Strumming The Guitar For Beginners

1. Master The Art Of Strumming Introduction: Hello and welcome to my course simply entitled how to master the art of strumming the guitar. Learning to strum the guitar can be extremely challenging for the beginner. We're using my proven techniques that I've developed over the years as a professional guitar teacher. I am going to take you from this to this. My name is Jeff Cynthia liked to fight you for joining me today. I have helped countless students achieve their goals of playing the guitar. The course has over 30 lessons are easy to follow and they progress and the logical steps that are simple to understand. The early stages of the course, special attention is made to the basic technique required to strongly guitar. Around. The first part of the fretboard reaches the body of the guitar. I'm don't hump that. Unfortunately, many aspiring guitars are so eager to play the instrument, but they developed, but techniques that can spoil both the sound and their enjoyment of playing the guitar. So please do pay particular attention to the opening chapters on the course. Slightly. The rest has been brought down from gravity. But I'm not doing that. Not moving the arm to bring the form through. Now, I have designed the cost is such a wireless streaming is the focus on not the chords and fight. The whole course can be worked through. We've only using too easy too in coats. It's the G chord where we've got our little finger on the third fret, on the high E, third finger on the third fret of the B string. The initial stages, we will be looking at the correct position holding the guitar the side of our body. Then that distance is controlled. Holding the pink and red, he says like a fast food chain. We have got to make sure that the pig is working with the form and not the oval way round because we don't want to practice this and then change everything. Just got a bit of plastic in our hand. Counting 1234, we might move into some jazz counts. We might be playing some pink Floyd where we got some strange timings. But 44 is also called common time. And there's a reason for that is because it's very, very common and working with the metronome 1231 also. Do you see what I was doing that as I'm counting 1234, I'm rehearsing my phone. Each lesson contains onscreen tablature and no music theory is it? The lessons will feel more like a workshop. As you work through each lesson, do be prepared to pick up my guitar and play along with me. You're ready 1234. Even if you have been playing guitar for some time, I'm sure you will find some techniques that I cover and work through that will help you develop and expand your strumming can also, as you work through each lesson, you can make your own recordings and then send me links so I can critique on your performance. I know that this course will be a benefit for all begins. Why don't you join me and let me show you how to master the art of strumming the guitar. 2. Holding The Guitar Correctly: We're going to look at holding the guitar itself. All people are built in different shapes and sizes. What I'm gonna do is give you a generic way of looking at holding the guitar. There's gonna be slight changes to what I'm doing, to what you were doing. Pretty much the rules are the same for finding your position when you were doing this. First of all, my guitar has got this nice little cutaway at the bottom I'm gonna be doing is resting on my right leg because I'm a right hunted play. Obviously, if you're left on the other side. I've also raising this lake slightly to give the guitar some support. If the leg is learned, an angle, BAC guitar is just going to continue to slip down unless you are using a strap which I don't I'm raising that different ways I do. I raise mine slightly violating the back of the heel rest against the length of the other things you can do is the grass Do you can buy them. You see a lot of classical guitar is using that device that you can buy for music stores that allows the foot to rest on it. This sound, your right arm. I'm going to bring the arm over the top. I can hold the guitar here Around the first part of where the fretboard reaches the body of the guitar. Some of them don't have that cutaway. Gonna be holding a live out. This tends to give me a very comfortable position for this. But that's really the kind of rule because everybody's arms slightly different, but that's what we're looking to do is have a comfortable position where we got our grasping the fret board. Now, this arm here, where I used to describe this to my students. Imagine you're sitting down looking at the TV and you're playing a computer game. You've got your Xbox, PlayStation controller. You tend to have it sitting on your lap with your arms coming straight down. Then the distance where it is on your lamp is governed by the length of your forearm? We don't sit like that. We don't sit with a hunched up like that. We have a comfortable or arms tend to be relaxed. This is sitting in our lungs. We want the same thing here, especially this sound. This sound should be relaxed. That distance of your forearm. That's the angle that we're going to control. How far we have that guitar moved away from the body because we don't have it sitting so that guitars forced to our body because we're uncomfortable with trusting our body like down. The same thing. We don't have it like that. The length is gonna be a different preference for everybody because the length of the forearm, but he's control with the fine. We are allowing this to be down the side of our body. Then that distance is controlled by the length of we put the two together, making sure that we get our result bright and we don't want to twist it like that. Reason is he's gonna put more strain on the wrist. We want to keep it upright. I know some of you will be saying, Well, I can't see the fret board. Well, if that's the case, we just lean over slightly. We don't want to be doing that. We're going to bring our body and bring our head over slightly to see what's going on. But that is the position we would tend to want, argue taught to be placed in, ready for us to be strumming and playing the guitar in general. 3. The Correct Wrist Movement: You're sitting comfortably know with your guitar in place. We've done ma'am, little checks. Probably Amber got that distance there on my arms relaxed. Is this lake supporting the guitar feed is yet, right? We're ready to move on. We're going to do now we are going to look at the motion that we're going to be using for streaming the Utah. I don't have a PEC in the hundreds. You've always got my good old trusty phone I carry everywhere I go. We are going to use the form to strongly Utah. And now I'm not even gonna be looking at a core down here. I want all your attention on my phone. Pointed like that. It's pointing straight up in the air at the moment we're gonna do, I'm bringing it down. She comes a look carrier. This forms really is good. We are going to align with the form. Strong. Display, the strings and I'm sure you've all done mat. When you first got the Italian have a guitar and the Han, you weren't wondering what he's gonna be done down here. Both are in some Sam here. But what I'm using the form to play all of the strings from the lowest day ride through to the top. But motion to do that. What I'm doing is I'm moving up rest, pivoting it here. I'm not using the whole arm to go through. I'm just allowing that wrist. I'm not doing a big stroke at the moment. Are big swinging. I'm just coming from the top of the strings through and letting gravity drop the arm. But that motion He's been doing like that. The arms are moving slightly. Just the wrist has been brought down through gravity. But I'm not doing that. Not moving the arm to bring the form through. Elbow is sitting in the same position. Doesn't move slightly here. Well, not doing that. So I'm allowing the wrist to move through this. I've seen many pictures where people show the strumming pattern and the shorter in a straight line. Which means to do an Australian line, you'd have to move your arm like that, which is wrong. We are going to be making a slight curve through the strings. Reason we do now is because volume is one length is being governed by this pivot here. It is going to move like that as we bend or turns through the wrist. Where we start here at the top, probably by the time we get to the bottom, if it's an inch further back because of that natural motion of us doing that. But you can see the wrist. He's doing that. We need to do is pick a guitar or get your points. You form. I'm sure you've got one here pointing perpendicular to the face of the guitar. Have it nice and comfortable. Don't want to be overstretching. We've got my formula when everybody's got a position, let me slightly different because the length of my arm, I'm tending to be here just where the fret board ends right over the sandbox hall. All the way to do is to look at your phone. I want you to watch it. Goes straight down through the strings. Note that your wrist is allowing you to stay in contact with strengths. What I don't want to see where we are twisting the rest. Taking that approach. That is a definite no-no. We want that rest to do that keeping perpendicular to the face. Have a go. Let's do it. We're just going to move that down the face of the guitar. Pay particular attention to the position. Form. Notice where it's hitting on the strings. 4. Holding The Pick Correctly: I'm doing that would just take my poor old. Refused to do that for a long time. I would start to probably were away. We want is to lose hepatitis skin and our phone. We are going to use plectrum. Pick if you want to be there, You rock and roll about it. We have got our trusty Guitar Pick. I've always seen so many variations of people holding the pick. We're gonna talk about this for a few minutes. How do we hold this pink? We talked about our form plane perpendicular to the face if it's ongoing through all of the strings we saw on hopefully you did when I said he was looking at where the contact was being made without form. We are going to use the pointy bit of the peak to be in the position where we was making the contact with the phone. Now I've got mine just slightly above the level of where the base of my nail is. But he's pointing 90 degrees is not pointy or ports. Because if we do that, we end up coming over the top. I see it so many times that people turn the wrist to the pink instead of the peak to the wrist. Reggie says like a fast food chain up, we have got to make sure that the peak is working with the form unknown, the oval window round because we don't want to practice this and then change everything. Just got a bit of plastic in our hand. So far. I've already pointing up, I'll take my picture. If we add some glue, the grid, I could stick it on learning it would stay there. Don't ever try it out. But we're going to place that, pick that. And then we're going to support it with our finger. The position that I'm doing when I'm doing though, it's slightly the way you would hold a pen. If you want a pen, pencil or crayon, you would hold the M, that similar position so you could scribble on a piece of paper. With that. It's the same principle here when we hold in this guitar pick. Now the distance, we don't want to hold it at the end because there's too much of the PEC exponents and you'll probably end up dropping the pig. It's simple list. Put your finger in the center of the PEC. Don't have a close, don't have it too far away. Don't have it at the top. Just put your phone. So the part of your phone is right smack bang in the centre of the pink, pointing 90 degrees. When I pointed my foams. Definitely OK. Now we're going to take that position. And we're gonna come back to our guitar here. Before we do anything, I want you to make sure that your phone is in the similar alignment as it was when he was just using your phone and opaque. Now you are going to raise it slightly away from the guitar. Because when you did it with your phone, it was hitting the strings. When we place are picking the, we can slightly raise it away from the guitar because we don't want to bury the thick. We don't want to. Because my phone needs to make contact with strings. I'm going to raise it. The distance we are raising is equal to the distance that we haven't pointed out, which in my case, in which is if you're forming the middle of this peak is gonna be about two to three millimeters unless you're one of them big, huge, that they were selling massive things. Standard pink is what we need for this. Nothing else. Don't get the little micro ones, just get a standard normal one that you can find them on any guitar store. About an inch in length. I've got a pointing out to the frame millimeters. I come back to my guitar and we use that same motion without wrist allowing that film to try the same movement we did if it was the foam claim, the strings. Again, I'm not interested at this part at the moment is this action that we're looking up. And all I want you to do with the pig, don't hit it too heavy. Same thing you did with the phone. From away. The phone back on the formula of the form bike on the pig. Holding the pig, we don't want to hold the pickers. Always the last peak in civilization. And if I lose this behind the couch, I'll never be able to get another one. Fairly loose grip on this. In fact, the grip that we want is allowing the pink to move slightly. I like having a loose tooth and you can feel it rattling around. That's what we're looking for a few whole week too tight. What will happen is the pig and stunned to get caught in the strings. We haven't. We can wiggle as it goes through the string. The peak will slightly move as we go down and then it will come back forward. An example here is when we were children, while I was growing up, we used to attach a lollipop stick to the spokes are bicycle. It would clutter. As we were sampling roamed. Give you this little click, click, click, click, click sound as the lollipop stick was moving through the sparks. I've always used that as an example when I'll be teaching. That's what we're trying to do here. We have got the pig, how between our finger, which would be like the bicycle frame. And then they pick is the lollipop stick. As it moves through the strings. Slightly giving you my classroom feel. The pig is allowed to move between your finger and then moving on to the next string. So it's very hard to play it at a slot to give you an example, boat. Crime, moving through a little bit slowly. Hearing aids the strengths, but you only get an unfeeling moving up and down. Just enough tension between the fingers. Stop the pig dropping, of course. And also trying to stop it from sliding around. Take your time again. Getting the grain of that pig in a new component. If you look down, you can see that thing moving up and down to fluttering as you move through the strings like that. If you do find that the peak is slipping. Look at the package itself. What we try and do, I always get pigs. They've got some embossed writing on them that unleash your fingers to grip onto the pig. These little shiny pigs that you can get, they do cause problems with each shifting around. So if you come when you go next time led to the music store, look for pick this got some little emboss writing on it because that will give you a grip on to the peak itself. We have a little thing I used to do. I used to borrow my mother's nail file and I would just scratch a little bit onto the surface just to give it some kind of a grip on the face of that peak that would stop it just sliding around from the left to the right. One I would like you to do is just to work with the two courts. Picking your hand and you slowly normalized form stamp perpendicular to the face of work. Between the motion of a myelin just slotted through the strengths. 5. Using A Metronome: Before we start getting you to anymore streaming or any strong patterns. In fact, I want to talk about counting. You're all grown ribosome, most of you will be growing. Obviously you've been at school and you know how to count. You will be surprised how many people strong counting and playing the instrument at the same time. Lot harder than what you might think it is. And if you have done in the past, you're probably sitting there and he's right. In music, we don't tend to count too much away from the number 41234. We might move into some just counts. We might be playing some pink Floyd where we got some strange timings. But 44 is also called common time. And there's a reason for that is because it's very, very common. For four times. We do have 34 time. We got 608 times. We will talk about them and look at them count as we move through the course. This lesson, we are talking for four time. Now, what that means is that we have got four beats inside a bar, or we can see that as a unit of count of bar on each one of them units is a quarter, unit has been divided into quarters. The count is playing each quarter beat, so we get 1234. Click, click, click, click. And I'm saying click, click, click because we want to start working with probably one of the most boring things musicians have to work with and have to deal with, which is the metronome. So many people walk away from the metronome because he drives them in saying they want the guitar, they want to start playing songs. They want to start looking as though they got a job as a postcard and the High Street, we have to learn how to count and how to play with a metro. We've got to get that in-built tools that click, click, click, click. I know it drives you insane when you hear it and it's infuriating because you're streaming away. Figure you're in terminal here in this clip like an echo, which means you're out of time. We've got to get you comfortable with that. We're going to spend a few minutes. I'll be talking about the click track or playing with it. Click playing with a metronome, whichever one of these terms you want to use. But I want you to spend a lot more time using the ideas that I've given you a using similar drills away from the course. I don't want you to go section, I'm moving on. I'm going to place a rock and roll here. I want you to get used to using that click truck when you get used to it. Because it really is essential for us when we're playing to get that in time, because if we don't have a current timing, it doesn't sound too good. To be honest. 6. Counting Correctly: Click tracks, we can get them all different ways nowadays. When I first started playing, I had the old style warm with a big arm, the triangular box sitting on the top of piano, clunk, clunk, clunk, Columbia. One of them kept perfect download still does today. We can get ones on our iPhones. We can get them on the computer. We can get metronomes, doesn't matter. I've got one built into my sound system here. An online got to do is I press a magic little button here. I've got my truck bomb. Now, I like a click track. Just click, click, click. You can get ones that are feature where they go. Clean. Bom, bom, bom. I don't tend to use them because especially in the early stages when you're working with a student, you get so fixated on trying to get up pink, warm up to it and then you miss it. And I went away for the next one about catching all the way around again to miss it again. And the students actually probably sitting there for about 30 seconds to a minute, webinar dome building up for it. And you'll do the same. You'll be there getting ready for an hour. It's coming, it's coming. Missed it. You never get anything. Don't try and get a click track there. It's just a lightener, a nice clean, fresh, new study. Tell me. I'm hearing that click. Is it the warm that two of the three or four equals matters? I can just go 12341231 also. Do you see what I was doing there? As I'm counting 1234, I'm rehearsing my phone without even playing. I'm just doing that. 1234. When you are playing along with any of the backing tracks, they always will have a metronome click trunk intro. The thing to do on is doctor said they'd go in and then have it stamped, play your hearing going, click, click, click and you do nothing. You sit in a new or getting ready for it. I'm ready for it. I'm checking my code. And then you've got to go from naught to 60. Soon as the band starts. Use the click track. There's a warmer upper, 1234. I've already got in the motion of doing that. I'm not building up for it. I've got 1234 getting used to say not embarrassing to count to four. No one's going to love it. Yeah, and if they do, why are you in a room with these people laughing at you and you asked that question, when you're practicing, you're gonna go 1234123. I've already rehearsed it. I've gotten up for my insurance doing perpendicular to the face and go my packets there. 134. But because I brought that metronome go in, it's got that flat tone. I can pick it up anytime I want. Do use that. So what I'd like you to do is just to spend some time just switching the metronome on. Don't worry about the chords. And all you're gonna do, he's not even hit their guitar, but you're just gonna go 12341234, getting used to that motion. County again, the other thing I get here, I don't know if you can hear it. I've got my foot tapping. I got out 1234. Try and get your foot tapping alone without motion that you are doing. Work on trying to get that clicking. Although I'm playing about downstroke in time with the click track. Where do you go to drum sticking hand clip. This is before we even started playing any chord. Metronome is your friend, not your enemy, although it might feel weird at the beginning. If you can't, do it, work harder on this. Don't go. It's boring. It's not clever, He's not great. Now, let's get into our somnolent placement. Don't do them with, in that room. Really master how to move your rhetoric strumming to do 12341234. Take your time with this. Get it right. I know a metronome and drive you insane without noise. For please, please do get comfortable using the metronome. Let's get into some more rock and roll. 7. The Chords We Will Use: In this lesson, we are going to look out playing assume standard codes that we are going to combine with our streaming. We get into this, what do we do? Make sure you've got your position current. We're doing the Huggy Huggy with our arm. We keep in a guitar upright. We've got about distance there, and we've also got the right or the left leg, depending which way you play the guitar is supporting the guitar raised. We've got our foam way you do it is warm or finish, even just practice with the phone making sure we get enough rest movement. But the picking the hand. Same thing here. Have I got access to my metronome, have already died between them and that will last lesson. Gonna have a metro. Can I counter for now? Well, 234. If I've got a checkmark to every one of them, we're in a good position to go forward and start to place called C here. What we're going to use, I use the same two chords in these early stages because I don't want the code to get in the way of the motion of strumming. This level of playing here. I know you're beginners to playing this, but we are going to look at to court what you're not too hard to play. And if you've done any of my previous courses, you will have played these chords before. They are very, very common chords that we can use for many, many songs that I've been in the chance over the last 2030 years. We're gonna start off with the G chord and a G chord. The I'm gonna be using here is the G chord where we've got our little finger on the third fret, on the high E. In our third finger, on the third fret of the B string. Second finger on the low E string, third fret. And our first finger is on the second fret of the age drink and we have all of the shrinks to play it because we're holding top and bottom knee strength. To do, get your hands in that position. That will be the G chord. Light you strong this, I know you're dying to stream it at this point you've gone through the robots, we've done nothing picking hand from perpendicular. We're just going to drop the arm or drop the rest. Worried about the timing at the moment. Just listening to the coordinator of the Sander. What's your satellite? Let's have a listen. Our first code that we use in these early stages. The next chord is a C up nine chord. Sounds frightening, but it's not. This is why I use it. All we're gonna do is we're going to move second, first finger down one string together. Second thing is now going to play a free third fret of the a string. And first finger is going to play second fret on the D string. I do bring my phone over the top skylight to mute the low E string when I play my code, I also let the fleshy part of my second finger touch it. So when I play the C out nine and I strong through the court, doesn't matter if I hit the E string because I've taken it out of the picture. So at this stage now, what I want you to do is to get the G chord and I want you to strong. Then I want you to move to the Cloud nine, making sure that we are taking that note out. To the clarity of the song. The courtroom, I said, listen to that cold. There's our two coats and they are the two chords that we're gonna be working with streaming that we're gonna be doing. The first one that we're gonna look at couldn't be any easier. Apart from not playing at all. We are just going to play down on the warm, the two and the three and the four count. And then we're going to change code and do the same thing on the next bar. The metronome is just gonna go click 1234, click, click, click, click. But before we put the metronome, we're going to have a little drawing room for you. We're just gonna take that ship of that G chord. We're just gonna go not worried about time and we're just going to go one, I want you to have a goal. Join me. Got you. Got the courts. I'm gonna play it a little bit slower Thea, but we are gonna play downstrokes. I'm back for changing game wrong. I want you to practice that. 8. Practice And Improve Chord Transitions: 40 is happening at this point here if you're playing it and it's like this. If that is occurring, you need to practice being able to move between these two strings. Are these two chords more? The best practices? These don't do the forward downstrokes and then change because the problem is when you're changing between the two chord, is practice changing between the two chords. So we're just gonna go because that's where the fault is. Some of the transition is not the streaming before it should be at this point, you just dumped. So practice getting land movement. Because we got to keep up streaming motion going. If you are having a problem with our transition, got to work on that before you continue on to the next part or else it will just start to snowball. And then we get more and more complicated for what we're doing. 9. Your First Strumming Exercise: You've practiced doing a gate in free time. What we're gonna do now, we're going to bring back the metronome and we're going to start using that to play along with. So I've got the metro know I've set it as a click on 70 beats per minute. That's what I'm working on at the moment. It's not too fast, not too slow that we're anticipating the count. This is the metro. Soon as it came on, I don't know if you know a stupid here. My foot tapping away as soon as it clicked is infectious to me that when I hear that it's the same when you're driving in your car, you hear a piece of music on the radio. You tend to start tapping away on the head on the driving wheel. Got that beep. We want to be like that. Don't treat it as anything different. It's the same as you've got the old snare drums going down. Symbols as you might draw. The why were you to do is first of all, get back into the warm up. Again. 12344. You're picking out 234. Put hands on the cord, still warming up. We don't have to do it all the way from below, from big, bigger than here. Put my hands on the courtship, the gene. I've got my pick on my hand, but I'm gonna do in rehearsal 1234. Leave that metronome going. We do want to get them downstrokes tight. The Metro. What we don't want them going to trump planet time we shouldn't be getting. If you hear that Metro like an EF Core, click behind you. If you're at a time it's on the metronome is go ahead and jot it doesn't sped up. You've got to bring it now. I hear people say, you know, I played faster to catch you. Do not, you can't. It's very, very hard to do that. It's better just to stop it. Back in the motion 1234. I want you to work on that, getting that locked in, use, that process that I've said you put your metronome on, I've got to hit send. If you do find the 70s little bit too quick, Bring it back. 6560 would tend to go any slower than that or it should be anticipating the clip on the black can affect your timing. But 6065 up to the 7072, quick fear. But I want you to start off with that 1234, making sure that she turn. What I want you to do now is to practice that motion streaming down, making sure that wrist is moving in that perpendicular, the foam is parallel, the peaky stamp parallel to the face of the guitar. Checking you're not doing that rolling action. These are all important things that we're going to get. We don't know because we're playing the guitar, playing some code. We don't want to change all the hard work that we put in previously before we start playing them chords. We are going to be using them chords heavily over the next period. That makes caught on our next sessions that we got. 10. Playing With The Metronome: What we're going to do, we are going to look up the control of count through our streaming. What we are going to be doing is this, my friend, the metronome back on again. But we are going to do this for sure. First one, I want you to get used to being able to drop a count. And what we doing this, we're going to go down, down, the next down, which is on the character three. We're not hitting the strings. Let me come back up and we are getting on the form. So let me go through that again. Assure you. We're gonna do a few little exercises like this. We are going to do this one now. It's gonna be like this. For we are getting used to continually keeping that motion going. What we don't want to do is I want you to continually do that. This is what we're focusing on this path, the arm and the rest is still working like its own little metronome. Click, click, click, click. We doing this. For 33441. The focus here is being able to keep that hand continually moving in motion, getting out 1234. And then all we do is we playing on the slide to count for. Nothing's changing. If I turn the volume down on the guitar, all you're seeing is my hand doing that. Spend some time on this part of this section on Yana as easy, this one, I'm just dropping it. You'll find it a little bit harder when you start to play him. Go through all of the little exercises that you'll see posted and connected to this lesson. Focusing on that. This isn't a contest to see if you can hit the right notes a bead. The purpose of this section is to make sure that that is continually moving up and down. 123412. That is the target and the goal of this section. Spend some time on that. 11. Introduction To The Up Stroke: Now at this point, you should be comfortable setting up. You should be comfortable with the PEC. Should be comfortable without motion or streaming through using the wrist to get that motion. And you should know, be comfortable with being able to go. Changing chords played with the Metro. If I click on accident. But that is what we should be comfortable with. Proficient if I can use that word, if I can say that word, nevermind this stage. Because we are now going to be looking up, doing the straw. Everything we've done so far has been focusing downwards. But what I've been trying to do is to get you drilled into that motion of that wrist moving through, not turning. Because at this point, this is where everything that I normally don't want I'm teaching my students disappears out of the window. You've been doing an upstroke all the way through this. Every single thing you've done has had the upstroke motion because you do that to come back to play the two. You're coming back up. And to do that, that motion though, where do we playing it on the face of the guitar or no, doesn't matter. We have been doing motion. We've always been coming up like now. What we're going to do now in this license is start to engage the strings on the upstroke, but not changing anything. I want to change absolutely anything from what we've been doing. Well, as I've said, this is where I normally get everything changing. I get I get all kinds of strange things going on here. So let's just work through this together and let us get comfortable with this upstroke motion. Now, let's try and break some of the mechanics down on this. What we looking at here, just to make things easy for you in the first section, when we do the downstroke, we tend to always play all of the strings. When we do the upstroke that motion coming by. We don't have to play every scene. What we're looking to do. Typically what I tend to do is I will be couching around the E, the B, the D, and the D string. They are the ones they get caught on the way back up. Don't sing, don't play all the way through. If I'm playing quite quickly, I'm playing something like an Irish jig. I'm might tend to play all of the strings just because of the motion. But I've used that really stop motion. That is the main thing here while I'm talking. Because when I'm doing that down and then coming back, that is on the way I'm doing that. I've got my counter. I'm catching that as I'm moving back up. So I do it nice and slow. We get this Rist didn't change. If you notice, there should be no difference between me going like this. Doing. The only difference is I'm catching the strings, but this, if you look here, nothing changed. Nothing changed here. Nothing whatsoever changed in the motion that I was using. So picking hand G chord, I want you to have a go at this node. We're going to start off just going where you're getting that hand used to doing that. Now, we're going to catch the strings on the way out, but don't change the motion. Find extending the buyer gets a little bit march. Stop at that point. We're just gonna do single bond. Resist the urge to want to do that. And I know I can see you doing it. You're going down and you want to flip that rest. You want to rotate it to get scoop. Don't. We need to get motion. The lighter hold in the pig will help when you're doing that, when you bring it up. Again, not always aiming for every single string, just try and get them bump. And for strings and the D string fruit to the high eat. Still struggling here. I'm gonna do it slowly and I want you to watch what I'm doing. I'm play along with me. I'm gonna go motion. Hadn't changed down, down, down, down. 12. The Basic Strumming Technique: What we're gonna do now, we're going to introduce a new way of counting. We have previously been doing. When we start playing the upstrokes, we are going to use. We're going to add the word and the word and is the upstroke. The count didn't change. We go 1234123412341234 and practice it. This is where it starts getting difficult for people to count because we have these little horrible and don't worry, it gets worse. We're going to add more to it later. But for playing eighth notes, we are doing 12. So again, get used to it. Don't try and pull as I always, my favorite sayings is spinning too many plants. It wants. Worried about the sound. Get your peak or your form, whichever, you're not gonna hit the strings, but you're going to go 1234123. Ignore me, have a go. 1234. Weeks a bit. Sesame Street. Getting used to that motion, when you start engaging the strings will help because you've already practiced that you're not doing the strings and counting, spinning plates. Once you comfortable, warm and 234, we're going to go. 13. Lets Recap On What We Have Learned : Spend a bit of time working on that 123. The basis of what we do, we got to get all the grassroot techniques together. Essentially, one is unreached, got to keep that going in hassle if you're looking at a mirror in front of a mirror and watch yourself. 123. Is that wrist he pink perpendicular to the face of Night guitar. Is it twisting? Checking them refinance, you've got to go back and get that motion back again. I might delay my timing, oboe or am I speeding up? That's another common one that I get with people when they plan they get this one. I call it the kangaroo hop. We've got to get an even warm. This whole motion here is like the old-style metronomes. There's the one given loss right here. You've got that if you remember, they had they got the arm, swing it off. It's like you think of it as a windscreen wiper blade on account. We're getting this ding, ding, ding, ding. The armies doing the same thing. Mr. Miyagi polish, polish off. That movement has to be smooth. Then keep in time 123 for 12. These are the essential things that we got to get right now. Before we move on to the real fun stuff, doing more and more strumming patterns. If we don't have this part down, struggled with the later parts. Don't rush this part because I'm just playing two codes are doing nothing else with it. I want you to spend time. You'll find the pig gets more of a what keg. Again, you got to be carefully. You're holding on to how she got a very we get the strings get caught. I'm sure you've been doing it now as you're playing. If your pigs getting corner strings got to lighten up a little bit, maybe slightly raised the action away from the strings. So we get a nice smooth, spend a bit of time. What is the weight or putting onto the strings? Let me try and release. Matching trial play quieter. If he is getting caught, what I want you to try and do, use it slightly adjusted, but I was thinking about it. The way I was reducing the volume was to have a lighter move on. The pigs was raising the Paco. Less of the pink, was making contact with the strings. Gonna keep working on that, going through, getting yourself comfortable with that. Once you're getting that achieved, saying that we're looking for here and I'm motion. We ready to move on to the next section? 14. Working With 1/8ths: Now on your printed cheeks that are with the course, we are now going to be looking at exercise number three. Exercise number three, we are just playing the down, up, down or pattern. We are taking that corn and we are just going to go. That is what we are gonna be working on this exercise number three, you'll see on the sheet we've got like a bridge of square block. The dam shrunk, The V is the upstroke. We're doing the wall. I'm gonna make sure that that motion is a constant. The Handy's always emotion, it doesn't stop. We don't get a quick moment. Pause and then down here on pause. It. As I've always said, it's like a winch greenwashing blame on the cow which grim washable and shouldn't do, shouldn't go and then move. It should be continually do not. And that's where your arms should be doing. It's always in motion to get that evenness. So then when we apply it with a metronome, we can then tie that sweep into the temple. Again, I'm gonna have to have a lighter grip little bit if you're holding it too tight because you weren't but a pig dropping out. That's gonna hand. We went. You'll end up getting the peak slightly caught, which you probably already doing at this stage. If he ends up getting caught me to go, do you bring in too much of the picking the string and you got to hard grip on the pigs. So just again, lightly to all lobe, like we did in the previous lesson. To make sure that you've got a nice comfortable sweep and the pixel allowed to move up and down a lot of loose tooth as we do that swing. So it's just a simple Michael's. Not just a simple at this stage. You probably think in no way stopped simple at all. We are just going to go down, change the code. Now. I'm going to put the metro, going to play a long without metronome. So let me try switching for rehearsal if you're unsure. 34. What I'm doing when I'm strongly only in the background. Getting them downbeat still has the focus. The hands coming back up, ready for the dabei, let's just catch in the strings. 15. Working With 1/4s and 1/8ths: In this lesson, we are going to be looking exercise number four on your sheets. You've just been working from the previous lesson on exercise number three, which was exercise free exercise for before we even start playing unless lick what we're playing them, we've got a quarter. I'm going to choose x by two quarter to anchor the one and the three are on the quarter, I'll just on the damping. So what we would end up playing is one and the one. We don't play on the upstroke. We aren't just go into again. This is one we primed to school and getting comfortable missing parts of the movement. Because having a quarter beat, you're gonna go down among the armed, you gonna miss then on the two directly into the free. Once you've got brown, we all know are going to combine it with the change of the chord. So we get, now we've got comfortable with, we're not going to tie this into the metronome. Friend. Let me put that metronome on. 70 beats a minute Still. Here we go. We can come to me working on seeing what you've got to do. You see that motion? 1234123. Get that comfortable. Then start to build it up where we got to change to the code. Once you're making that in free time. That I wanted to start working with the metronome, getting used to all things. Every time I want you to check though, I'm a twisting my wrist. What do we not going to get back onto that? 16. A Rhythm That Will Rock You: The next strumming pattern, and we're going to look at it. Here's one that I've always called the, We Will Rock You strumming pattern. It's based on the Queen's song, We Will Rock You, which went boom, boom, boom, boom, boom. Been to any sporting event. I'm sure you've sung along with that, stamped your fought to that rhythm. So it shouldn't be a new rhythm feel for you when you're playing that. What we're gonna be doing there is a down, up, down, down, down, down, up, down. So we would get this. We're playing to eight down, OK. And then a down which would be on the two cats. So we went with ain't gonna shift across to see out nine cold wind, just going to play it out in a loop. As you could see when I was playing that the hand didn't stop that motion was always going to be constant when we are playing that exercise. Have some fun with that. Say it should be nothing new for you. We will rock you short. Everybody knows that rhythm. If you've got any other codes that you're familiar with, you can experiment using them as well. 17. Lets Get Some Rhythm: For the next exercise, what we're gonna do is combine the two elements together. So we're going to play this one. While I'm doing that, I'm doing a quality on the warm coming back up through. And then we do 23 and then down on the 4123 ounce for change 1234. We can also see as a down, down, up, down, up, down, down, down, up, down, up, down. With me. Remember, as always, we've got to keep moving, keeping up motion. So the hand is doing it down, up, down, up, down, down. But we're just playing on that 1234. 18. Lets Work On The Up Strokes: Now the next exercise is going to be fun. We are going to focus entirely on the upstrokes. It's gonna give you a Reiki field to this. We are just gonna be playing open strokes through this, but we're going to keep that motion going. But for this one, you're going to really focus on that op code. Only know we do have to start with the down motion because we're gonna be playing 1234 and the arms are what we're going to play through the main count we just gonna play. It's going to go like this one. This does take a little bit of practice. The key element for this though, is when you're starting off. 19. Learning To Work With Rests: Right now we're going to look at Exercise number eight, which is a little bit of a challenge when you first start this, because we're gonna be playing some rests, all moving from some rats. So it goes like this. Sweep doing though we playing 34344, bring the hand backup for the arm out for free for stop-motion of playing through the F3 and F4, or may not actually playing any phenomena strings. First two, relatively easy for free, for be seen as a little bit of a challenge. As long as you count and keeping up motion of the hand warm. 234124, and keep focusing on the parts that you're not playing. They will help you out for free. For I was only counting the bids in-between. You find a little bit hard announced speak to slow it down. For for for for. That is exercise number eight. 20. A Very Popular Rhythm To Play: Exercise number nine on strumming pattern really will get you out of trouble anytime you're playing a song and you cannot think of a rim to play over the top of the plate fruit you probably recognize it will break down the technique behind it. Sweet goes like this. We playing. 21. Play On The Of Beats: Exercise number ten goes like this. I'm playing on three. Kind of a crossover between you've got your standard that want. But then you're coming up on the two out through the free. We've got this Download. And then on another day, she can only mean that Up to master. 22. Playing Into The Upbeat: Right now we're going to look at Exercise number 11, which goes like this. Constant movement. I know I keep saying it but it's drilling not in T when you're playing you're gonna play down on the wall. Miss on the hand. And then you get you're going to miss on the three. And then you're gonna play on the on the form. Three. 23. Great Rhythm For Many Songs: Number 13, not really unlocking this one. They seize their either easy to play out. It should be by now. We're just going to play 12341234 really is just emphasizing that you're comfortable with these down, up, down, up motion. So we're just gonna go pick up the guitar, play together. You're ready. 1234. It isn't always unlocking. 24. Missing The One Beat: Exercise 15. This warm start to bump too strong to play through on this. Well, we are not gonna be doing anything on the one count. We've got to play down through it. And then we're going to play on the end. We get this motion. We're gonna get 12341. I'm playing the warm. And then three. One can be a little bit tricky. Just made sure that he held the one. Now, obviously, if he was playing, not just playing a song, really wouldn't be a big deal if you did hit down on the wall. But of course for this exercise, we're just getting you drilled in doing your county and getting that strumming. So really do push not to play down on my wall, can't. Right? Let's move on. 25. Combining Two Patterns: Exercise 16, what we're looking at is playing, in a sense, totally different two bar loop. We're going to be plan on the wall to free and then forearmed. And then 1234. Again, let's just focus keeping that harm moving down into doing our clock face plant. Because like this, I would say at this point in all of the exciting you've done by now, these really should be a big problem for you. Maybe the changing over update the call to the speed at whatever on that side. But I would say by now, you should be getting quite comfortable with that continual motion and counting at the same time. Let's move on. 26. Controlling The Strumming: Exercise 17. And what we're gonna do, we're gonna kind of wrap this up now, just working between the quarters and the eighth timing. We're gonna play it very easy one here. We're just gonna do 1.52341234 a proper want this at all. So we go like this one. If you've noticed there, when we do in the quarters, I'm just counting 123. I only put the unzoom one. I'm playing over the eighth notes. I didn't allow that at the beginning because I really want you to get focused on doing that 123 through the bars. But know your confidence should be high enough that you can do this wrong. Seeing you don't have to go 1234 and all the way through. But if you go a quarter beat out there now and you're feeling confident, just count 123 since we hit the H1, H2, and H3. Helpful. Right? Now we're gonna move on to something a little bit more exciting and a little bit more energetic. Stay tuned. 27. Let's work with 16th Patterns: Previously, in all the lessons we're working in quarters and eighth notes we're going to do now, we are going to look up playing a 16th. 16th is half of an ape. We want from a quarter to an eighth to a 16th, simple fractions. There was a difference when we was playing Aves, I guess a quarter this quarter we were just playing down. So 16 involved as an eighth, Should I say? Involved as do the upstroke. That was the big thing for us when we started playing with the apes. I was 16. We're playing twice as many notes. If I was doing a bar of apes, are we doing a 16th is like a fast version off playing a series of eight. The only thing that's different is the tempo, the time, because if I was to go can be seen as just feels quicker off. 1234 and 16th. We can play slower tempos, book plate, more notes. Way we count with a 16th. We are going to add two new words before we were doing 12. But we've got a no in-between, between the one at the end. What we say, the two new words are an crazy it on it. You aren't going to say 12. I'm exaggerating this one. And R2 and R3 and R4 and app. Don't have to be a serious mathematician to work this out. What has happened now though, the downstroke and B are the same because we get CNN and become a downstroke and the ease and the hours or the upstroke, I could shine gonna play soon as of 16th notes on a really slow tempo. And it's exactly the same as playing an eighth ball. As far as the basket said, I'm now playing 16th notes. The same one. But we play it faster. First of all, I want you to get used to just increasing the pace of clean your apes. Set of discrete things to note when you're playing about speed is picked, does tend to want to move a little bit more than normal. But you still have that challenge because you can't dig in because you're shifting through the face of the strings a lot quicker. You can't squeeze these much harder because then it just gets really noise and very cluttering. We got to be really careful and we holding that pig. A lot of the times if I'm playing softly very, very fast, I will revert from my heavy pick that I use very thinner wall, but again, we'd be embossed writing on it. Then I can get this stop where I can play a lot quicker. It like an Irish GQ claim up really fast because the plank plectrum, the black drum is a lot thinner and a lot more fluffier. Floppy pick. I can really play through the face at that. First of all, I want you to start off from going a little bit quicker. I've speedy Doppler, not something you really want to be doing. But if we then added the metronome, click, click, we're going to get the metronome. This is where if you've been playing them, the metro a little bit quick, when you start going across to the 16th, can get a little bit dramatic. The speed you've got a plant. We've got to click one. He Anna to E and a 34 IANA wanting to IANA free out of 4340. If you find that AT a bit fast, Let's let us help you. Don't want to get it to spot. We're going to put it in your metronome on it's 17 and let's go with that. Why did it beginning? Warranty on a to E and a three on a 4340. Do have a go at that game. I see you find the 70 to watch. Just back it off. Started something that you feel comfortable getting used to the warranty and a to E does kill out metronome, get used to that wanting to eat out of 341 to Yana free and afford even before I start playing, I'm rehearsing 12 IANA free, I don't miss. You've noticed as well what I like to do and you hear a lot of guitarists doing this. We will emphasize on the downbeat. So I'm getting this data. I'm pretty, I'm using the strumming action to get that 1234 house beekeeping time. I also kinda using my foot taps or I'm getting polls, data, data. We've that little movement down on the healthy, too strong fruit. I get a 1234 that really will help you out when you're playing the 16th. This point, what I want you to do, get a metro Mo, get started playing, start off slow, 123 and a fluorine and a, start on that until you get comfortable with playing the 16th. Undo remember it's just a quicker version of playing it AVE, don't make it more complicated than 40 already. Gives us the wrong way of saying it. It's not complicated, really isn't. If you complete an IV, it's gonna be the same as going just increasing that temple. It is the temporal, that is the difference, not the strumming action. That is the only thing that's different is the speed of it. Nothing to do with emotion has exactly the same on it. When we start getting faster, what you will see, we will start reducing the sweep. Because if we go in like this, tend to have a fairly wide sweep across the guitar. What we do is 16, similar the metro. When you put the old-style metro, we shorten the length because dictate use on very quick movement, that is short movement. But it was on the top slot, was conc, conc, clunk. But when we plant quicker, we have to, because we've got to get that picked down through the strings and backup again, a quickie space, so we get C. I'm only really covered in the strings, top and bottom, walking just the face of the strings when I'm playing with these quicker tempo is using that. By reducing them to sweep. We can play quicker, but we are still regulating that hand. So it is working truly as a metro. Bigger one, swore temporal, shorter one. The quicker tempo. Move on. 28. Lets Join All The Counts Together: What we're gonna do now is an exercise that I've always used with my students over the years to get them to understand the difference between the free camps that we've got, what we're gonna be doing, we're going to be shifting through the different counts. So we're going to go temples the same. The temperature hasn't changed and that really highlights the difference between the quarter, the aid from the 16th. So you just start off. Give yourself a chance. You will start with the quarters first. Do not want 234, then warm Anna, and choosing the quarter just to make it a little bit more musical. So we get this one. Do spend a bit of time with the metronome on as well, but in a slow speed pushing, pulling into that plan of 16th. Notes, confident just at this point, but getting used to not want to get metronome on and play through that and just keep running that room. Once you've got doing that, then try it in the alternate ways. You're gonna go 1234. This point then equals cycle around what you'd just be doing. But what I'm doing, I'm coming in on a 16th. Instead of building up to the 16th, I'm coming bang in on it. Then having to go to the eighth. Once you've done that first one quarter, eighth, 16th, try the 16th to the apes, making sure that you're changing to the eighth on the next bar on the one count. This one really is a Greek size because you are mastering the changing strumming patterns, fruit the camped. So don't rush through this one to spend a bit of time on that. 29. The Gallop: This exercise we're gonna be looking at if you are used to playing at Maidan, either have already been playing this before. It's based based on the gallop, but he uses the Iron Maiden gallop or show my age. Now, bonanza, I can't show my age for the other one, which was the William Tell Overture. But we got this one and the two out of three out of 4123. And a force we're going to sixteenths to an eighth to 16th to an eight to sixties to an eighth called a gallop because he says like gender identity. We get that. We go on. You could reverse that, which is what I made him do. You get 123 out of four and we get the 16th going to the eighth. Wanting under free for IANA. Basically it's the same thing, but just a different style of starting from the court. You want me to stand from the staff from the 16th. Once you're into it, it's the same. It's just a starting point. That's the difference on that warm. So have a go at the two. Just get used to playing the different ways. All not wonder. 30. Lets Build On The 16th's: In this form, we're going to combine two elements. We're going to get the first of all, which is the gallop, and then we're just going to play straightforward fruit, the second part of the bar, just normal sixteenths. So we get 12341234. Iana Warnick on a 23 on a foray play that was lovely slow fear. Hopefully by now, you're getting quite confident and comfortable with playing 16th pounds. 31. Popular Rhythm With 16th's: Now here's an interesting wall. We're going to have a little combination. Aves going into 16 is back into eight to 16 and then back as if we get an a 1234123 on a forearm. Allow a little bit different than your top, follow the top of 1234 and download. You know what's thought? Effort to change, continuing or wants to stop and adjust. It's always down data, data, data, data, data, data. Always keep playing. Let's move on. 32. Lets Really Work The 16th's: No one looking up playing 16th, really mixing them up on this one. So we're getting this, we're gonna be doing a lot of downstrokes first of all, because we playing to start with. So remember the apes now when we've got a 16th pattern or downstrokes, start to patho, only see it once you've got 1234 out. Next. 33. Mixing Up The Gallop: This time what we're gonna be doing, we're going to take both of the gallops and put them back to front. So we get this. We taking 16th and then 16 values, 81616 paint. We could split the borrowing half if you wanted. That's a nice one. If you are having to change the chord, the one and the three cat, we could get sent. Quite nice. I'm just using the usual suspects as I call them, E minor, C, G, and D. I can mix them around anywhere I want. On line four chord, E minor, GTD, I got like site you could put in third yourself. Gcd. Doing that, want to eat 34 yards because the one on the free account really stand out in this Dad, dad, dad, dad, dad and down. So it didn't really does make it good for changing a ban on their own, but began to, just because it's too easy cause to work between. But great one, if you are changing on the warmth of three, font under three and a battling with those two in the fall. If he was doing on the two in the form because you uneven split? No, it wouldn't the tuning fork wouldn't work, would it? This is a great one. If you are changing the chords on the one and the free kept. Let's do some more. 34. This Is A Little Bit Country: This one says a little bit contrary. What we playing is down, up, up, down, up, down, up, down, up, up, down, up, down, up. So we get this. 35. Lets Do Some Preparation Work: Let's try another little exercises. She's gonna prepare us for a bigger song that we're gonna be lucky gap. We are gonna go right. 36. Tequila Sunrise: Now we are going to look at this very, very well-known, very well-known strumming pattern used by the Eagles and the song Tequila Sunrise. Nice combination of sixteenths and aids. We're going to change the codes up a little bit. This is what we got to be playing. Anna, 23412345 Corp. Basically, I'm holding down third fret on the high E string. I'm holding them third fret, second finger on the low E string. And it'll be really lazy. Muting the a string. I'll put in my figure that I want you to do with a normal GI car because I want to introduce this second finger on the three count on the DFF. So we're doing D2, the three counts. So again, there's the three. Find a little bit hard to bring that in with the camp. Just start off practicing, just doing that. Then we're going to move to an a minor. We've got a slight difference here. We're going to not play on the three. We do now. So again, we just do that for one buck halfway. I get too excited, they're planning fruits. We then goes through a D7, do the same count. One byte to y, g, go into the GI, G5 went to the G6. At this point, if you've got two here and you're playing Tequila Sunrise and your strumming it like I'm showing you that. I would say you really well on the way. Becoming very, very proficient strumming the guitar. There won't be many rhythm zinc there. You will not be capable of Planck. Tequila Sunrise is quite a difficult strumming pattern because of the combination may change. And I said that before we got into it because I would have influenced you. But it is to play that Tequila Sunrise. You really have progressed from. Now. You definitely come along way. It's about time you started putting yourself on the back. Start in looking at more and more songs and really digging in to the strumming patterns that you've got. I'm going to put a few more examples here. It, you can now start to Situ and a start looking at them yourself. This stage, you really have come a long way and you should really be proud of yourself. You've gone from just a basic, basic downtown stronger to somebody is playing a really, really interesting rhythmic pattern, like Tequila Sunrise by the eagles. Well done.