GUITAR CONTROL 2: Made for Intermediate Guitar Players

1. GUITAR CONTROL: Made for : Hi there and welcome to get her control part to our intermediate course for learning how to play acoustic guitar, we will talk about specific courts, not really basic chords, but chords like Barea chords, seventh chords and sus chords to bring a bit more spiciness into your plane as well. We have some songs to deal with topics like that and to use those SaaS course and seventh chords and have a look what it makes or brings or adds to your playing. Of course, we will have cool songs in here like Viva veto or solved by Ava Max, which is pretty cool and updated from time to time. If you want to have a quick look on what songs we haven't here, you can find each new section by having a look at those capital letters in the course structure. My name is Philip and I may get her teacher and I'd like to welcome you if you want to learn some specific new stuff for your guitar playing, this is the right course for you. Now, you can use the video function if I'm explaining things and maybe I'm talking too fast for you or I'm too slow because you really want to rush through and come to the point. Because you'd like to play those songs in the end of this and video sections and no problem, you can use the video function to, yeah, slow down the video tempo a bit or increase the temple to feel free and work and your tempo and cool thing about that as well. If you're working on the songs, you can use this function as well to slow down the tempo a bit, to practice as easy as possible and get better and better, and better, and pretty lucky. And I really appreciate that you're interested in getting better on your acoustic guitar. So let's directly dive into the first video. I'm looking forward to be your coach. Here we go. 2. More chords and shapes: Before we move on to the next songs in our year course, give her control. We have to talk about some spicy little things we can add because first of all, we talked about basic chords and we talked about Barea already. And we have lots of courts so we can use in our songs to play a whole lot of songs. But sometimes maybe if you're in your song and you're playing like four bars, C, C major chord, it can sound a bit boring. And sometimes when you listen to two professional guitar players, you get the idea of how they're doing something magical at the end of those four boss was something changes, something gets more interesting and catches your ear. And that's what we're going to talk about in this chapter, in this part. Well, it's called Seven chords or it's called sus chords. There are two families and what are they about? What are we talking about? How can we use them? All they complicated? How can I find them on my fret board? All of those things we want to cope with in this part of the course. Well, you find another PDF you can download with some core shapes. And there we have in a good order, seven chords. You can play seven courts for every court there is. But of course we only put the seven courts that are available within our basic courts. And we have sus chords, there are two families, SUS 2 and sus4 chords there. Yeah, in a way called suspended chords. The short form is cis, and they bring some spiciness in your sound. I will give an example. As I said before, you have C major and the play, I don't know, 44 bars like then you want to move to sounds good, but it's a long way to that F courts. So what can we do to bring in a little more spiciness? You can add a seven, which means a specific note that comes to the nodes that are put together to build the basic chord, and that brings in the spiciness. Seven is a dissonance thing. Sometimes you call it a dominant seventh chord. And that brings in that spiciness because there is a little tension in the cord, which means you have a C in a C7 to F. So you can imagine if you play four times, add that at the end of the fourth bar. That brings in a little, yeah, I always say spice that brings a little leading sounds to that F, because there is this tension and the one that you want to solve this tension to another chord. So sometimes it's a functional thing, sometimes it's just a matter of taste in a way. Okay? That's what we're talking about and saw scores as well. But you can do some more with that. For instance, if you have some famous songs really working with this separate sound, if you have, for instance, a major, you can choose a SAS to that sound or a SaaS for an a. So you can play around with that as well. So like so, it's all about spices and we're talking about seventh chords. And you really have to know before we start looking at those seventh chords, it's adding a note. So if you have a basic and major or minor chord, there are put together out of three notes. Of course, I know sometimes we play six notes, but as we talked about, you have to E string. So when I say three nodes, that does not mean how many of them You play, but there are just three named notes that you can find in your chord. For instance, if you have see, you play five nodes, but we'll play a, C, E, G, and then again C and E. So C and E are double, but only three names within that courts. So a basic chord is a note, a court out of three separate nodes. And if you play a seventh chord, basically, or mainly a dominant seventh chord, you add a fourth node to it. You have C, E, B flat, which is new, C and E. So that leads to a, a chord out of four notes that are within. Okay? This brings in the spiciness, this brings in the new sound, and that's what we're going to have a loop right now. So let's dig into the basic seventh chords that we should know to bring in more spiciness. And our plane. Is your guitar already becoming your best friend? Well, if it is, so maybe you can leave us a rating and a review. We would totally appreciate that. Thanks a lot. 3. Chord: C7: Now the first chord out of that row is C7. And the best way to get those courts is to, to come from the basic card. So please go to your C chord, C major chord. And now we add the fourth finger on the third fret of the G string. Okay? So this is C major. C major, sorry, C dominant seven, or just adding the fourth finger on the third fret of the G string. 4. Chords: D7 and Dm7: The next group would be the D group. Why do I say group? Well, we have the possibility and our basic chords to place D major and D minor. And for both of them we have seventh courts, so that's great. Now, if we go, first of all, we take the D7. Now we start with the D and the idea, or to keep that in mind too, to remember how you can find that the Seven Corners. Imagine you have a mirror where you're first in a second finger are sitting and just mirror the whole chord. That means you have to reorganize the fingers a bit, but this node goes to the first fret of the B string. So we use the first finger for that second finger moves up on here, second fret on the G string, third finger on the second string of the E string. And we still play four notes. T-cell. So from d, using the mirror, reorganizing the fingers to D7. Nice sounds, great sounds. D7, D minor is a bit more easy. D-minor was first finger on the first fret of the E string. Third finger on the third fret of the B string, second finger on the second fret of the G string. And this is D minor. Now we just take away the third finger and we, we grab a little Barea over here. So with the first finger, we, we, we put it on the first fret of the B and the E string, second finger stays, so D minor, little Barea, that finger moves away. And now we have D minor seven. Nice sound as well. So little summary, D major, mirroring, reorganizing our fingers. D7. Nice sound. D-minor. Little Maria with the first finger putting away the third finger. D7, D minor, 7, in dry. 5. Chords: E7 and Em7: Now let's move onwards to the group of E seventh chords. We have a E7 are dominant seventh chords and an E minor 7. And the great thing is we can go in both ways. We can go from the original corner, from the basic core. Let's start with E. Please just play an E major chord. And now we put our fourth finger on the third fret of the B string. This is E dominant. So E major. And fourth finger on the third fret of the B string. And the cool thing about E minor seven is that the note that brings in the seven is exactly the same, which is always the thing. But here, it's quite obvious. If you, if you grab your E minor, which is E-major without the index finger, and get him. And now you put your, your fourth finger on the third fret of the B string again? Yes. E minor seven. E major major seven. D minor, E minor seven. Great sounding as well. We really need that chord is a good spicy thing for many, many, many songs. So enjoy that E major 7 and E minor seven. 6. Chord: G7: The next chord is the G dominant seventh chord. You know, the G major chord. And we said that you can put your pinky or your ring finger on the third fret of the E string, high E string. Now we have to turn the whole court around. First finger moves on the first fret of the E string, second finger on the second fret of the a string, and third finger on the third fret of the low E string. This is G7. So from G major, GCM, you have to move around all your fingers. Third finger, third fret, E string, second finger, second fret on the a string. And first finger, first fret on the high E string. Dominant seven. 7. Chords: A7 and Am7: The next group of chords is the a group. We have a dominant seven and a minor seven. And as you've seen before, the seven, the node that makes the seven is the same. So in this case we have our pinky, our fourth finger on the third fret of the E string. And for a major seven, or sorry, a dominant seven, you should call it. You can place your a major chord and just put your pinky on the right position on the third fret of the a string. This is a dominant seven. Quite easily, quite cool when you're moving from a major 7. A dominant seven. A minor is exactly the same. You put your fingers for a minor in place and then just put the pinky on the exact same place, like for the a dominant seven before. And now it's a minor with that node. And of course that's called a minor seven chord. A minor seven. A minor seven. So again, a major pinky on the third fret of the E string makes a dominant seven. A minor and pinky on the exact same place, a minor seven chords for you. 8. Chord: B7: The next chord is B, dominant seven. That's quite interesting because it's not a Barea cord, because we talked about B-flat major and B minor before. But it is a court that looks like a basic chord, but it's quite interesting because we're not able to play a normal B major chord without using Barea courts. We were going to talk about the principle of Barea courts later. But it is useful when you're in the key of E major and that's a normal way of playing the guitar because we have that low E string, so be dominant seven is a very, very important chord if you're playing blues, for instance, because it has a very nice sound is coming from E. And that's the typical sound, for instance, if you're playing blues. So how can you, can you play that? Well, though it's a new card, it's not that complicated. Let's have a first look on the court and then we have a look on the changing from E to be dominant seven. You put your second finger on the second fret of the a string. First finger on the first fret of the D string. Your third finger on the second fret of the G string, and then we skip the next string. B string is open string. And your index, sorry, or your pinky on the second fret of the high E string, the low E string is not play just only five strings in that case. 9. Sus-chords and what they do: Now that we talked about dominant seventh chords and how they are built, Let's have a little closer look on those sus chords. I talked already about those because in this section of the course, we're looking on those spiciness. Please don't forget that. And foremost, spiciness in your playing those sus chords are very, very useful. Why? Well, we talked about that already in the beginning of this section when we said that dominant seven and SaaS chords are like spiciness in your playing when you have, for instance, four bars of the same chord and it gets quite boring. And then you have two opportunities to change it a bit. You can change your rhythm, your pattern, or you can change the chord. And a quite good idea when you are not able to change the whole core because you need, if you have, for instance, a part in a song where you play four times C major, you cannot play F instead or G. That's obvious. But what we can do is we can put another node on top of those nodes like we did with the dominant seventh chords. So all the dominant seventh chords are bringing in the spiciness in your long-term patterns where you have no car changes and you want to have some, some kind of extra sound in there before you change to the next one. For instance, with the SUS chords, it's in a way the same thing but, and because it's called sus chord, so stands for suspended. We do not add another node, but we suspend something in the chord. And you're already, in a way, learn that we have major and minor chords. And the interesting thing is, now we're dealing with this little note in the three nodes that build a chord. We talked about that earlier. And we, we deal with the OneNote that makes the difference between a major and a minor. For instance, let's have a look on that issue. If you have a major, that's this shape, and if you have a minor, it's this shape. So if you have a really intelligent and close look on those nodes, this node on the D string and this node on the G string are exactly the same. You have those two nodes in a major. And although I have to change the fingers, you have the exact same notes in a minor. The only difference is this node. To this node that's a C, and that's a seashell. So we only have the difference in OneNote to make a major sounding or a minor sounding and listened closely. It's a big difference in sound. Nature sounds happy, that's what we usually say. And minor. And just changing one node one step higher down. Well, this is the node that we're suspending when we're talking about SUS 2 or sus4 chords. And that brings an interesting thing. You can use sus chords. And whether you're playing a minor chord or major chord. Of course there are cis to and sus4 chords for all the courts there are. But because of the music theory behind it, It's not possible to use them for each basic chord. For instance, there's not an easy way to get a suspended. Si, si SIS two would be a Barea cord would be like that. So no basic chord anymore. But the interesting thing is you can use it for minor and major course. And that's quite a good news because you can use it whenever you want. You can use it to bring it in. And that's very interesting, as I said before, with the dominant chords, you can, of course, if you playing like four bars of C, You could play one. Now, the whole bar, dominant seventh, going to another car for instance. But the cool thing about cis and sus4 is that you can bring those in. They're not really leading to something. This, this tension by a dominant seventh chords leads to another thing it's not that cool to play. See C7 and see again, listen closely, C, C dominant seven. But in a way that sound leads to it rises in tension and that tension wants to be solved. And that leads to a very, very specific core. And that's for all the dominant courts throughout the whole section, of course we have. And sus chords are quite more comfortable because you can bring in this sound like from the a. And it's an open celled, it's not that high in tantrum and it's not that it, it must be solved. So you have a and you can bring it in. And it's quite cool to just bring it in for one little note. So if you're playing your pattern like at the same thing here, you playing that for four bars or some like that. You tend to spice it up by bringing in SAS 24, only 11 stroke or one, one-quarter of half a bar. And the same with ACS far. And now you can't in a way see the way it works. I'm just taken away your finger or bringing in a finger. And that's why we do not have a look at all such students as forecasts that are possible because most of them are in need of being played by using a Barea. But for those basic chords we have, we can bring in some soft sus chords to work with this idea of just bringing it in for a little moment to make it more comfortable, more interesting and last sentence on that. When you want to learn that, when you want to bring that into your plane, that's the thing where you are totally free. So please enjoy that thing that you can work with sus chords as your own creativity. It is not necessarily written in your sheets or in your notes. It's the thing that you can bring in. I usually like to play something like sus chords when I am, as I said before, playing for longer time on one chord. Or maybe it's interesting to bring in some little roles like you maybe know that by Irish folk songs or something like that. And of course I like to play those things before the core chain. So maybe if I go from D to G, I play D. 10. Chords: Dsus2 and Dsus4: The first group is the D group. We have ID says to NAD SAS for quite easy available in our basic or, or major basic core. So let's go there from the D major chord. If you want to play D sus four, it's quite easy. You just take away the metal fingers. So the E string is open string. It has some tension, but it's quite open. And if you play, in a way, a change from D to D says to you can hear that openness. Quite easy. If you want to reach these as four. You go there from the major as well. And you put your, your fourth finger underneath the third finger on the third fret of the E string. We can see that D. And now with, um, my, my pinky, well, the idea is that I leave my second finger in position because when I want to play around with that, It's not that comfortable to take it away to put the pinky and position and go back. So I always play D. So as far and away by holding the whole D chord though it doesn't make any sense because when I'm pulling this finger on the third fret, we cannot hear this node anymore, but if you take it away because you just want to have it for one little note, one little stroke or something like that, then you can be directly in da again, or you can go from there by taking this away to DSS for again. So that's a cool way to play around. Keep your D and shape taken it away. It leads to DCIS to putting it back again. D-major, bringing in the pinky brings these as four. Because of the tension. It's no card where you would say how that's, that's nice sound but it's a little spiciness. Or when you play around, just a struggling pattern, a strumming pattern, and just playing around with DCIS to anti-thesis far so last summary, major, putting away the middle finger leads to DCIS to D major. Putting the pinky on the third fret of the E string DCIS for feel free to play around with that and find your own style and your own sounds and enjoy that. 11. Chord: Esus4: The next core in this group is the E chord. When you go from E major, the thing is that when you take away the first finger, you do not have East US 2. You have a SAS. He says you have E minor. And because we cannot move any further down, there's no easy way to play East US 2. It's a bit complicated would look in a way you have to play something like this. That wouldn't be a sus core because we still have that note in southern bit complicated. We maybe talk about that later, not that important. So there's no East US 2 in an easy way to play it in this shape and this coming from E major or minor. But to reach East US for that's quite easy. So if you, if you put your fingers in position for e major, you just have to put your pinky underneath ring finger, second fret on the G string. And now the same thing, if you come from E major, I would leave my first fingering position, although it's not hurt anymore because the pinky is now in a higher position. So I hear this node instead of that node, index fingers playing, but this leads to ease us for now. I can play around with that as well, coming from E major. That sounds nice. You could do that as well. Coming from E minor, just take away your index fingers. Sounds more interesting to play around with E major or minor. Yeah, that's E sus4. 12. Chords:Asus2 and Asus4: Now the last group in this part is the a group. We have two sus chords for a. So quite useful when you want to work around with that. A major or a minor can be suspended to a SaaS tool or a cis form. So we start from the a major basis 2s quite easy. You just take away your ring fingers. So the, the B string can be an open string that's a SUS 2, coming from a major and a sus four. In a way, same thing as with the E chord and a D chord before you go from your a major chord. And then you put your pinky on the third fret of the B string. So one note higher than the ring finger sits B string, and I still keep my a shape, my a major chord in the background to play around with that. So my ethos for is usually the, sometimes you find people playing it like this. They, they bring out the ring finger that can be very useful as well because you have another finger free to do other stuff. But let's first of all tried like this. A major sus4. Maybe let's try it like this as well. Sometimes it feels more complicated to bring that ring finger out there because it's in a way and that's so comfortable stretch within your hand. So a major ring finger goes away, a SAS to a major pinky or ring finger go on the third fret of the B string, a sus4. Now, a bit different. It is when you have a look at a minor because the position is different now take away your index fingers. So a minor, a SAS to a minor. And the positions are the same if you want to go from a minor to a surface for this as a minor, and you put your pinky on the third fret of the B string as well. So a minor four. Nice sounding as well. That's a SUS 2 and a sus4 in dry it feel free and play around with those SUS 2 and sus4 chords because it's so important and brings it to the next level in guitar playing. Definitely. 13. Song 4: Breakfast at Tiffany’s (Patterns and Explanation): Did you learn a lot so far? Well, maybe you could be so kind of leavers, a five-star rating and a little review. Thank you. There is quite a nice song to work on this little SAS to sus4 idea as an example. And it's the song called Breakfast at Tiffany's by Deep Blue something. The pattern is not that easy because we have to concentrate on two things. Maybe we first of all have a look on the rhythm pattern and then we have a look on where we put those cards. I tried to put that as good as possible in the pattern sheets you can find in this lecture for you to download and maybe to print it out to have a closer look. So we start on D major. And depends on is down, up, up, down, up, down, up, down, up. That was quite fast. I know buds to get a sound is important. It's down. The bottom. Dot-dot, dot-dot, dot-dot, down, up, up, down. So the second UP is longer, it saying a eighth-note, and then we have a little 16th note in between, down, up, down. The third one is a short one, down, down. Okay, first is down, up, down, then a long note again, up, down, up, down, up, down, up, down, up, down, up, down, or more time. Down, up, up, down, up, up, down, up, down. K, one more time. Very slow. Down, up, down, up, down, up, down, out, up. Now you can see that I'm moving in 16th notes. See that? And that's the key to this rhythm. So it's down, down, up, up, down, up, down, up, I'm down, up, up, down. Great. The basic chords are D, G, and then G. And the first chords, the D chord is in a bar alone. And there is the idea where we play around with these as two and thesis for. And the second bar is quite easy, It's just an a, but they are sharing one bar. So we have G for the first half of the pattern and a fall the second part, homo tiny you with me. Down, up, up, down, up, down, up, down, up on G. And a. That's, yeah, that's the way the whole pattern. When we played the refrain, the chorus, we turn those two cores and the, and the round then it goes from a to G would play D, a, B. And we have a little difference over here. We play a. So down, down, and then G. Then we move around with that. So it's a bit different in the refrain. We play like D in slow motion. Down, up, down, down, up, down, up, down, up, down. One more time. Down, up, down, down. And there's a little bow to, to, to combine those nodes. Down, up, down, down, and then it's 16th till the end. The up-down have done. So one more time. Down, up, down, down, up, down, up, down, up, down, up, down, up, down, down, up, down, up, down, up, down, up. Then we go to a, down, up, down g. So it's not really the half of the bards, it's a little bit earlier. So a up-down G, bop, bop, bop, bop, bop, bop. Okay, a up, down, up, down, up, down, up, down. The whole thing. De Dao, Dao, Dao. A app.js. Up, down, up, down, up, down, up. That's it. Okay, So last thing to combine those, those two, we have four intro verse, down, down, up, up, down, note, down. Whole verse, and reframe is the data. Okay. Up, down, up, down, up, down, and a and T. That's the difference. And now the last thing where to put those such scores. If you have a look into the sheet, into the pattern she, then you can see that in the first bar, rather d. Then this is where the magic happens in a way. So you play the DCIS two on the second downstroke, it's like dealing yet the lung up, shot up. And when you go down the next time you put away the middle finger to bring in on that first long note, the DCIS too. Okay. Going back to D, bringing in the sus4 by the pinky. Okay. One more time. Slow motion. D start down, up, up, down with these is to go back to the d up, up, little finger than normal. Back to G. A, from the beginning, down, up, up, down, back to D, Up, Up, pinky, down, up, down, up to a more time. Increasing the tempo a bit. Okay, and one last time when we go to the refrain, it's bit different we play. So I will play one rounds for the verse and wonderful, of course you can hear the difference one more time and then we move on to the complaint song in a slow version. Okay, So here we go. First part is just second Tatas. Now exercise that and when you feel ready to play it in a slow motion version, then came with me to the next section. 14. Song 4: Breakfast at Tiffany’s (slow): Now let's give it a try. In a slow motion version. I have I hopefully you hopefully after this whole sheet in front of you, I have the pattern. That's what I wanted to say because we want to play with a drum computer. So we play the intro, we have a verse, we have a chorus, we have a little solo where you just play the intro again. Then we have the second verse chorus directly to the third verse. And then we have a, a refrain as well, a chorus as well. And that's everything. The outro in a way is the intro again. Okay, So let's start. We have a tumble around 50 BPM. Original would be like 90 BPM. So let's give it a try. I will play the pattern and then our counters in. And we really tried to play the whole song. Okay, So here we go. Intro 1, 2, 3, 4. Three times nurse staff spend in dollar from their father. Well, that's shown BY soon. Announce. That says, chump. For now it's still is. Where pair for the chorus. And say, why the Baha? First thing is, say 57. Where are they? Well, that first, first is C. So now let's look at the map and entropy. Birds. As simply May 1. See who made this. So let's see. What we see is that the chorus again say, while the val rat spam these scenes, that really bad man was saying was that they both did wrong. That's catch directly to revert folks will say, Let's start from the hips. So say a minus charge. And you notice how I said, chump. We see still the last time Congress said, well, the valve. That first step says lemmings. She say that. Then. As I said, one of the racks stepped set things. Fester universe, yeah. Carrots, intrapartum. Am I standing on dy and integrate? Well, Well, there was a bit tricky because of many things that are happening. If it is too hard for you, slow down the tempo or just press pause and exercise the parts step-by-step. And if you get better and better and better, please maybe increase the tempo of this video and then we go to the next step, playing that song in original temple. 15. Song 4: Breakfast at Tiffany’s (original): And here we go. Next level, deep lose some things. Breakfast at Tiffany's original temple. I will drop the beads and countless in, and then we will start. Okay, So maybe go into position on your D major chord. And here we go. I count, doesn't, it's 121234. Say we Let's start from say it's sweet spot or say a lot about that. Yeah. We first said, well that initial burst, as Joe say, that C is. So let's say we're working with cars a lot about that. So let's say that we forgot them. So all of those The role that disperse from the same screen. Now that's just, no, they're Charles, that's John. Says a lot about vectors. You can then look at them. They kill, broke down. That's why it's essential to two more times. The decimal place fast. The final course. Yeah, nice one. Well, keep up the good work. Keep up exercising that. And you will definitely learn how to play this version of breakfast activities. If you have a close look on the original, you find out that they work around a little bit more with a sus4 chords and a CS2 course, but that's the basic part. And I think as you heard already, it sounds definitely lack the original, but why you are getting better and better? You of course can put in a SAS forecasts as well. And more doubled strokes and things like that. So work on that. Have a look on the original and guitar players playing that song and really, really enjoy it. But first of all, work out this version and I hope you have fun. 16. BARRE CHORDS AS A SYSTEM: Still having fun with kids or control. Maybe you could take a little time and leave us a rating and review. I would totally appreciate that. Thank you so much. Welcome back to the next topic in a way, and it's very important and not, maybe not for all of you, but it's always worth a look. It's about Barea chords or yeah, shape chords or not really coupled us. So we're going to talk about that later. But what is a berry cord where we we already talked about that before. We know the EF Core, talked about B-flat major, and we talked about B minor and F sharp minor. And what they all have in common is that you put your first finger straight over all six or seven before you can put it over five strings. If you're not playing the low E string. That's the idea of Pericles. But why is there a whole section about Pericles and why do I do I only have forebear records and the basic as well. As I said before. When we talked about basic chords and F, In a way, it's the only basic chord that's really both. That's an a way, a basic chord and a B record. The other courts are simple breakouts. I only think they're important. And if you do not want to work through this chapter, that's totally fine. Because as I said before, you can play almost every song without knowing a lot about the records. But what I definitely want to state out and really make clear is that it's worth, if you want to know about the records to dig into the music theory or the guitar theory behind that. What is that about? Well, there are many, many books out there that are called like, I don't know, 5000 courts for your guitar. Well, that's quite financed, not really wrong, but if you have a closer look on those books, you can see that some course definitely look exactly the same. And that's when I start to talk about shapes instead of courts. That's the big difference between basic chords and tare cards. Why? Well, if you want to play a C major chord, There's no other way on your guitar than playing it. By that, if you want to have the basic steady cord and the idea of basic courses that we play with open strings in it. If you start to look for another opportunity or another way of playing a C major chord. There are, but none of those has the idea of using open strings. Well, some smart guys with some say, well that's not really true. You can't just play three strings instead of five. Well, yes, but from the idea of a shape, it's the same thing. All other things should use another tuning or Barea chords or leave away some strings. And that's not what we're looking for. We're looking for courts. We can use a strumming guitar players. But if we look through the Internet and we want to play other songs, and oftentimes if they're in original key, there is something written like E-flat major or a flat major. I don't know many, many keys we cannot play by using basic cards. There are two ways to go there. One is using a Kappa duster and one is using Barea and the idea is almost the same. And that's why we have a whole section talking only about the Re cos y. Well, let's imagine you have a song in C Sharp, okay? Now we have a C chord. And if you were good and music theory, no, C-sharp means C plus 1.5 step one note, one key rising up from C to C sharp. Well, that would lead to the idea if this is C major and I want to get C sharp, then I only have to put it one fret higher. So this should be C sharp major. But as you can hear, it does not sound good. There's something wrong. Now, quick, look on the thing and it's quite easy. This is a basic chord. So that means I have one node, two nodes, and three nodes that I'm grabbing that I'm playing while putting fingers on the guitar. But there is an open G string and an open E string as well. So when I want to move it up one node, then I'm moving only three out of five notes up. So it means I moved those three, but it's still open G and open E, and that's why it sounds dissonant. This is not C-sharp major. Now, what can I do right now? Well, the idea must be to bring up those open strings as well. And that would mean I could tune those 4-node higher, or I should do in a way, something like I say, this is thread 0. And I have my finger on Fred's 0 before too in a way, yeah, be like a cap Odessa, be like a bourree. And now I can bring my chords, my basic chords up higher when I move that whole system, not only those three nodes. Now, I'm bringing up the notes from my Fred's 0 as well. And now I have a birthday card. I have the shape of C major behind them. So if you would leave away the, the index finger, it would look like a normal C chord, but now I have d2, my guitar in the same direction then the other notes that I'm playing, and now it sounds like a major chord. Again. This is C-sharp major. Well, that's the idea of Pericles. That would mean I could do that with the G major chord. This means when I went to have a look at G-Major, those three notes are G, but we play six strings. That means d, G, and B are open strings, so I cannot move this up one higher. We make it a little experiment. G-major sounds like major moving it on up should be G sharp major, but sounds totally disgusting because three nodes did not move. So same thing here. I imagine that I have no end of the guitar, no headstock. I have a, a fret zeros over here. And now I must put my finger on Fred's 0. The other fingers play my G and now I can move it. That would be G-sharp major. But as you can here and as you can see, it's not comfortable and it's not really easy. Although I have quite a big hands. It's not easy and a Sanskrit sounding. So that leads us to another problem. We understand the idea why we need puree course if you want to play in sharp or flat keys. But it's not that handy and useful with, for example, see advanced guitar players use a CSA Barea called oftentimes. But G, for instance, you seldomly see guitar players doing things like, like I did before. Well, CC is okay. You can do that, but it's not the standard of using brake hose, but I want you to learn how how breakouts functions. So the idea of flat Fred's 0 is very important. Now let's have a look on the courts that are useful out of our basic chords. Means G is not handy. We leave that out. It's not a good idea to learn the records by using GSA Bering Sea as well, is a bit complicated. We take that out. D, still complicated because on our first fret when we use D, there is no cards. So that would mean I have still a stretch in here. That's not a comfortable we take that out as well. The best courts to learn Barea is E-major. Why? Well, I can use different fingers for that. And now it's not with a big stretch. Have a closer look. Doesn't that look like my f from the beginning? If I move it up? That's the same exact principle that I'm talking about the whole time. It's an E-major chord and a index finger that's cutting off my, my open string. So I can move E with three open strings, EB and E, one node up to F, and it functions. So this would be F sharp major. This would be interesting, G-Major, G-sharp major, a major, and so on and so on. So I'm just coming from my E major chord. It's called E major because my, or caught because this is the root note. But I know that this is the root node because it's called E major and this is denote e. So I can easily calculate or count where I have to move this chord with the Barea to get another course. So if I'm looking for B flat major, for instance, I could move it like that. I can say this is E, this is f, this is F sharp, or that's a bit complicated as well, G-flat. And this is G. This is G sharp or a flat. This is a, this is a sharp or B flat. So here we are. Now I'll bring up my index finger. Behind my index finger, I put my E major chord and B flat major. Okay, It's quite high, so I have to move my handler. But this is a way to play chords that we do not know a, we are not able to play before. Same thing with E minor. If this is E minor, I change fingers to ring finger and pinky, I have my first finger. It's not that big of a stretch and it looks exactly the same like with E major, just by taking the middle finger away. And I can do the same thing. Same thing. So when I'm looking for I don't know, a court called G minor. We do not have a basic core for that, but I know this is E minor, so ie, ground 0 now moving to F, to F sharp, to G and ta-da, this is G minor. So it's a principle behind that. And we have four courts that we can use as a principle or a shape. I call it a shape. So in the next videos we will find four shapes you can use when you want to play Blu-ray, cause it's the E shape, the E minor shape. And you can do the same thing with a major, just changing fingers using your index fingers to the fret and a way to, to be the principal on Fred's 0, then this is a major chord that you can and change positions. And now I know that the lowest note is the a string. Okay? So this is why this is called a major, and I can switch positions as well. So if this is a major, then this is B flat major, and this is B major, and this is C major and C-sharp major and so on and so on. And the last shape, or the last coordinate, our shape is a minor. Now same thing. I'm switching positions to free my index finger and now I can de fret or rearrange my Fred's 0. And this is a minor same thing here. A is the name, the root node. I can switch positions to whatever I want on the a string. That's the whole principle behind all the records. And as I said before, you could do that with C and D and G as well. But it's not that easy to grab or to hold the strings or to feel comfortable by playing, or to make quick changes as possible. But with E, E minor, with a, with a minor, we can do many, many things to make courts possible in our songs that are not out of our family of basic course. Now, let's move on to the next video. I will show you each shape separately, okay. 17. The E-Shape: So now the first shape is the shape and the name is always depending on the basic chord or it's because of the root node E, it's on the E string. So as I said before, we starting with an E major chord, know where the root node is because it's called E major. Now, we have to bring out our index finger to have a briefing a free so we're changing ring finger moves on the position where the middle finger is. Middle finger moves on the position where the index finger was. And our pinky goes on the second fret of the D string and our half E major again. But my index finger is free, and now I'm putting that on thread 0. So I'm, I'm pretending that this is my E and it's in need of putting my index finger there to get that the major chord shapes, all four fingers together are a shape. We have one fret for the Barea. Second fret is for the second finger. Third fret is four ring finger and pinky, and that brings us to the E shape. And now I can bring this in any other position. I can bring it up here. This is the seventh fret. Sounds like a major chord. For Fred. Sounds like a major chord, Let's say 10th fret. Sounds like a major chord. The shape is always the same. Please make sure that you're not moving. Because if any fingers in the wrong position, the whole thing is not a major coal anymore. If you want to bring it in a specific position, you need to know where the basic node, the root node, is on your E string. And you can count that. You can start by the E and then you can go up the scale, E, F, F sharp, G, G sharp, a, the B flat or a sharp, and so on and so on. If you want to, or if in the song they're using flats instead of sharps, then you go from the node one higher, one below. So then it's E, F, then it's G flat, G, a flat, a. Then this is B flat, B, C, this is D flat, D, and this is E-flat. And then we're back at the EEG again so we can use the whole string. And if you have a cutaway like I have, we can play at very high positions with these shapes, with the shapes. So little summary II, bringing it in another position so you have a free index finger. Index finger goes on the fret 0, and now we can bring it in any position to play any chord you want to. This is the shape. 18. The Em-Shape: The next shape is the E minor shape, same position, same principle. You put your E minor in place. Now we rearranged the fingers, ring finger goes up to the second fret of the a string. Pinky takes the second fret of the D string, and now we have more space for our index finger, The Fred's 0, where e is, so this is E minor. Pretending that we do not have a open string or a headstock that we need to, in a way, put our finger on thread 0, E minor. Now, same thing here. If you want to move any minor chord, you want to play any minor chord and sharps or flats that isn't a song and you do not necessarily know, you just move. It is minor, F minor, F-sharp minor or G flat minor? G minor, C-sharp minor or a flat minor. This is a minor. This is a sharp minor, B-flat minor and so on and so on. Interesting thing as well is it can lead to different sounds as well, because on the fifth fret, we have now a minor. And as you can hear, it sounds differently than playing a minor down here. And that's quite a good thing to talk about because the highest node in my E minor basic quarters the high E string. But if I move on up the fretboard on the fifth string with my, with my index finger as a Blu-ray, then the highest node is this. This is an a note on the high E string, so we can bring in more bright sounds. Could make a difference in your playing as well with, of course, is very advanced and there are several ways of thinking about open chords as good cards for playing guitar solo. Being a singer songwriter, using the natural resonance of a guitar because there's a little, little difference. Open strings free because they are, they have more energy. They do, do a better resonance in a way, if you really have to grab all the strings, it gets arrested. Sounding that open anymore, it still sounds good. It's still a good sound to use, but it's a bit different. So keep that in mind. Going back E minor, rearranging the fingers, putting the first finger on the thread 0. And this is my E minor shape. And I can put that anywhere as long as I have the same shape as down here. So 01 fret is empty and then we have the second fret with ring finger and pinky. That's E minor shape. 19. The A-Shape: Now we talked about the each shapes and that we can locate this the notes, the root notes, or the courts of the rules of the court. So we're looking for on our E string. And as I said before, when you have a cutaway like I do, you can go up very high, but let's say we have a simple form or a simple pattern. Of course, let's say we have, I don't know, C-sharp major, F-sharp major. C-sharp. Now you can see that I'm jumping around a lot and that's a bit complicated and it really have to be very severe that you hit the right frets. So if you play now, you can see it's not a good idea to play guitar like that. You can't do that with a bit of practice. You will, you won't play any mistakes. But just as an example that's a bit complicated and very busy for your fretting hand to jump around. What we can do is we can use something that's useful within our basic course as well. We do not use e shapes, but we use a shapes as well because between E and eight cord, there are some jumps. It's seven notes higher because he go, I'm sorry, fibrocytes a quarter. So you go from 0, Fred's 0 with an E, F, F sharp, G, G sharp, a. So this is the, yeah, the length of the difference between a and E major. You have an E to an a major chord very high. But if you do not want to do this jumping around, you can jump from as a basic chord shape to a, as a basic shape, it sounds correctly and it's not that complicated for your fretting hand. And that's the idea why we use a shapes as well. Means we're only using five strings instead of six with the shapes. And we're using a major for the next shape, for the a shape. So each string is out x for that we do not play it, but same thing as before we come from are a major chord. We rearrange the fingers so we get the index finger free. First fret is three. Well, because when you play a major, it's not like you're hitting the nodes here. So this is a bit of a stretch to put the index finger on thread 0 to simulate the idea of using a Barea cord here as well. Now, the root node is called a. We know that because of the a string and we can bring that up as well. So this is a sharp major or B flat major. This is major, this is C major, this is C-sharp major, this is D-major, and so on and so on. Okay, quick summary. A major is the idea behind that. We know that the root node is a. We rearranged the fingers to free the index finger first chord, and first fret is free as well. Bring that on Fred 0 to simulate the idea of Barea. And now we can bring that up in any position as long as the shape is correct. And that could be helpful to get back to my, my idea in the beginning, we had c-sharp, F-sharp, C-sharp, G-sharp. Well, I could play instead of C sharp on the ninth fret of my, my guitar, because I'm using an E shape, I could use an a shape and that would be on the fourth fret. Now I'm starting on for going on Fred two with an E shape for F sharp. Going back to my fourth fret with an a shape and changing to an E shape on the exact same fret because this is G-sharp. So before I played a lot of moving, now I'm playing. It's within only two to two threads. That's quite easy and quite comfortable. And that's one idea of using for those complicated courts a shapes and the shapes in combination. Let's have a look at a minor shape as well. 20. The Am-Shape: As we talked about the a shape already, it's the same for the a minor shape. The good idea is to leave away the E string and to bring up a cool little thing or cool little fact about the guitar that we can, yeah, in a way, safe space when we're not jumping around all over the guitar by using E shapes and the shapes. So we start with an a minor chord. We know that notice the a string on the thread 0. Now, same thing here. We rearrange the fingers. So ring finger moving on up. Pinky is going where the ring finger was before. Middle finger goes on the first fret of the B string. And now I have my index finger free again and can put it on the fret 0 to, in a way simulate that I'm using a Barea here as well. And then I have my a minor shape now because I know this is the root node, I can bring it to any position that I like to. For instance, I am looking for a C sharp minor. I'm going a, B flat, B, C, D flat, or C-Sharp, hallelujah, C-sharp minor means array. And I'm in an a shape because I'm on the a string with my root node. Now I'm pressing my A-Minor again, it looks like the same shape here. And on the fourth fret, I have C sharp minor. Or this could be D minor. This could be c minor. And now I'm able to use whether a major cause of monocots and two different positions all over the guitar. And I'm not in the need of jumping around all the time. So if you play songs by that, always have in mind that you try to be as fast as possible and keep in mind that you tried to save ways. You're not interested in jumping around all the time. You want to move as accurately as possible. That's very, very important. Now, little summary, a minor, changing positions for the a minor. We do not want to have open strings in it. So we simulate that we have no, no, settle here and put our index finger on Fred's 0. And this is our a minor shape. We can move around by knowing whether we do this. That's easy thing about all those breakouts now, I hope you can easily find if you have a sheet, whereas a court that you do not know, you can easily find out if you choose an E shape and E-minor shape and a shape or an, a minor shape to really play that chord within your songs. 21. SONGS & THE CAPO: Did you already improve your skills? Well, if so, please leave us a five-star rating and a little review. Thanks alot. Hi and welcome again to the next section. And it's called more songs. And the funny thing is we do not start with a song. What is that and why is that? Well, we already played our first songs. We learned many, many courts. We had a song examples with basic chords. We played songs with basic courts and already with Barea courts within its width, B minor and we had f in it. We played already song with sus chords in the end, we talked in our last section and if you didn't do that, please jump back and have a quick listen and look to the topic, Barea chords. And a principle that we use within burry courts is that we simulate it. We do not have the headstock where the strings are held and that there is definitely no deeper note. And we do like this, Fred's 0, and then we have Fred minus1 and Fred minus 2 and so on. And by using the breakouts, we, we took out some shapes. We talked about courts that are quite handy by using them in another fingering and another position to bring our first finger, index finger on thread 0 to get these Barea thing. And the idea of PRA is I'm grabbing all six strings and pushing them down. Yeah, In a way, I would grab those strings that, in that way that I have E and a and D and so on, because my finger is lying on Fred's 0. Of course this is not the truth. But if I want to move E, I can not only move these three fingers because I'm playing six strings and that means major is quite perfect in that position. But if I only move on up fingers, I have a dissonant chord because I forgot to move the three strings that are open strings. Now, when I want to have a song like we had before, What's up? We had we had been minor with a breaker. Be minor is one of those courts. We have it in our basic chords as well because it's very important and it's very useful. But it's one of those examples where you use a breakup because there's no other way. And if we want to have in a song like what's up, basic chords and PR records in one section, then we need to play the Marine Corps. There's no way around that. What is if I have a sheet? Let's say the sheet is with courts that are all basic chords. And those basic chords are in the QC. So we have C, we have G, we have a minor, and we have D minor. Just, just an idea, okay, So C, G, a minor. Okay? And now I want to sing that song because I'm interested in being a singer songwriter. I love that idea of being a singer songwriter and I'm playing around with that and I get the idea of, well, it's too low for my voice or it's too high for my voice. Oftentimes that's a problem within this course as well because I, usually I tried to play the original key, but of course I'm not a female singer. So if we have a song like what's up, there are parts of that are too high for me. And I do, do some, some, some changes to my voice and I sing in another octet or something like that. So if you want to be a singer-songwriter, ME or female, and you have the feeling that the key that we're in is not useful for your voice. You need to increase the key or decrease, decrease the key. Then we have a tool that we should definitely talk about. It's a must-have. It's called the kapo data and the kapo desktop or kapo. It's a quite simple thing. It's like a little spring inside here and I can open it up, put it on my guitar, let's say on the first bar, first fret, leave it there and it grabs my six strings, pushes them down. And now my guitar is detuned one step higher within a second. Now it's not E and a anymore, it's moving up one note. And now, when I tried to ignore that, this is the first fret, I could pretend that my first fret is now the second fret, and my second fret, third fret. And the fourth threat is to the third over blah, blah, blah. You know what I'm talking about? Now? I can use the basic chords just by pretending that this is Fred 0. Okay? So my C, a C chord, my g, y, dy. And we had that little example, C, a minor, E minor. Now I'm singing and say, ah, it's, it's better, but I could use it. One more note. Hi, well, no problem. I'm grabbing my kapo and I bring it up on the second fret. Now it's still C minor. You can hear that is rising and rising and rising. And that's one idea of using the capitals. So if you have an original song that you want to use, that's one way of working with a cap Odessa to bring it more high, to bring it up in a higher position for your voice, or to lower it so you can use the whole sheet that you have in, in the, on the internet or wherever in the original key by using it. But watch what happens. Well, the same thing as with the breakouts. If I put the cap on the second fret, my c is still the same shape, but now I moved it up to note, so it's C, C sharp and D Playing a D major chord right now. And my G, This G, G sharp a, this is my a minor, is instead of a minor now on a, a sharp, B, and my D minor is D, E-flat or D sharp and E minor right now. So we have moved it to another position where we have the possibility to be in another key. Another idea of using the kapo and we will have the next song is a example for that. We can use it in another direction because if we want to use crazy Keyes, for instance, if you're working as a singer songwriter and you're doing your own songs, then maybe it's necessary because you have a saxophone in your band or a whole brass section. They usually play in keys like E-flat or a flat major. Why? Because those instruments are tuned differently. So it's necessary for us to play like that now we know the breakouts so we can play E-flat major, for instance, on the sixth fret of our guitar by using an a shape. But it's a sound question. The problem is it sounds very, very, very closed. It's not that open the car. That's because we are grabbing with our own hands all the strings. It could sound more interesting if we interpreted in another way, we start to calculate when I want to use a C major shape, how many key, how many friends do I need to bring it up to come to E-flat? Well, see zeros, so C-sharp is one, d is two, D sharp or E flat is three. So I put the capo on Fred three. And when I now play a C chord, I did tune C to E-flat major. Sounds more interesting than the shape. Very muddy and close, and now it's still a bit more open because the spring that's built in here has more power to bring down those, those strings. We do not hear anything about those strings on the first two or three frets done before. And now we have like still an open guitar. It's, it's more the idea of detuning the whole guitar. Now, this is E-flat, but I'm thinking in sick. So good thing is, I'm still using my basic chord shapes. That's perfect. And second thing, I can bring them in a key that I couldn't play before. Now, if you listened to singer-songwriters like Jason RAS or Ed Sheeran, they're using capital oftentimes, and I sometimes see the saying that Giza players who are using a capital are not that good on playing guitar. Well, that's totally nonsense. Of course, you can use it to napped. Necessarily need to play Blu-ray courts all the time. But by records are not just exhausting there in a way not that good sounding. So if you're playing in a band or with other musicians together, then it's totally fine if you use break-offs, but if you playing alone, just you and your guitar singing to the guitar or you play with a singer male or female. It's always the better I did use a capital because those basic chords, they sell more open. You have more string vibrating, you have more resonance by those strings, and you sound more natural. And Ed Sheeran brings us capital sometimes up to the seventh threads. But it still sounds beautiful and much more free. You can do more things. You can bring in your Susto and sus4 chords. You can play around with other things that you know. So a kapo is a must have for all of you if you do not have a couple right now, this would be my suggestion. Go and get one as soon as possible. There are many different capitals. There are many that are like this with the spring and with those little grubby handy thing that you can easily install it on your guitar. There are some that that you wrap around your guitar. They all work fine. Just make sure that you buy them for classical guitar or acoustical western guitar. There, there are different because the fret board for an acoustic guitar is more narrow than on the classical guitar. So you cannot do anything wrong. Just make sure that you buy one for your guitar. Sometimes it's good to buy more than one because it's, as usual an item that you lose the current very soon. An absolute must have, I like those with the spring because normally as a singer songwriter when I'm playing shows, I have my capital on the headstock all the time. And now we'll leave it there for the rest of the course because that's normally the way my guitar looks because then I can grab it for the next song, put it in position. I stopped playing directly. Just a little hint for you. Now, let's move on to a sonic sample because this part of the course is called more songs. And now we want to dig into it. We will use to capture from time to time so few free, john me. I'm looking forward for the next song. 22. Wonderwall (Patterns): Our first song and directly the first song with kapo duster is one wall biosynthesis famous. I do not have to say anything about that and we need our capital on fret too. Well in the original it would be F sharp and everything. But I think that's because no, a Gallagher has a higher voice. So they put it in F-sharp minor. And that would be very complicated because they use some, some other sounds. And we have little tricks in here. So you're playing like E minor, but with a capital, and now you're on the forefront. Please make sure that you're not sitting on your first new fret. So it's really the same shape as before, when this is 0, then this is Fred number one, fret number two in your mind, in your imagination. So E minor means that you sit on the second fret counting from kappa B minor. And we have G major. Then we have D, and we have a. Now it's a bit more complicated because they use extra shapes and because the song is so cool and it's not that complicated to play. And we talked about that already. We want to have the original shapes. So he's playing E minor, not using second, third finger, He's using first second finger, and he brings in the seven. You have that in the chapter seven cores. But he's doing a little cool trick. He's putting his pinky on the third fret. I'm still talking with a capital and mind third fret, the E string, E minor in that case, and the seven. He brings in the ring finger on the third fret of the B string. So this is an E minor because this is still a no, that's an E minor as well. Seven. Now I can crazy sounds. And you have directly the idea, the imagination of the original songs. So this is E minor 741, the wall. Then you switch over to G, and I would recommend that you just leave those two fingers where they are because it can play G. I do that oftentimes with the ring finger on the third fret on the B string as well. So you just move your middle finger up here. And now ta-da, this is G, So E minor seven. G. Now he's not playing D major, he's playing D sus four. And that's quite cool because we can leave those two fingers again. And usually you would play DCIS for by using the index finger down here. I would recommend to do it with the middle finger because afterwards we play a SaaS for seven to be correct. So we still leave those two fingers here. That's crazy. And then we put our, our index finger on, on the second string of the D string. Sounds a bit confusing, but it's in a way quite easily after it's two fingers down here. You're playing E minor. You're bringing up the middle finger, so it's G-Major. Bring down the middle finger on the second fret of the G string. This is the cis form. And you put together to e, Sorry, to a sus 47. Okay? And now we have that in a way famous shape of a famous pattern. You playing down, down, up, moving to G, down, up, down, down, down. Moving to DCIS, far down, up, down, down, up, down, up, down, down, down. That's a part where you really should practice before because that's the whole pattern we use. Fall for the song all the time. It's like, okay, I slowed down a bit. It's down, down, up, down, up, down, down. At the end of the pot. You can just make a little upstroke for the last 16th note jumping to the DCIS, fall down, up, down, down. Same here. Thus, Dell up, down, down, and then we turn it round to down, well, going back. So it's always down, down, up, down, up, down, down, up, down, up, down, down, up, down, up, down, down in the end, down up. And directly back to the beginnings of down, down, down, down, down, up, down, up, down, down, up, down, up, down, down, down, up, down, down, up, down, down, up, down, up, down, down, up, down, up, down, down, down, up. Right hand. Down, down, down, down, down, down, down, down, down, down. Stay in those 16th notes to make sure that you will hold your them down, down, down, down, down, down, down, down with the courts. And please make sure to leave those two fingers. Down, up, down, up, down, up, down, up, down, down, up, down, up, down, down, down, up, down, up, down, up, down, up, down, up, down. Perfect. Now the pattern down doesn't change. But the courts chain from time to time we got in this and all the roads we have to walk on wind down. We move in to see. You could play C at nine, that means pinky down here. So still the month, we have a capital third fret on the B string, but sees okay, as well. So you have C, Same, same pattern, D, C, E minor, C, G. Niemeyer, that's three times in the last round to play C. Isn't there an in-phase? And that's a bit complicated, but it's worth the work. Gi my two minor seven. And then we go back to the a sus4 with a seven. And we walk through this a sus seven, sorry, Aces 47 chord for two bars. And then we go to the chorus and it's a bit different as well. Here we play C, E minor 7, and in the end back to E minor, so it's maybe minor G. And then imagine we've got a, B, the one then see sales may E minor, G, E minor, C E minor, G minor, one. C, a minor, E minor. And then they hold the court there. You have this crazy drum fill in the original going to the second verse. Moving on to the pre-chorus with the C, D, E minor, C D E minor, C D, G, D E minor, and a sus 47. Okay, so let's move through everything once more and then we can go to the slow version of the song. We have those two fingers for intro. For worse, they are staying. This is E minor seven. Now we put the E minor and shape and we have this pattern. For a Salesforce. That's intro, That's verse. Pre-chorus means we're moving to see for those of you who want to make that effort, you put in your pinky for C89. E minor seven. C again. D, E minor seven. C at nine. De Dao. See the reminder. A sus four and the seven. Sugar types are whole pattern. Sedan, the chorus same pattern with C, or you can use C at nine as well. There's a myelin sheath. We might see ADNI and changing the my CLI reminder gene. They live for and against CMV gene. And it stays there. And that's all patterns in all path that we know to play this song. We have intro, we have a verse, we have a pre-chorus, we have a chorus. Hold back in to the thing, verse, pre-chorus chorus. And the chorus is repeated several times and the outflow is still, should be C minor. So all the time it goes through the same pattern as within the chorus. Okay, so same thing here. Make sure that you know all the parts. Make sure that, you know where your capillaries setting makes sure that you know how the pattern works. And if you did so on, if you watch through this video several times and you know how the parts work, then we will see each other again in the next section. Well, we learned to play Wonderwall in a slow burn. 23. Wonderwall (slow): So here we go, Wonderwall. In a slow version, I will drop on the beads. You have your cap on the second fret. Keep in mind that you need to hold down ring finger and pinky down here for the verse and for the inner part. And I will help you through. Here we go. This is our pattern. Okay, prepare 1234 and so on. Lesson 4 times. How to diverse instalment fee, that bag. That would get though with that saying that the sound the half a squat in these three dots. So which ad do like bad shin. Now, this back and forth, Here's the strain that was fine for your health, such as sex? She does. So that's how about now? Can you buy them free for us? And the Swedish law, such as little die. That way. Is that IgE. Now it's a C in data. No, esa 74. You can see I've got to go above. That saves him. The law does checks and I'll await bond bar. Move into the verse again. The fall season step, you have seen asynchronous green plants, you said fails. That's C now C, D, E, my three colors. And then I is that we do have that laugh though. That would be the graph. Sylvia, you can derive a so for cars, a safe trip. You've got wow, that's so nice. Let's repeat again. A sagittal view jobs. Please. Welcome. Zynga. Quite similar. And so on and so on. Now we leave it on over here. Great job, very, very slow, but there are many things happening in your fretting hand. So that's why it's useful to start with that slow tempo. If you want to increase it, you know what to do. Please play around with the tempo of this video and if you feel safe and safe enough, we'll meet each other in the next video when we try to play in original temple. Here we go. 24. Wonderwall (original): And here we are. Wonderwall in original temple. Prepare yourself. Here we go. I have the bead for you. Now we wanted to get into it. Here we are. It's 121234. So first, see them without a doubt. That there is a gas sector where the lab, now that the large cap, a five paragraph essay. 25. Hollywood hills (Patterns): Our next song is a song by a band from Finland. It's called summarized Avenue and the song is Hollywood Hills, very popular all over the world right now. And yet, although the songs a bit older, it's quite, quite a nice song. It's a bit and up-tempo songs, so that's more something for your, your strumming hands to talk about. And That's why we, first of all have a look for a fretting hand because it's more complicated to talk about this strumming hand. You fretting hand is dealing with. When I count correctly for five chords, we need C major, we have G major, we have a minor. Later on, we have an F in the course. And there's just one time where we play a D major. It's a bit confusing but, but very nicely done. And we have several parts. We have an intro, we have verse, we have chorus, we have an instrumental part, another verse. We have this little confusing part with the d kids in his world. Whoa, a chorus, a bridge part. And chorus again, where we need to, to lower the dynamics of bit because it's sung deep. And then chorus, chorus, instrumental in the end. And yeah, that's, that's it in a way. So let's have a look at our strumming hand. Um, well, first thing is the intro. That's quite easy we have, but maybe that's new to you. We have full and half notes in our overview, so don't be too confused. It's just holding those cards is like c. Then we move to G For a long note, a minor. And then back to G. Counting would be 12341234, then a minor 123412, g again. So this is just because of this little bow that's, that's combining those two nodes in the beginning we have like six quarter notes and then moving to the G, six quarter notes of a minor than moving back to G again. Now we have a pattern for the verse. We're playing down, up, down, up, down, down, up, down. So eighth notes is our pattern. It's quite easy. It's not that unusual. Down, down, down, down, down. And for the chorus or the refrain, or for those parts we want to have more power, more volume. We put in one more node. It's, it's quite easy and quite obvious thing. Down, up, down, up, down, up, down. Keep that steady thing. Running is quite easy. Quiet, nice. Maybe you start that song by listening to it. The only problem is that it's quite fast. We have a Tambo overall by around 130 BPM. 140 BPM, That's quite fast. So it's like so that could be a little tricky, but the rest is okay. And please have in mind that when you change chords, it's not that complicated. You can always leave the court you had before to open strings and use that time to jump over. So if you change it from seed, use that last eighth note in that high tempo to change and just play open chords. We talked about that earlier. It's not that disgusting in sound, it's totally okay. And it sounds very natural to all of us because we're used to it. So that sets. We talked about the parts, we talked about the patterns. Let's move on to the next video. You do, you're preparing work before that, we do not need a couple here. It's originally in C and we see each other in the next section where we will try to play that song in low temple. First of all, here we go. 26. Hollywood hills (slow): So here we are summarized ever New Hollywood Hills in slow tempo. We're around 100 PPM. That's still a bit quick. If it's too fast for you, you can always slow down this video to make it more comfortable for you to get in the sound. And we starting with an intro with those long notes two times. Then we go to the verse, we go to the chorus, instrumental verse, chorus, bridge part, which is almost the same as the chorus, with the idea a low chorus. And then two times hikers, instrumental outro, and that's it. Okay. That said, here we go. I bring in to prepare yourself not only from economic notes. I would counter them. 121234123. So long to D, G, a minor. To G, C. G a minor. And CGA. Now this is not that. Thanks. Kim hard is, is this is the m array. You have. Just MATLAB the bonds to the highland rate oceans waves, chorus still low. By zombies. This is where Adler, I go down by a BAD things again. And by G, a minor and G than the default size that followed a half, I fall of mammals we see at Sage bought of you, Hey, Kat, and that will stay good forever. Now, it goes too deep or bad. Now Zambia, there see where the challenge back to our case. And then a week from Apple, Five, Five lower. Whereas chop suey way, she damper by its rich. When they go out and go that way. On the next, wherever I go. Back to our case strings. But then she went back to our phase change. And mass bird that was led by 65. By the way, I chose a city that bad, but our server and a minor. Jamie. Then you add on the C chord grade that was moderate, I would say from the point of view, depending tempo. But let's move on to the fast version. And as I said before it that was still too fast for you. Please keep up the work here. Maybe you just decrease the tempo of this video to get into that Tambo. And when you feel safe and you know where to put your fingers on where everything's happening. We see each other in the next section where we will try to play it in the original tempo. 27. Hollywood hills (original): Now let's give it a try. Original temple for Sunrise avenues, Hollywood Hills at Temple was very, very high. I would drop in the beat and you try to follow. So here we go. Declare itself with a C and a long notes in the beginning. I'd like 121212341 is the T G a minor to G two times. G times now tubers, that is, is now rates. So in parted. So this is the origin. The two know at only the mass than a half. And he's, my lab is still the cell. And the Great Ocean Spray by Hadamard gate exam Governor Steve, forever gone back to block the streets again. If it's forever, now draw the shape. A minor sheep verse than the bone. Age, some set of a hub not mount. A fantasy. And Apple will be the name and get it back. They will stay in it forever, period. Of a Z bar or whoa, whoa. They're saying, wherever I go, back to what they stayed sick then bam, we have bad thing forever. Now I'm back so we can gather that a rich now. Well, now they'll have low, by some dominance is in wherever I go. Back to walk the streets and bad, bad, bad. Now see that we have seen wherever. Char back to what the state sigma f is mapped. To gather some data all the way down, come back soon, we can play together forever. To do so. To start out with a minor. And B is the end cord. Well, that was quite fast and near to the original. Of course it's not really sounded like a rock band because we're just playing with the drum computer and two guitars you meet together. But the idea is clear and it's a fast up-tempo songs. So congratulations that she did master that. And let's directly move on to your next song. 28. Viva la vida (Patterns): The next song is very, very, very great. It's by Coldplay and the wonderful song, Viva la Vader. And to play that song in the original key, we should use our capital on the first fret. And then we have the courts, C major and D, G, and E minor. And if you look through the whole song, it's in a way a pattern that repeats that. Only a part. On page three where it says instrumental, and there you play an E minor directly, 2 times E minor, C, E minor and D. And then there is this big or Hawaii part. We have the C, D, G, E minor again. So courts are not the trouble within here. It's, it's pretty, pretty easy to play like that. We have two patterns that we are using for the verse. Do not misunderstand what's, what's written here. We have a fast tempo and we have eight nodes and we have only downstrokes. Well, the idea is that to play like that, it's more the idea to reduce the amount of strength that you hit. So in a way like the idea with playing with permute, so you just played. Okay, so it's not all the strings all the time. So like playing. When you do this, upstroke, tried to hit the notes. Down here, the the high notes. Okay. So it's 12345678 on ATF, this upstroke a bot. So the first node of the second bar is not hit as well. And then you have an upstroke again and then downstrokes. And the last node is a quarter note. So you have like an ending of those two bosses, 12342341234 and then 341223234. Okay, Understood. Now the trouble is, We're changing chords every two bars. So this patterns quite useful, but we have to, in a way, pull the next chord into the bar before. So the chain from C to D is on that upstroke. We have like 12341234123423. Get it. So it's just like C 23423. So G, C, E minor. Okay, that's very important when you're in the refrain, it's getting a bit easier. We're just playing a quarter notes. We're playing like down, down, down, up, down, up, down, down, up, down. So you can increase the volume here, but you have less stroking. So that's quite coup, but same thing here. The D and the E minor are yeah, told before the beat, pulled before the one into the bar before. So it's like See Jane, a minor or more time. Down, down, down, up, down, changing up, down, down, changing to G down or changing to more hints if you want to make it easier for you. Use the eighth note before the real core change too. As I said before, open up the strings, play open strings and take that time to change the chord. So it's like 1234. And see how you are going into that cell. 1, 2, 3, 2, 3, 1, 2, 3. Nobody will hear that. It sounds quite familiar, quite used to our ears, quite natural. And the other hand is, the problem we usually feel is that we do not play the one and it feels like you lost your counting because normally you playing one, something happens. One something happens once. So there's always a one that you are playing with a guitar. If you leave that one, There's probably the, the problem that you lose a temple, you lose your timing in a way. And one good idea of the way. Keeping time, although is one, once I set before you moving in eighth notes all the time, but maybe you can hit your guitar down here. So playing like 1, 2, 3, and 4. So you're back in the bead, you have that idea of I'm in it, 123412341234234. It releases the stress that you have in your hand and your whole body when you're not allowed to play the beat on the one that's sometimes a bit difficult. So summary, we have an intro, we have verse, we have a little party in between. You have second verse, we have a chorus, we have an instrumental, we have a second verse, we have a chorus, we have an instrumental part where the chords change a bit. We have to C to E minor, C to E minor, C to E minor D. Then we have this big 00 00 tile in the end and we have the chorus till the end. And that's the idea of that song. Okay, So here we go. Practice all the parts separately for you. Practice it with those. Strumming stands for verse. For the chorus. Practice it with this lost feeling of the one with this beat down here. And we will see each other when we try to play the whole song in slow tumble in the next video. 29. Viva la vida (slow): Okay, here we go. I hope you have your capital on the first fret already. For Viva. Viva by Coldplay, I would drop and the beat we're at 95 BPM for this part, starting at C, starting with the verse rhythm. And here we go, I count 121234. So the verse, hi, to seize the waiver and sweep the strings. To use. Is this. What is the trend? Now, the EU is going long chain. In the next step that a scam is a soft sound. She would go to the course. In summary, the chat and my sister. But she, they show very well, see I'm getting an echo, smear them. But that was when I was actually the verbs breaking down the door. They're named Jack. When two sig figs, we could draw a red square. Four. The sale of plague as the colors that we use to check that you may cry that same shape. Not raising. Three. If you have no idea. For them. It's work. That is instrumental part of the gene. Because they're sharing. They're saying that's when she said this unit basis. The splendid may know that. But that answer is C, C, G, G minor, G E minor, and so on and so on. Or you can add on C. If you want a great job. That was very, very, very smooth and very nice and very slow. Now, let's move on to the next version in original temple. 30. Viva la vida (original): Now let's drop it all in viva reader in original tempo at 135 BPM. Here we go. I will play the base case. So you can imagine were replaying. If this works, you can play with the original for sure. Now, we're playing together. I will count as n is 12121234. I use to see that. Now the C suite, the screen size 20. I used to fill in my enemies. As soon as the GI. Now the Europeans their lungs to the game, plan for that change. None so ounce to grow some scalp gamma can ensue, so a prompt fails. So balance sales ideas. Jeff would cry saying that she mentioned there's reason to feel a lot better. This way. The DAB is when you have a bot again. First, it was the wake of the downward told that the deaf, when you move down the stack, Germans journey to become grab. You sweat for my game. So it's a profit. Do level one of the k, I guess their own travel and we call this as saying a new restaurant to the mill process and sticky and they'll send that link. But tabs where you can go, instrumental cost since the Jane activities. So rather we try and say now, and see you in Lesson 3, yield. Pause. This. And they'll say nato and call we the main thread. As far as the data's pretty well. As a Nazi. Who, Great job, great job, well done. Viva veto by cobra in the original temple. Nice job. 31. Salt (Patterns): Our next song is salts by Ava Max. Quite actual song, very, very cool song as I would think. I hope you see it like that too. And it's a very special song for us because I put it in a minor, D minus C and G, So we can use basic courts, But if you want to play it in the original key, then we need the capital on the sixth fret. So that's quite interesting. So we're in E-flat minor for that song. And that's a bit confusing in the beginning because you, you are playing very, very high on your fretboard. Now, as I said before, they chords we need as a minor, D minor, G major, and C. Need to rearrange the capital bit. Sometimes you need to tune your guitar after you set the capital as well. Because whether you're using, it can be, it can cause some detuning as well. So sometimes you have to rearrange the Kappa 1 and 2 times 0, retune the strings, although it's grabbing on them and it's pushing them down, you can still tune your guitar while capital. So that should fit. First of all, now, if you have a look at the song, it's all the time, the same chorus. That's the cool thing about that. And we simply have two patterns. We have a pattern for the verse and chorus or the refrain, and we have another 14 bridge and pre-chorus. So that's quite easy, and they are not that complicated. So when we start with an a minor, our first pattern is down, up, down, up, down, down. Quite easy, I would say down, down, down, down, down, down, down. Great. The other pattern is a bit more complicated because we have upstrokes again. We play down, up, down, up, up, down, down, up, down, up, up, down. So from the a minor means down, up, down, down, down. Too short ops in-between, down, up, down, up, a longer one and a uptown. Okay, so playing a bit with this, with this countings in albedo. Now, Let's have a look at the song. It's an intro. Then we have the verse with the first pattern. We have the pre-chorus with the second pattern. We have the chorus with the first pattern again. Then we have something they call the postcards. I would say it's a chorus as well. So then we have verse again, pre-chorus verse. And thus this, sorry, not verse after the pre-chorus, chorus, the post-course again, and then we have a bridge, and that's where we, we choose the second pattern again, chorus and postcards, and that's it. So a typical pop song, not that complicated in its parts in the structure. So I would suggest that we start practicing on those courts were playing one cart is one bar. So we play like D minor. And we're going to see and to G. Okay, one more time. A minor, C minor. C major. G major. If we have a look at the pre-chorus, there's another chord, E minor is coming in in the last part, it's a minor and we directly can try to play with the second pattern. So we play down, up, down, up, down. Okay, so let's do the whole pre-chorus together. Starting on, I got by phi highs on with a minor K, 2, 3, 4, D minor, C minor, a minor to E minor, C. And from there we go into the chorus, meaning playing pattern one again. And then those are the same forecast that we already talked about. Well, I think that's enough set and now we can move over to the next lesson, to the next video, we will try to play that whole structure, the whole part in a slow version. Here we go. 32. Salt (slow): So here we go, salt in a slow version, capital on the sixth fret. Don't forget about that. We have two patterns. I will drop in the bait. And then we start together. We're at 90 BPM right now, 121234. Those Oh, I get sad. It's not great there coughs to end up changing the AVMA. And that's going to be lower in say, an equity stake. Now, we know that's going to be well served. To that relates the goods. Those cells seen as key words you want these days and it's postcards sink. Oh, you're saying this pattern. So Sam, a break. Just like to know more. I'll yield the snake a snake skin see no change in that lump. Sum. That's the sale of spit. And being a bit Black Mountain. When we do. So, I'll change it down TO data so that you won't have it waits and waits. And T cells seems to be what you are presented with. Weights AND gates. Stay in any other key out the pattern. And the so-called write down the track that, track that down and track that and that gun back that dry. Now be careful this C and D and E, we stay on that. There is N C, which means no cord, nothing is hurt there. And then we start to see again and we go into the first spot again and seeing all that. Oh, so it's not a try and see what that is. There are two routes. Sounds. Smooth. Guy. Can you do What's your completion of weight? So that's how a hand in this photo saw holds. So dredge up. So that was something that I didn't mention before because it's just a little, little quartets jumping into the part. And these parts where it's written any C dot, that always means no car. Great job, great done. If you didn't get through yet, no problem. Repeated. Take out the parts that you want to to practice on your own. Maybe the changes in-between the patterns. And if you want to increase temple, you know what to do. And we will meet again in the next video when we play the original sample. 33. Salt (original): So now we're digging into the deep with the original temple for salt. So don't forget the intro, a minor, D minor, C, and G. Don't forget the little part in the end, when we go to the E major chord and think of the changing of the patterns in between the part. So I will drop the beat. Prepare and I will count them. 1, Two, One, Two, Three phone books. I got back and said it's not about and we have to say about changing a gap up back there. I don't know. That's going to us. Not to Mama read my lipstick top sat up there and I've mambo, That's going to post. I'm all out of so dominant. Do you want to lock is adequate to need some bad data. So Susan, recommend that you do want to launch a satellite, but it's a good supply chain gene. So the Sabbath day to day role model or the State curve, not even a snake skin pay for college changing at that. So before I go, That's what is your share with them. My lips that pops up, that combo. That's going to be 12 minus the last two. Small out of so omelette down and die. If you're lucky ones with data plates in unison that m, AML data. So you'll be walked through long as the shadow it's against. So nice. Out of so let's break down a track that crap. That's gone, drag that down the track had GI exemption that stage II. And seeing just know chord to hammer out a song. What does that leave us? We want the SAT in place again soon. So she got really lucky. Logical solid plates again soon. Bye. Well, I know that it's not sounding like the original. Of course, I'm not a female singer and not Ava Max, but it's a good way to work it out for you. So out to all of you guys out there and all girls or there may be a great song for you to sing along and to work on that. I hope you had fun. 34. Castle on the hill (Patterns): The next song is castle on the hill by Ed Sheeran, a great song. And to make it more easy and great sounding, we do something that as shear and does oftentimes as well. The original is in D. Well, he's really playing it India using some, some special chords. We will play it in C, but we use the capital on the second fret, so we're in the original key as well. And that's why we have those cores we have in our pattern sheet. You can see most of those costs were playing C to F. And we played a minor to G. And that's in a way the most used cores. And now you find a chord on your sheet where it says C slash e. This is a slash chord and slash courts are very use if you do not know how to play it. The rule is pretty easy. The letter on the left side is the core of the lead. On the right side is a bass notes. So if you do not know how to create a baseline, just leave it away. But here is quite easy because c over E, Sometimes it's called like that, is quite easy because we have the low E string in our C as well. So usually we play C by playing five nodes beginning on the a string, and now we just played with the E string. And it sounds not that good if you played all the time. But if you drop it in like here, just like for, for one little note, you can see it on our pattern cheat in a way better. It's just a moving node, a lead through node to the F, and that's quite nice. So we have C, c over E and F. Then we go to a minor to G. Now, if you have a closer look on your sheet as well, we find out that there is one part where it changes. That's the bridge part that we play. A minor to F, to C and to G7, sus4. Well, I'll leave it up to you. You can play G, you can play G7 because we know that G7, sus4 is a bit complicated, we won't talk about that. So you have the choice in-between g are G7 for that part. Yeah, that's repeating all the time and the rest is all the time. The same pattern. The same yeah. Row of cards. Let's have a quick look on your pattern sheet. There it is said that we have the cap on the second fret, but you see that f and g are always coming before the next bar, before the one of the next bar. We talked already about that. So it's a thing with upstrokes on that, which brings in that, that dynamic thing for those chords. And if it is too complicated because we leave away the one, you can see that by the little bow you see there. You always have the idea of hitting down on your guitar. Okay, So it's like down, down, up, down, up, down, down, up. That's the pattern. We repeat that on the G, E minor and G again. And then g is pulled forward, so it's down, down, down, down, down, down, or Motown with me. Down, down, down, down, down, down, down, down, up, down, up, up, down, down, down. One last time. Down, down, up, down, up, down, down, up, down. Now bring it together with the courts. We play C on the, the long upstroke. We play C over e, changing directly to F for the OS to go into the next core, to the next bar, playing the pattern to the end, a minor. And on the last node of that bar we play the G with an upstroke. Okay, So here we go, 1, 2, 3, 4, y, and the gamma of 3 for a minor, 123423. Very close, but you get an idea, okay, so one more time. 234123451234 bar. Well, the trick here is that you again have the possibility to change chords before when you play that c over E, it's not necessary. He said that you really have to play all the corner or the c over E. Important is that we can hear the E string to lead node to the F. Same thing when you change from a minor to G, there's nothing done over here, so you can still use the empty strings, the open strings to change to G. Well, that's enough. Set. Prepare yourself for the next video where we will start to play that song together in slow tempo. Here we go. 35. Castle on the hill (slow): And he would go in, slow motion, came with me. We have a little intro, just be on the sea. In the original is like until literally it's just rolling around here. Okay, So maybe we can play just 111 row of a C chord or like four bars. And then go into verse, pre-chorus, chorus, verse, pre-chorus chorus, the bridge where the chords change, chorus, and that's the end of the summer. Okay, So here we go. I'm dropping the beat. 121234. Here we go. Now six years that I was wrong, job. And his friends say stairs, screen, grabs a barrier down. Alpha w, stage, play it back. So I now know the name from the South does take a little bit in this sense. So the drone can't wait to go home. And try that. Let us see. What is the sense of staying on the C that we go to the next verse. 16 years a, scope and have cigarettes. Okay. Ran and found the love. The back feels so good and drunk with my friends. At my first CHI, some frightening rack and I did that. I was younger them saying that beads. And as far take me back to when we bound had began jobs. Get a lead, Bye. Stay the same, bring them, trade the assembly. So long. How will shall lay CEO cars down the side? Now? So the way this well, So it says assume. So. That's similar though. Finally. So see, warm friend will have to sell more words down. Toes. Rock that to kids. Lives. Well, the OH, was wrong zone. Seconds. Long shifts. Really get through by the dose BIBO, the wave, go whoa, and then a spaying and just long notes, if you want to add to those x2 country lanes and he's raging is rest. And the we inserted back in that affect him that way. It says, Hello, John. Answer C and the O C. Well, me for myself, I find that very confusing to play that song in that slow tempo. And I hope it's a little bit helpful that I try to sing along as good as possible because maybe you get the feeling of that. The rhythm is very, very slow and the words are still trying to fit in. It's very complicated to, to come down with the words to that temple that we already played. So have in mind that it's starting to increase, increase, increase the temple until we at the point of 13040 BPM. And that's where we want to get to. So exercise, exercise, exercise. And when you're ready with that, we will meet in the next video and played at 140 BPM. Here we go. 36. Castle on the hill (original): So here we go. Original temple for castle on the hill. I dropped a bit. It's very fast. Yeah. Yeah. Now it should feel more natural if you really exercise that. I'm keeping in mind that we have to bridge in the end and I would say we get in being two times c. So for bus 121234123, go when I was six years old, by that, I was drowning and so on rather than his friends. Savings is 3, 4, and 7 versus narrow down. When Alexander safely back to where I know dated 2007, the last node through the city to see faces so low. And the way we shall now seeing that works, councils in the research study visit, in the way the skill set to 707. So now we're staying on C in the second verse, 15 years old and have cigarettes. That was found on the back fields in ground with lab friends or scales on Friday. I was younger than say way back to when we found the weekend jobs, got a batch, spends in grand, sprayed the mouth go up. And so the goal, how we don't get away, Let's go. Oh, so the single biggest challenge is say, okay, this is, let's say the Jap. So well, another day. We can see that. So again, encourage that surrounds a mile and see to put g dash cells per one works down by the code. One had a kid spilled their lives alone. Bonds brother though. But those long zone reading on the second one says barely getting by its people raised me and Jan way syndrome with long nose has to learn the zoo country lanes. Where are we? Let's see. Now, stick there. Then that signal we said, we said, sorry, 06 months. Then. Suma, Well, see you in the end to bring it down. Well, you really have to figure out how fast you want to have it, how fast we want to see it. But I really liked that song. I would, maybe I would sing it a bit faster. And those things like bringing down the beat, bringing in just long notes. Those are things where we will talk about later on. Very, very relevant because that means normally have a pattern for a whole summer if you listen closely to add Sheeran, and especially when he's playing that song solo onstage now with a band, not the single version. And you can hear that he's changing some things from time to time. Maybe you can experiment with that. You can find your own version to make it more interesting then laying the whole pattern throughout the whole song, but it functions, It's nice and it's a very, very cool song. If you a pull through and maybe second sentence to that. If you have trouble holding the exact same pattern, maybe because I was singing when you have a close look on my strumming hand, you see that sometimes there's a stroke more or less than written in a pattern. And that's quite okay because I'm working like a machine. I'm running all the time to keep that pattern up to the B, to the rhythm to the time. So it's totally fine to do that. Be creative, be experimental on that. And maybe you find your own way of playing songs like castle on the hill by yeah, rehearsing that song and working on that song, Have fun. 37. Back to black (Patterns): The next song is a perfect song by the wonderful Aimee. Why now is called back to black. And because it's a song, we want to play it in the original key, but with easy courts and it's a bit complicated. We use kappa on the fifth fret for that. And then we have the courts, a minor, D minor, F major. And E-major creates that, yeah, crazy melancholic style and atmosphere in that song. Next thing that's very special is we have, we talked about that earlier, a shuffle. If you have a look on your pattern sheet there, it says it's a temple at BPM 122. And it says that 2 eighth notes are like a triplet of one quarter and 1 eighth notes. It means it is a shuffle. We talked about that It's like dank, dank, dank, dank today. So the written part is not, which is the, the pattern and weigh. Each second note is dropped. Dank, dank, Gang, Gang switch down, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap. Okay. And we have two bars per chord that will change in-between, but that's the main pattern throughout all the songs. So we have two bars on a minor to par bars of D minor, two bars of F major, and two bars of E major. Let's do that together. One at two, F3, F4, Data tab, tab, tab, tab, tab, tab, tab tab. A. Long note in the end changing to D-minor, changing to F, which is a bit complicated. Maybe you should practice that first. And when you move to the E major, I would suggest that you pull down the fingers and put away your index fingers because it's far more easy than changing completely to E. See what I mean from f back to a minor again, okay. So you can decide if you want to do it like that or if you want to practice it the normal or the usual way. And then we have a bridge part in the end, or almost at the end before the last chorus. There is a very interesting part where we just play so-called DAD notes. That's why there are those axes in your sheet. Excess mean datanodes, that notes mean you play a rhythm but we do not hear tone. You do not hear real notes because they are dead. So you just put your hand loosely on the strings and play like that. Those are DAD notes. You can play them on one string or you can play them on all strings. What we're doing here, the pattern is the same, but just with datanodes. Okay? And then we go into that C part where we play just long notes. We have a dotted quarter note, a quarter note, and eighth note. Just that eighth note is an abstract. It's a bit complicated because when there's triplet feeding, so they do not really have like a 12345678. They can then ten. And if this eighth note, it's not sitting in the right spot and it feels a bit confusing. So we played down, down, down, down, down, down, down, down. There's a little eighth nodes that we do not play in the way down. We want to play down. But for the sound, it's better to play down, down, down, down town. So maybe another thing you should practice first of all, then we are on our end. And from there we go to I go back to, I go back to, and then we're back in the chorus. So a very cool song, I love that. We start with an intro with the whole thing played once through them. We have diverse. We have a second verse, we have a chorus, we have a verse, we have a chorus, and then we have this bridge part and a chorus and the ends. And that's it. We're ending on black on a minor. So feel free to practice all the parts separately. Maybe begin with this shuffle thing. And just by pausing this video and play the shuffle with the DAP notes to get into the strumming part, play the card separately, and then put together those courts because they looping around there like a loop that's running steady and steady and steady through just with a little interruption by datanodes at the bridge. And that's everything you need to know. And when you are comfortable with all of those parts, we see each other again in the next video where we try to play the whole song in a slow tempo. 38. Back to black (slow): Here we are back to black in slow version. So we have a temple-like 85 beats per minute, starting on the a minor, I hope you have your cap on the fifth fret because that's where we needed to play together. And I would start a bead right now and counters in. And we start directly with the intro, say 121234, G minor, F. And then the cat hairs to make is to say that the graph, wow, wow, that was so wrong. So the staff back at the say the words, I die, the 100 PSI back. So NC, go back to, but it's become phi and psi. They say the words, I read science back. It's a stagger. The bird, I can get back soon. The Bridge Bonds. I go back, let's see part one more time. It's a minor at that site girls. So I took the pattern. They say the words sound so bad. We said in words, I died hundreds. So that circle one more time. Back and the ending is on a minor. Nice, one nice job. I'm very, very sure that you will get faster as soon as possible and we will see each other in the next video when we do this great song in the original sample, here we go. 39. Back to black (original): Here we go. Original key, fifth fret is the capital. Ladies, good for you because all of you can sync that easily. I would sing in a low key so you do not feel that the stirrup, and it sounds not that confusing. And we start with the intro and now we're in the original temples of get into your shuffled. I will drop the beads and then we will meet each other in the song. Okay, Are you ready? One, 2121234. Who's that? No sooner. A graph. That is dish rag doll which say that I, I my job down back and rewatch. So all the ways that trans Live K track that back to what we own. A stagger boss who have words, I die, the signs. Go back to Go, go, go back to, you know. And with is to apply the sky laws. Giving it a stagger back and words, I died, I'm not there yet. Go back and go as a sedative by sine of x. Go back to capture the risk, goes Baghdad long time ago. And plus C plus D minor F. And the cape, the pattern, a minor, E minor, F. If I go down right, and back to the paddle wheel with a stagger, with words. And the sounds. Go back to a stagger. The words, I died a 100 size. So the back, since handling the form of shock, I didn't die. Great job. That's a cool way of learning how to shuffle it correctly. Just preparing a drum computer or playing with me if it is still too fast for you, or what I said before, if you hit one more node or one node less than proposed, that's not a problem. The main thing is you keep that shuffle, you keep the beat. And the greatest thing would be if you could play along to the original or you could sing with yourself, with your voice to that great song. I hope you have fun.