now what you'll notice is, well, is that I'm not necessarily always playing each individual string, because if we always strum every string in the court there, uh, that it can get a little bit busy and a little bit noisy if you try and keep that going. What I like to do is play most of the on beats with the lower strings, and the ex situation beats on the high strings, so that gives you a lot more variation in the actual strong itself. Now that's all streaming down, which is all well and good. But now, if we wanted Teoh, add any more variation to that in any of the extra 16th notes, then it's going to get a little tricky to keep doing that only on the downbeat, and it will be pretty hard to try and keep that up. So we try and give that a girl we got on the beat for the quarter notes, and then we'll try and double that up for the eighth notes. Okay, until now, that's all good. But if we try and do 16th all on the down stroke, we're going to get into a bit of trouble. See, I can't even keep up with the beat. Their a tall and I lose all the control in my wrist and in this trunk. So, of course, that means we've got a stroke upwards as well. That makes a lot of sense, right? So the good thing is, with that kind of 16th note rhythm on slow beats like this, like around 80 to 90 BPM, then we can very easily make up the classic kind of one, the wall style strumming pattern that you hear very often, so let's give that a try. So, basically, on any of those 16th notes, you can do an up stroke strum to fill in that gap. Now, of course, you still wouldn't necessarily do a strum that is all 16th because again, it doesn't sound very musical. But what you can do is just pick and fill in those gaps to make difference, storming Pan's and then moving on from just of course, strumming one chord. Give that a go practice that to make sure that you can get comfortable in only down strokes and then combining down strokes and up strokes. And if you're not, is comfortable playing with the pick. Then of course, we can do that with your fingers as well, and you might find that you have a little bit more controlled by streaming down with your fingernails and back up with the thumbnail. So let's get that ago 37. Strumming - Changing Chords: So one of the trickiest things to nail, especially the very beginning, is changing chords during the strumming pattern. So you can use this to your advantage, though, because, of course, you're not strumming every single. For example, 16th note in that beat, which means you can always leave yourself a couple of beats to change over to the next chord without making any kind of fluffed notes or buzzing any strength. So what I suggest is it is a good pattern and a good couple of cords to start practicing your strumming a chord changes with its just g major and e minor because G. Major, as long as you've got the hang of that relatively, um, large court switching to E minor is pretty straightforward. Okay, so you just give that a try. I always recommend when you are practicing with court changes is, just do a simple strumming pattern off all down strokes because once you've got that nailed and you're pretty tight in your timing on, you've got the chord changes themselves, nailed that it's clean and without buzzes. Then you can stop playing around with some more complicated strumming patterns in combination with actually changing the courts 38. Strumming - Dynamics: now, the next thing to think of when you're practicing the strumming is, of course, the dynamics, because making it all static and same volume is not particularly musical, and you want to bring across again some meaning into what you're playing. So if you're playing something slow and delicate, it might make more sense to play just with your fingers because you definitely have a look at a much slower attack with less bright overtones there and just notice how as well you don't even always have two strong more than one string on that down be you can just hit the base the root note only the lowest couple of notes and then the top couple of those. Another part of dynamics when strumming and especially knowing where you are in the tune Building up is a really big part of it. So if you're coming to the end of a verse leading up to a big chorus, then you want to make use of that in your rhythm. So instead of just playing in the same volume all the time, you can build up to it. So give that a try, just making it swell up and down in the volume and especially take care when you're playing quieter and a little bit more softer, because that's where you get the most control. Anybody can slam the strings as hard as they can, but what really makes it a lot more musical is when you're playing those delicate soft notes with a lot of control. Another quick tip, just in general, is when you are strumming, especially about this tempo, you don't even need to stop moving your right hand. You can just keep it strumming even if you're not hitting the strings, because this will help you keep the time. Keep the rhythm and again playing along with a beat is super super important to really improve your rhythm and your timing, and then when you eventually get to play with a real grammar or in a band, then they're going to thank you for your tight rhythm playing 39. "Soul Days" - Strumming at a faster tempo: strumming at a higher temple like 120 beats per minute gives you fewer options in terms of the variation of your strumming it so fast that you can play quarter notes like this and you can play eight nerves. So there are a couple different patterns that you can play at such a high tempo. But generally speaking, you'll be playing the down strokes on the quarter. Note on the upstroke on the eighth notes, and you can bury them as you like. But really common strumming pattern will be like the one that I just played on with the upstroke. You'll naturally be hitting those higher strings there the top, either. Don't be on the Jeep With the down start, you'll be naturally hitting the lower strings on. And it's really good to kind of keep that in mind, because it's better to do that, in my opinion and give the music a little bit of space rather than strumming all six strings all the time. Because if we from all six strings all the time again, it's gonna sound a little bit messy. And that big, loud strumming of all the six strings might be perfectly fine. If you're coming to the end of a song, Big crescendo, you want to make a lot of noise and finish off on a high note. But generally speaking, it's worthwhile just targeting the strings that you want to strum. So you're hitting those down strokes on the more of the bass notes and the up strokes on the higher strings, and this just gives everything a little bit more space. It's a little bit more tidy, and especially if you're playing in a band with other instruments, it will give them room to fill in all the gaps as well. So you're not taking up all that musical space. 40. Lead - Legato (Hammer On and Pull Off): There are a lot of different options to make your melodic and lead playing sound a lot smoother on a lot more fluid than if you were just picking every note one by one and trying to fret everything with your forefinger. So, for example, if I tried to do only with my forefinger and picking every note, it would be something like this cane, which sounds a little bit messy and ecstatic. Now again, with your thumb nicely behind the neck, your fingers will are naturally over the fretboard, which gives you the most options for covering at least three or four friends from your forefinger to your pinky. Now let's play this riff again. So this is E Okay, so now we are transitioning between two notes on the G string, but we're picking each one now. There is a better way, and that is to just pick once. Andi, move your finger already onto that second note, so the seven threat there and just leave the string ringing after you've picked it once, so you pick once on, then just press down with your third finger to threats up. OK, so it's got a hammer on and this is used all the time in lead and melodic plane, so practice doing the hammering between those two notes until you feel comfortable on, you'll need to press down hard enough so the note still rings out after you press down with your third finger. But that's fine, and we can also do it the other way round. Once you've done the hammer on, you have to do a pull off, which is leaving your forefinger fretted, even though you're actually fretting the seventh fret there on. Then just lift your finger off the seven threat pick once. Uh, okay, so you always leave your forefinger fretted, and then you can go up and down. So, Cameron, and as you get more comfortable with that, the quickly you can do it, and you can combine the ham around on the pull off by picking only once as well. Ah, when you're playing with an electric guitar with lots and lots of distortion and overdrive through your amplifier, those notes will sustain forever. And that's where you can see guitarists playing solos where they just do something like this a really long time. Okay, so once you got the hang of that, we can play our little riff again by just doing the hammer on up to the B string and then the pull off and then back down to the end again. So let's try that. You should find that a little bit easier to play. And did you get the hang of the hammer on the pull off? It should definitely sound a lot more fluid on a lot smoother. 41. Lead - Sliding: the next technique really coming. We used in lead playing is sliding between two notes. So we've done the hammer on way down the pull off. Now what have we slide between the tiers? So we take our forefinger there on the sea and will slide up to the D almost like by downing into the sea. So the trick is here is to keep the finger evenly pressed on the string as you slide up as you slide down. So it's nice and clean and it doesn't start buzzing. And again, this will take a little bit of practice. But the cool thing is, we can combine the sliding technique with hammer ons and pull offs So we can now do the first part of that little riff all on the G string instead of having to cross up to the B string. So before we would go like this Oh, okay. But we can actually play that e note, remember, appear to So what have we slide up and then do the hammer on on a pull off, just like back down again? Try this. So the idea here is just to be really economic with your picking hand, so you don't have to pick every single note. You can have your left hand do a lot of the work as well. And this just makes melodic passages and lead sequences sound much more interesting On the more that you can perfect these techniques, the more you can bring across the emotional meaning of what it is you're playing. And a very big part to add to playing such little melodic passages is back to the dynamics . All this hammer on and pull off and slide is all about transitioning between notes. Okay, transitioning being one of the big parts off, injecting some feel and meaning into what you play and dynamics, of course, the other big one. So try playing that riff, using the different techniques and adding some dynamics from your picking hand. Okay, so we can play. Everything is roughly the same volume waken. Try playing that last a note a little bit quieter. We also try playing that a note a little bit later. They're just delaying it a tiny bit to adjust the timing. Oh, okay, so remember dynamics, transition, timing. Always think about how you can apply each one of those toe every little melodic passage you play, whether it's a small rift like this or along the solo that you eventually begin practicing with, or even just when you're going up and down the scale. Who says you need to play a scale of statically without any kind of feeling to it? Why, no, add some transitions and Cem Dynamics. 42. Lead - Vibrato: another technique to inject a little bit of feeling and emotion in jail. Playing is, of course, vibrato never brought to is really playing one note and very quickly changing the picture. That note by a very tiny amount. And really, it takes a little bit of strength in the fingers, so it might take your little while to perfect. But in our little rift that we were playing way end on that. A note. Okay, seven. Threat of the D string. Now to apply vibrato, I find it helps by using your let's say, we're fretting with the third finger. We can place a second finger on the forefinger on the string as well and press down. Okay, that's not gonna affect anything, obviously, because it behind the fretted finger and just use the strength of those fingers to push and pull the string up and down on the front. Okay, so you need to Anchia thumb pretty strongly behind the neck there, and it's really just a case of doing that quickly, so we owe. And this is something that will take a little while to perfect. But definitely, whenever you play any kind of melodic passage, a good trick is to when you're fretting and note that lasts a little bit longer than just 1/4 note. For example, just practice applying a little bit of vibrato. Okay, you don't really have time to apply librato when you're playing a short and if you try to, then it might end up sounding a bit wobbly and again, not very musical. But as long as you've got a longer no definitely practice applying that, you might find it a little bit easier also to apply on the higher strings to begin with because they're lighter. So let's say the E note down the B string came definitely much easier toe wobble than it is these lower notes. When we go up to the A OK and just notice the generally I'm using the other two fingers down here as well, just to give me a little bit of extra strength. So let's try applying for brought. So with each of the three fingers 43. Practicing Scales Doesn't Have To Be Boring: practicing scales doesn't have to be born. I think is really important to know your way around different scale shapes on the fretboard because this will help you improvise and become creative because you'll just know where to go. And the way that I like to practice scales is not just to simply go down and up, but to create different intervals and different timings and transitions and play some of the notes backwards. Some of the notes forward. So instead of going down, for example, those 1st 4 notes, why not change it up a bit? Playing in this way not only helps you improvise because you force yourself to think of different notes to play. Which note should I play next? But it really helps your dexterity, especially by using your pinky when you're crossing for France. So I really encouraged the practice, playing the scale up and down just to get into it. Get your fingers one but really to play different intervals, different timing intervals and again practice some of those lead techniques with sliding down Um, so scales definitely don't need to be born 44. Exercise on Finding Notes: a great way to challenge yourself and your knowledge of the notes across the fretboard is to simply do a little quiz where say to yourself a note and then try to instinctively go to it, or at least the general area of it on different it nice and cleanly. So if I say the note, lo see, you know you go straight down there to that third fret. How about if I say Ah high A note 10 for the B string also would be incorrect if you have gone fifth fret of the top Eastern about the C note but played on the D String 10 Threat all the way up there. How about the G note? Ah, hygiene Haute. Where would you play? Two options. Dead friend that top Eastern, a threat of the B string. And again listen to how the difference in tone ality is to rather bright e string dresses a slightly melo. A B string verse isn't even more mellow a g string itself on the octave, so practice guessing notes. Finding your way to them and then is an extra challenge that you can practice transitioning between those notes without too much buzzing, squeaking or open strings. Serve. We want to go from that A on. Then we want to fret the G on the B string. Theun. We need to a cross those strings with your platform and fret that cleanly to Or how about going from that top C to a lower D. You can use a sliding technique as, ah, creative device. There's obviously a limit to how quickly you can really physically move your fingers. So if you want to get from a very high note to a much lower no, you can just slide down. Tell that finger off before fretting the second note. 45. Controlling Ringing and Buzz: a simple trick to stop notes ringing when you're changing between strings is to instead of lifting a finger from the string completely when you change it just lifted enough. But actually keep it rested on that old note, and that will really stop that string ringing out when you don't want it to. So, for example, if we play the open d string, go up to the uh and then play that a So the second fret on the G string so we could do it like this and leave everything ring, which is fine. But if we took that second finger off, we might inadvertently let the open string ring, which we definitely don't want. So if I try that, uh, itself, it doesn't sound too bad. But what if that open stream was not part of the scale? Then it would sound a little bit awful. So what we can do instead is take that second finger, and instead of lifting it all the way off, and instead of keeping it all the way down, just lift it off enough so that it rests on the string. So if I just play that open ah, lifted off try that and going from the e note to the A note and just leaving that second finger resting on the stream. 46. Fingerpicking Intro: finger picking is, without doubt my favourite way of playing, because I think you can bring a lot more expressiveness and feeling and emotion and dynamics with all your different fingers playing across all the different strings, even more so than with the Plec trim. Now the trick is with finger picking is that you have to have your cords, your shapes and your transitions between your cords pretty much automatic by this point, because a lot of the work is going into rolling across the strings with your fingers. And you don't really want to have to worry about where your fingers are gonna go on your left hand before figuring out what's going on with your right hand. So, for example, with encore progression where we're going with C to a minor to e minor to G, the thumb would typically pick the root note of any particular court and follow the beat with that. So, for example, if we have our thumb playing the C note over here and then in between that we have a lot of room to be out. Teoh Peggy, eight, Between those strings with the forefinger, the second finger and the third finger of the right hand. Let's go back to our C court on Let's just play along with the temper for a second, just with the thumb, and then we'll add the first finger and then we'll add the second finger and the third finger. So for this, I'll be having my forefinger on the D string second finger on the G string and the third finger on the B string. - We'll be playing along with the thumb, playing the bass note there to see minimal of the 1st 3 fingers going across the D string, the G string and the B string in arpeggio. Let's just play the sea for now and then. The trick is to be able to continue that patting as you change the court. So let's go from the sea Teoh the a minor and just keep that pattern going. And then to add a little bit of complexity to that. Alongside that basis, we can also pick a high note so we can take our third finger and pick that high note. That's just playing the quarter notes on the eighth notes, but we can vary up that timing of it so you can experiment, you don't have to just pick the one string at the top of the one string down towards the bass notes. You can pick multiple strength. So ah, go ahead and practice the different types of finger picking and the court progressions. You really have to be comfortable with changing the cords almost without looking, because you really want to be concentrating on what your right hand is doing. 47. Using a Capo: the capital is a great tool to be out of transfers, music to a different keep but by playing in perhaps cord positions and scales that you're already comfortable with just further up the threat, and it also just gives you a great new type of sound. So let's say, for example, I want to play in the key of f E. But I don't really want to play those bar cause or the awkward B flat major court back. I can just take my capital and say, Maybe I want to play the court shapes for C instead, in which case I would just put the capital on the fifth Fret shortens all the strings by the same amount. Now I can play my C chord, and it's actually F. It's just using the C shape and playing chords higher. The fretboard just gives a different vibe, a different sound a little bit brighter. So especially of your into in the or folk music, then using the capital is a great creative tool on. And if you're singing, then you might also find that the range of your singing voice just happens to fit better. If you're playing in different keys with the use of a Kapo instead of playing your open chords somewhere down here, as we might normally do so really encourage you get a couple. They're pretty cheap, but very useful on a very great creative tool as well. 48. Removing Strings: Okay, so now I'm gonna show you how we change strings on the guitar. It's kind of a necessary evil. I don't think anybody really enjoys doing it, so I try to find the most efficient way possible. So I'm going to show you that now. Obviously, you need your replacement set of strings. I've just gone for a light gauge. So that's 50 for the bottom east ring all the way to 10. At the top, he string typically confined light, extra light, medium heavy fighting to go somewhere in the middle with medium light. Other thing you're gonna need later is a true and one thing to show it is super helpful is the drink wander on. And this one by the only ball has also got the string clipper on it to make sure we can tidy up the ends of the strengths after we've changed them. And you might need something like screwdriver just to take the pins out. When we loosen the string down at this end, just go to carefully. Obviously, you don't scratch anything. So a couple ways of doing this Some folks like to change one string at a time to keep the general tension up. Otherwise, you can also just removal the strings and just replace the whole set once, which is what? We're gonna do it now. I'm gonna do that specifically, clean the fretboard a little bit, just it off. So I'll take you through that on. We'll take one, string off slow time and then fast forward through the other strings. And then we slow the video down again when we get to the end to chew it up. Okay, So first we're gonna do is take a string line that you really want one of these Because trying do this by hand will take forever. Be very frustrating. I like to start with the bottom, the string and just basically take it down all the way. I'm waiting like that's until it gets loose. All right, let's do you have something to flop around now, By the way, if you have cats just to make sure they're not anywhere close by because my cats really like to play with string ends here, and obviously they could be a little bit over dangerous. So you don't do that. So when you get close to the end, you can sort of wind in my hand just enough to thread the end of the string out here. Okay, Now the string is held by the pin at the end over. That's obviously we gotta take that out very carefully. You can either use the end of the string window or something like a screwdriver and just use it as a lever. Capitalise scratch anything they should just come out like that is your opinion is the end of the string with the ring on it. Make sure you keep your pin in a safe place so you don't lose that. And it's always good to put the same pin back in where the original friend was and coiled spring up. Put it away for safe disposal, and that's all there is to removing it. So let's go ahead and do all the other ones. - Okay , Now we got all the strings off the guitar. I'm gonna give it a quick please and then will string it up on will turn out 49. Putting on New Strings: So now we're ready to put the strings back on again. So I like to stop with the flu E string. So we take a pen, take us back out, see how shiny is compared to the string that you just took off. Hopefully. And then again, watch out that you cats don't get anywhere close to this because it will like playing with it. And then you basically just put take the ring at the end of the string there, put it into the hole and slide the pin in on top of it. So give it a good push, okay? You don't need to really knock it in, and then get that nice and tight. Make sure it's coming over the slot on the saddle itself, and we're gonna take the other end and just thread it through can line up the tuning peg. So we're about their weaken threat that through, Don't put it all the way through. You want to leave a little bit of slip, so when you tighten it up, you get quite a bit of coiled around the training pick that will help with attention and keeping it in shoes. So a little bit further and it's gonna be lungs. It's gonna flop around a bit, but as the cable cut it off after we've wanted it on So take a string minder again, go this way around and then when I like to do is just keep my finger keeping the string down on the nut, which will keep that, um, which will keep that steady. Thank selects just seeing you toe wind that on until it's up way Go Make sure in this love Still obviously way too low But now it's a point we just We're happy that it's pretty secure so you can take the edge that just click it off Keep that likes and tidy Okay? And again, just basically pull that up a little bit further, right? You're gonna hear a snap a few times as it gets good attention. Okay, that sounds more like note that it should be. It's not entomb. We won't put that in tune into it. Put all the strings on because we're gonna do a bit of tuning and it is stretching to make sure that they're all good. So basically, we're just gonna repeat that procedure for each of the other strings. Right? Let's take the next one. All right, now on the string drug, Let's get it tuned up. 50. Thank You: I guys, Well done. You made it. We've covered everything from basic chords and chord progressions, toe finger picking to lead techniques. It's a lot of stuff in a short amount of time. Was really important now is that you keep that practice up, even if it's just 15 to 20 minutes a day and eventually longer is your fingers get stronger and you get more practice. Always think about creativity, applying a little bit of randomness toe whatever you learn. Always think about how you can make a new tune a new court progression because creativity is at the heart of everything we do. And every time you learned a new piece of music theory and a new scale and new mode trying to apply it to a little bit of creativity on the side, both of those things will feed each other, and we'll keep you going as well. So however you play now, you'll be playing better next year. In 10 years and in 20 years time, you'll be constantly improving and developing a unique playing style that is really all about you and what you bring. So keep at it. Let me know if you got any questions. I'll see you soon