Episodi
-
Timings for the SoundCloud audio version of Rhythm Guitar Lesson 1b:
00:00:22 Using Eartrainer to practise the rhythm of a piece separated from the melody
00:01:08 A simple idea for practising rhythm
00:01:22 Starting with a bar of 4/4 and then throwing in some 8th notes
00:02:28 Using the offbeat and how to play challenging rhythms
00:02:58 Riff from Human by the Killers and timing it right
00:03:40 The 8th note at the beginning of the riff that isn't heard
00:05:10 Sing the rhythms - do it in your head
00:05:20 Sixteenth notes starting on the offbeat can be tricky
00:05:43 Start of our Funk mini study
00:06:39 Yngwie's quote: "groove or die"
00:07:21 Right hand playing, percussive hits in funk music
00:07:51 Sixteenth notes with accents on the beat
00:08:26 Make the right hand consistent, lock in with drums / metronome
00:11:12 Demo of the same funk groove with and without the percussive notes
00:13:00 All this kind of practise helps to instil a sense of pulse
00:13:57 What does a drummer do when he is performing fills?
00:14:09 Demo of acting like a drummer
00:15:18 Playing funk solos in this way is a great way to practise
00:17:00 Dan's advice to listen to Cory Wong - will share in our show-notes
00:19:31 There is life beyond power chords
Here is the second half of the lesson: Dan gives us some reminders for your practice and how to play 16th funk strumming patterns with confidence and so that they sound groovy. Dan demonstrates what we’re aiming for when developing an inner pulse through a funk improvisation in which he mirrors what a drummer is thinking when they support a funky track with fills and mini solos. I have been adding to my own new practice regime lots of metronome work based on what we will discuss next time. -
This is the first lesson in our new mini-series on the topic of rhythm.
R.I.P. Jeff Beck :(
Dan and I, in our first lesson look over the basics of rhythm: Firstly, covering what the difference between a quarter note, eighth note and sixteenth note along with the synonyms of crotchet, quaver and semi-quaver. Next Dan talks about staccato, dotted notes, tied notes, off-beats and counting; along with guitar strumming techniques which work for him. Finally, we look at some reggae and funk examples – although the funk examples will be reserved for next installment of the podcast when we will release the second half of the first lesson. Stay tuned for some brilliant reminders for your practice and how to play 16th funk strumming patterns with confidence and so that they sound groovy – all coming up in Rhythm Guitar Lesson 1b. I have been adding to my own new practice regime lots of metronome work based on what we will discuss next time.
Timings for the SoundCloud audio version
00:01:25 A few words on Jeff Beck
00:04:45 Intro to rhythm and a reminder about how important it is to work on
00:05:32 Quick bit on EarMaster and how Gary has been using it in his practice
00:07:22 Look at the real basics of note values and rhythmic divisions in a bar
00:08:27 Dan's breakdown of rhythmic values and basics of music reading
00:14:22 Stacatto notes
00:14:52 Extending notes with dots or ties
00:15:34 Using the spider gym for warming up, rhythm and playing without tension
00:16:01 Variations of Spider Gym finger patterns - see notes
00:16:51 Funky and reggae rhythms and use of syncopation and off-beats
00:18:40 Keeping track by using down and upstrokes to help your rhythmic work
00:20:21 Reggae: focussing on the offbeat on the high strings
I have always struggled with rhythm playing: it doesn’t come very naturally to me. Recently, I have been coming to the realisation that this aspect of my playing, while I have already worked hard to really improve it, needs a lot more work and practice. I remember having a discussion with a musician friend of mine and we were discussing ‘groove’ and ‘being in the pocket’ and he mentioned a person who he played with sounding so professional and being of the mind that it is because her rhythm playing is so strong and well-rehearsed. This rings true for me and I can hear that same level of precision and expertise in Dan’s playing.
Spider Gym finger patterns:
1234 2134 3124 4123
1243 2143 3142 4132
1324 2314 3214 4213
1342 2341 3241 4231
1423 2413 3412 4312
1432 2431 3421 4321 -
Episodi mancanti?
-
Rick Beato and Tim Pierce: https://www.youtube.com/watch?v=O2IWnGNF80I
Andy wood: https://www.youtube.com/watch?v=tGcCswgaleE
Rick Beato on Jeff Beck having just seen him 3 months ago: https://www.youtube.com/watch?v=nV9bnaqqfq8&t=161s
Live at Ronnie Scotts: https://www.youtube.com/watch?v=ZFx__GfJHWw
I just wanted to share my own listening and way of absorbing the tragic news of Jeff Beck's passing. I really thought I was going to see him again. The man was such a legend and what he played on the guitar is from another world, sublime and glorious. He is not just one of best guitarists, but one of the best musicians and of all time! RIP -
Sponsor Tune in Tone up and become a Patron: https://www.patreon.com/tuneintoneup
(e.g. £1 / month as a tip for what we do)
Sign up as an All Access student to TrueFire here: https://prf.hn/l/3Y32QvV
Sign up to TrueFire today: https://prf.hn/l/MDmJ5bB
Save 30% on anything at TrueFire with promo code: "TONEUP30"
This is our follow up episode following on from last week’s foray into the jamming tracks created by Andy Timmons on TrueFire’s “In the Jam” tracks. This week, we start the episode with a quick shout out to our Patreon page which we hope that you will seriously consider giving to. You will get a shout out in future episodes, if you wish, and there are tiered benefits available. If we had a pound for everyone who has ever listened to Tune in Tone up, then we would be very happy guitar podcasters indeed.
After this initial launch, Dan and I have an improvisation over the Andy Timmons track from last week. We then have a listen to a snippet of Andy Timmon’s own improvisation and if you would like to hear more and have these tracks for yourself, then click this link: https://prf.hn/l/MDmJ5bB and find his set of jamming tracks and buy it using TONEUP30 at the check out.
We then move on to talking about bending and Dan distinguishes between under and over bending as a mistake that lots of guitarists, especially as they are starting out, make frequently. Then we move on to the topic of overbending as a technique in itself and put this to some use over another one of Andy Timmons jam tracks – A Funky Motif, key of Cm.
Finally, we take a cursory look at Matt Schofield’s amazing course – Blues Speak. We listen to him talking about Albert Collins using the minor pentatonic with an added 6th, then an excerpt of an improvisation by Matt Schofield to demonstrate this idea. We then take a very quick look at where the idea of overbending came from: Matt Schofield’s, Blues Speak on Albert King where we hear him ‘wrestle’ the notes from the bend.
Timings for the SoundCloud audio version
00:00:33 Final Christmas call to use our links to start your TrueFire journey
00:00:45 Our 30% off promo code: "TONEUP30"
00:01:19 Patreon donations: https://www.patreon.com/tuneintoneup
00:01:28 Improvisation over Andy Timmons backing track
00:05:58 The advantages of TrueFire's In the Jams
00:07:43 Andy Timmons improvising over his track on TrueFire's In the Jam
00:08:23 Principles of bending and an intro to the idea of overbending
00:08:29 Often people accidentally over or under bend when learning to bend
00:09:05 A brief word on muting with the left and right hand
00:09:20 Easier to remedy an overbend than an underbend
00:09:49 Overbending as a technique in itself
00:10:24 Overbending over Andy Timmons - funky motif, key of Cm
00:15:07 Matt Schofield on Albert Collins - minor pentatonic with the 6th
00:15:29 Gary briefly talks through the TrueFire course platform
00:16:16 Matt Schofield's 'BLUES SPEAK' course on Albert King and overbending
00:17:06 TrueFire Advert - last chance to use "TONEUP30" to save 30% on TrueFire
Hey everyone! We are really pleased to have this mini-series sponsored by TrueFire until Christmas: it is the most excellent, expansive and extensive online lessons platform.
Keep watching, listening and getting in touch. We really want to hear from you!
Gary and Dan -
Sign up as an All Access student to TrueFire here: https://prf.hn/l/3Y32QvV
Sign up to TrueFire today: https://prf.hn/l/MDmJ5bB
Save 30% on anything at TrueFire with promo code "TONEUP30"
Timings for the SoundCloud audio version
00:00:34 TrueFire - offers and advert
00:02:17 Jam over Andy Timmons TrueFire track
00:05:36 Talking about Andy Timmons
00:06:56 Introduction to TrueFire's 'In the Jam' controls
00:08:46 Let's listen to Andy Timmons playing over the same track
00:09:56 Moved along towards the end of Andy Timmon's solo
00:10:41 Again with the lead analysis on and changing track volumes
00:11:45 Learning point: it's okay to make mistakes
00:12:02 Playing at home or in rehearsal is the time for mistakes
00:12:43 Know exactly what you are doing for performances
00:13:36 Targets should be challenging
00:14:00 Discussion around dynamics and having a motif
00:16:23 Try having a repeated motif for cohesion
00:17:13 Guthrie Govan: each note has a special quality
00:18:16 Listen to how the track builds up
00:18:35 2nd set of improvisations over the track
This is our follow up episode on playing using dynamics, subtlety and motifs to build interest into your improvisations and melodies. It follows on from our earlier lessons on how to use sequences to open the fretboard and also the previous episode on TrueFire courses and their jam tracks. Last lesson we looked at building pace and speed and this time we look more at the finer points of improvising.
During this lesson Dan and I start and end this episode with a jam over one of Andy Timmon’s jam tracks produced for TrueFire. This track forms part of their series called ‘In the Jam’ and as the title implies, these are multi-track top quality produced tracks where you have the control over the different tracks. It is possible to easily mute the lead guitar and use it as a backing track. Another great feature is the function to play a lead guitar commentary video and audio. For the track we are looking at, Andy Timmons talks over his solo and improvisation choices to explain what he did and why he did it, along with sharing his wisdom. It is a fantastic feature, which is not shared by all the series of ‘In the Jams’ but something which we loved about the Andy Timmons series. -
Sign up as an All Access student to TrueFire here: https://prf.hn/l/3Y32QvV
Sign up to TrueFire today: https://prf.hn/l/MDmJ5bB
Save 30% on anything at TrueFire with promo code "TONEUP30"
This is our follow up episode on playing at speed and pace.
It follows on from our earlier lesson on how to use sequences to open the fretboard and also the previous episode on TrueFire courses and their jam tracks.
During this lesson Dan discusses plectrums and we look at 5 specific types and discuss some of their pros and cons. Next, we look at and review some sequences which will speed up your playing and give you some automated patterns to throw into your solos. Next, we discuss the picking hand and give some brief insights into some picking techniques. Finally, we discuss some areas to focus on in your practice and the difference that strings make to your speed and tone.
Thank you TrueFire for sponsoring our podcast and with Christmas coming, what better gift could there be for a guitar fanatic? We are grateful for your vote of confidence and are fully enthusiastic about your product in return. How could we not be? The TrueFire guitar learning platform is massive and meticulous in its layout and content.
Timings for the SoundCloud audio version
00:02:16 Start of remit on playing at pace
00:03:39 What plectrum to choose?
00:04:42 Pick number: A jazz 3, Jim Dunlop - Eric Johnson shape
00:06:45 Pick number 2: Big Jazzer Red Bear pick
00:07:29 What is a bevel?
00:08:52 Pick 3: Red Bear Jazz3
00:09:46 Pick 4: John Petrucci Dunlop
00:14:03 Some sequences to have in the trick bag
00:14:04 Top tips for pentatonic blastage
00:14:43 First - the 4s pattern
00:15:05 Pattern 1 (ex1): 8 5(e), 8 5 (B)
00:15:11 Pattern 2 (ex2): 5 (e), 8 5 (B), 7 (G)
00:15:31 4s, down the pentatonic, ex1 and ex2
00:15:53 Reverse 4s sequence
00:17:44 Moving up the frets through different positions
00:19:00 Moving up using 2 string and 3 string sequence of 4s
00:21:12 Eric Johnson uses straight pentatonic
00:22:53 Classic Johnson 6s
00:23:38 Roll notes using economy picking
00:24:35 Using sequences of 3s
00:24:35 Group into sequences of 3
00:26:20 Joe Bonamassa / Eric Johnson - top notes of Pentatonic and work up
00:27:18 Adding the 9th
00:28:20 Four notes: the root and adding a 3rd note on the string
00:30:40 Practice regime - straight up and down the pentatonic scale
00:31:40 Playing without tension
00:32:36 Playing very gently and still lightly holding onto notes
00:34:37 Strings, tone and frequencies
00:37:23 Doubling up on your highest and lowest notes
00:37:47 Why does it feel easier on 3 notes per string?
00:39:05 Focus your practise on your picking hand
Hey everyone! We are really pleased to have this mini-series sponsored by TrueFire until Christmas: it is the most excellent, expansive and extensive online lessons platform. Their product is so well thought out and educational that Dan and I are confident that you will find it an inspirational and valuable addition to your guitar learning arsenal. Sign up and receive 14 days to decide before you wish to pay for your subscription, without even needing to enter your card details. You really have nothing to lose and a world of knowledge and skills to gain. -
Sign up as an All Access student to TrueFire here: https://prf.hn/l/3Y32QvV
Sign up to TrueFire today: https://prf.hn/l/MDmJ5bB
Save 30% on anything at TrueFire with promo code "TONEUP30"
This is the first part of an episode on playing at speed and pace. It follows on from our earlier lesson on how to use sequences to open the fretboard. Next lesson we will look at some ways that you might use sequences to build speed and gain interest. Dan will also identify the two-string rule and explain how you can use pairs of strings to repeat licks in different octaves. In this first part, however, our guitar chat is based on TrueFire, our current sponsors.
Thank you TrueFire for sponsoring our podcast and with Christmas coming, what better gift could there be for a guitar fanatic? We are grateful for your vote of confidence and are fully enthusiastic about your product in return. How could we not be? The TrueFire guitar learning platform is massive and meticulous in its layout and content. In this episode, Dan and I look at two courses from TrueFire and an ‘in the Jam’ track by Joe Bonamassa:
1. Jazz Comping Handbook by Ted Ludwig - voice leading
2. Andy Wood Modern Telecaster Shred
3. In the Jam – Joe Bonamassa
Timings for the SoundCloud audio version
00:00:34 TrueFire introduction and details for purchasing
00:05:17 Jazz Comping Handbook by Ted Ludwig - voice leading
00:06:37 Progression - Em7, A7, Dm7, G7, Cmaj7
00:08:08 What are the two most significant notes in a chord?
00:09:51 A connected feel
00:10:07 Demo from Ted Ludvig’s TrueFire Course
00:12:48 Separating the top notes of the chord from the bass note
00:14:41 Andy Wood Modern Telecaster Shred
00:17:28 Andy Wood's lick at full speed
00:18:27 Slowed down Andy Wood’s lick at 50%
00:21:23 In the Jam - Bonamassa and Dust Bowl
Hey everyone! We are really pleased to be able to share the great news that TrueFire – the most excellent, expansive and extensive online lessons platform – have decided to sponsor our podcast until Christmas. Their product is so well thought out and educational that Dan and I are confident that you will find it an inspirational and valuable addition to your guitar learning arsenal. Sign up and receive 14 days to decide before you wish to pay for your subscription, without even needing to enter your card details. You really have nothing to lose and a world of knowledge and skills to gain. -
Sign up as an All Access student to TrueFire here: https://prf.hn/l/3Y32QvV
Sign up to TrueFire today: https://prf.hn/l/MDmJ5bB
Save 30% on anything at TrueFire with promo code "TONEUP30"
Hey everyone! We are really pleased to be able to share the great news that TrueFire – the most excellent, expansive and extensive online lessons platform – have decided to sponsor our podcast until Christmas. Their product is so well thought out and educational that Dan and I are confident that you will find it an inspirational and valuable addition to your guitar learning arsenal. Sign up and receive 14 days to decide before you wish to pay for your subscription, without even needing to enter your card details. You really have nothing to lose and a world of knowledge and skills to gain.
Our lesson today is about gaining some go to and rehearsed sequences and ways of travelling around the fretboard between the different pentatonic patterns. There are some great ideas within on breaking out of the pentatonic box and developing some methods of linking the scale patterns as you are improvising. The benefit of rehearsing these sequences is that you can practise them and woodshed them to be able to deliver them at speeds which will really add some rhythmic fairy dust and exude the ‘wow’ factor.
Timings for the SoundCloud audio version
00:00:34 TrueFire introduction
00:02:16 First improvisation
00:06:29 Review of last episode
00:07:24 Introduction to today's podcast
00:08:20 Getting away from box shapes and scale patterns
00:08:47 The 12th fret Em Pentatonic and spicing it up
00:11:24 Look at strings in 3 pairs - E and A, D and G, B and E
00:12:28 Mention of Tom Quayle
00:13:41 Limit your lick to two strings then repeat in three octaves
00:14:04 Example of this idea
00:15:43 Full Em scale with 3 notes on E string, then 4 notes on A x3
00:16:26 The Em scale over two strings, repeated
00:17:24 Em pentatonic same idea: [E, G, A / B, >D]
00:18:00 Repeat x4 on these strings: EA, AD, DG, BE
00:19:34 2nd Jam over the track
00:24:01 End of improv
00:24:32 The useful logic of the layout of notes on a piano (vs the guitar)
00:25:09 Use fret markers as guides
00:27:21 Minor pentatonic with an A root note
00:30:02 Reminders of scales
00:31:01 How to travel from position 4 to position 1?
00:31:20 Going through position 5
00:31:41 Linking patterns together
00:31:58 Hammer on two strings, return to the second note in 5s
00:32:46 Carry the sequences up on the two middle strings
00:34:01 Use the 3 notes sequence to transfer positions
00:35:39 Slow breakdown
00:36:41 Connect using the four note pattern sequence
00:37:52 Going down in fours on the top E and B string
00:38:53 You can do this same sequence but in reverse
00:39:42 The 'trick bag'
00:40:55 Different keys
00:41:19 Phrygian solo ideas
00:42:02 Dan identifying the plateau which may come from getting stuck in the Blues pattern
00:42:20 Extend the time spent going from A to B by sequencing
00:42:43 Sequence across patterns to extend the duration
00:43:22 Be melodic but be able to extend your phrases by using sequences
00:44:30 To develop your own sound develop flairs, styles and ways of negotiating the fretboard
00:45:49 The wow factor: Joe Bonamassa and developing playing full of sequences and symmetry
00:46:19 How to make things symmetrical
00:48:17 Guthrie Govan: Creative Guitar
00:49:04 Summary: 1) duplicate patterns on pairs of strings 2) learn sequences to connect patterns
00:50:35 Isolate the sequence -
Dan always has such brilliant nuggets of information to share with us and this episode holds some immensely valuable and powerful thoughts and ideas. After a brief recap we have a round of improvisation which leads our discussion to pickup choice and tonal differentiation. Dan shares some ideas about how you can gain different sounds with your technique and touch.
Then we discuss rhythmic motifs and grouping notes to gain interest and be more sensitive to what the track is doing. This leads us to discuss how you must listen actively and deeply to a track to really consider what the tone of the piece is and how the instrumentation of it allows space for improvising. First Dan talks about trying to label the emotion of a track and then he really highlights to me that the main driver of a musician is that they have something to say and want to express themselves through their music.
Dan talks about how you can use rhythm, volume, dynamics and tone as the vehicle to deliver your story. Phrasing is key but nuance and subtlety can be very effective for really giving the listener something to grasp onto.
Timings for the SoundCloud audio version
00:01:22 Brief recap
00:04:09 Last couple of episodes we were adding the 2nd / 9th, Blues note and 6th
00:06:33 How can we add a little style and technique
00:07:26 First round of soloing over the backing track
00:11:12 Be your best judge - look at your playing and be honest
00:12:59 Pickup choice for tonal differentiation
00:13:53 Playing 12 frets higher over the fingerboard to get a clarinet like sound
00:14:47 Jingle jangle - play near the bridge
00:15:18 changing your pick up is a good way to change your tone
00:18:09 Rhythm of playing a melody - grouping notes, Dan demoing a noodling shambles
00:19:12 You have got to listen to the track - what's the track saying?
00:19:24 Gary mentioning Dan tells a good story when he improvises
00:20:07 Labelling the emotion of a song
00:21:48 Funkadelic - Maggotbrain
00:22:25 Bowie's guitarist
00:23:13 Tell a story through the guitar melody and improvisation
00:23:33 e.g. Imagine you're in a disaster scenario
00:23:56 Think about what you're playing over and be sympathetic to what you're playing over
00:24:28 Second round of improv
00:31:36 Talk techniques next time
00:32:41 The main driver of music is we have something to say and want to express ourselves through our music
00:34:01 Think of a song like a book - a beginning, a middle and an end
00:34:58 Dan's advice for Gary is to remember that the biggest difference you can make in improvising is through rhythm, volume, dynamics and tone
00:36:37 Dan demoing how the dynamics can be controlled by a mix of volume and playing lightly or digging in
00:37:36 Use nuance, subtlety and change your tone through your technique - playing softly and disguising the gain
00:38:51 Leave yourself headroom and limit your finger noise using the volume knob and nuance in your playing
00:39:55 Homework: play over a backing track focussing on volume, subtlety and different sounds
00:41:14 Try to tell a story in your playing and practise trying to play with emotion -
It’s really brilliant to be back and we are loving recording and releasing new content for you, our wonderful listeners. This lesson is an extension of the previous one and we aim to continue this into another lesson next time with a focus on the style and techniques that you might use to deliver your lines and package your improvisation.
This lesson tackles adding the 6th and 9th intervals without huge amounts of theory but, hopefully, immediately usable ideas and a rationale that will help to spice up your solos and motivate and inspire you to perform.
We use a backing track for our own noodling and improvisations. As always, I apologise for mine and listening back hope to continue working on tightening up the rhythmic motifs and delivery but we hope that you will take something from listening to both of us, warts and all. After all, learning can really take place when mistakes can shine a light on areas for improvement. This is one thing that I always really take from producing these podcasts – the opportunity to record myself in the moment and without preparation time then to listen back and spot the issues and set myself some targets. Dan’s playing, as always, continues to give me a whole plethora of ideas and inspiration. I hope it does for you too.
You’ll hear our chosen backing track with our improvisations at just after 5 and 25 minutes in today’s lesson. Next lesson, we will focus on some techniques and style.
The backing track is called: Dirty Blues Rock Guitar Backing Track Jam in Am https://www.youtube.com/watch?v=3p66uR4HAU4
Timings for the SoundCloud audio version
00:01:42 Brief recap of last episode
00:02:42 The first pentatonic shape
00:02:52 The penatonic shape an octave higher
00:03:05 Pentatonic with extension up the neck
00:04:53 A little bit of fire and a little bit of polish
00:05:11 Dirty Blues Rock Guitar Backing Track Jam in Am
00:05:43 Start of first backing track
00:11:45 Adding the 9th B note in A
00:12:08 Adding in the 6th note or F# in A
00:14:23 Essentially we now have all the notes of the Dorian mode
00:15:15 So we can get some nice uses - solo opener is to bend from the 6th up to the 7th
00:16:30 Carl Verheyen - What is it that makes one player sound so different? It's the line. The way players construct their line
00:18:26 Key of A in one position - you run out of notes
00:18:37 Start below the position and work above it my working diagonally
00:19:42 Little insight on Van Halen - using patterns which might move out of key
00:20:11 Yngwie Malmstein - Always in key
00:20:17 Allan Holdsworth and Ollie Halsall (https://www.youtube.com/watch?v=JcCoPmVLwjE)
00:21:04 Flesh out the Dorian mode in Am
00:25:30 second jam
00:32:27 Considering the style, techniques and delivery of the lines: we'll make this the focus for next time
00:32:49 Homework - look at TrueFire, play over backing tracks and consider your note choice and the techniques you are using
00:33:49 Make your mistakes in the Woodshed
00:34:55 Then take your ideas into rehearsal
00:36:19 Use a metronome while figuring stuff out
00:36:33 Home is where you get your stuff together, rehearsal and home are where you make mistakes and live is where you make as few mistakes as possible -
We’re back!! Thank you for sticking with us and waiting patiently, or indeed finding us for the first time. Please look back at our back catalogue and subscribe to our podcast on whatever platform you listen to podcasts on. Tell all your guitar playing friends and perhaps even get directly in touch with us or leave us a review on Apple Podcasts. Reviews help us more than anything else.
In this lesson, Dan and I return to look at the Pentatonic scale and how it can be used over a Blues major shuffle or over a minor Blues progression. We look at a couple of notes which can be added for a different ‘flavour’ and be used to change the feel of your improvising. Here we add in first the tritone or flattened fifth note to play the Blues scale. Second we add in the major second or ninth note to play a hexatonic scale or the pedestrian minor scale.
There are a couple of backing tracks we use around 19 minutes and 29 minutes in. The first is a Chicago Blues Shuffle Backing Track (E) and the latter is called Soulful Chill in Eminor, by Elevated Jam Tracks. Concluding with some cud chewing about rhythm playing, we hope that this lesson has something of value in it, whatever your skill level.
Timings for the SoundCloud audio version
00:01:40 Dan's album during lockdown - album on Spotify called Flight
00:02:26 Introduction to the TrueFire Platform
00:02:54 We will be hopefully making shorter and concise lessons
00:03:14 What is the plan for our lesson today?
00:04:32 How to get slightly away from the position 1 pentatonic box and give yourself a few more options to play
00:06:00 Start with the pentatonic Em pentatonic in position 1
00:06:35 Mirror on the octave position
00:07:03 Change to the Blues scale by adding a Bb (b5)
00:08:08 Why do people get locked into these patterns?
00:09:59 Blues playing - minor over major chords
00:10:07 Greg Koch - TrueFire video on Jeff Beck
00:11:18 Let's look at neutral notes
00:13:27 What else is there that we can add to both a major or minor blues scenario?
00:14:21 The b5 note is already playing outside the key as a deliberate tension or flavour
00:15:39 Played on it's own it sounds like Nine Inch Nails - Hurt
00:15:45 Adding the second, F#, works in both a major and a minor scenario
00:17:09 The octave up position with the F# added in
00:18:08 This is called the hexitonal scale or the pedestrian minor
00:19:09 Setting up the first backing track: Chicago Blues Shuffle Backing Track (E) (https://www.youtube.com/watch?v=0_BPMCYcl8Y)
00:19:37 Soloing over the backing track with pentatonic position 5 only
00:20:40 Now we use the Blues Scale (adding in the Bb note)
00:21:46 Now the hexitonal - adding the F# or the major second
00:22:51 Put it all together - Blues and major second
00:24:11 The added F# changes the vibe quite drastically
00:24:49 Play through the Blues note quite quickly as an inflection
00:25:26 Nine Inch Nails use of the b5 and the Ace of Spades
00:26:35 A standard track in Em rather than the major Blues Shuffle
00:27:57 Interlocking pentatonic shape like a jigsaw on the fretboard
00:29:12 Elevated Jam Tracks - Soulful Chill in Eminor (https://www.youtube.com/watch?v=BBZepOP0mvI)
00:32:16 Follow down through the positions and keep your rhythmic intent
00:33:26 Following rhythmic play through the scales
00:35:31 A simple way to increase interest in a pentatonic scale by adding the F# note -
In this lesson, Dan and I return with an audio only lesson but a really useful lesson on harmonizing guitar parts. In this lesson: Dan defines what it means to harmonize guitar parts, we examine how this is different to pitch shifting when working in a key, we play the C major scale with harmony parts in 2nds, 3rds, 4ths and so on, we harmonize the theme tune for Eastenders (PAAAAT!!) and we try to harmonize a lick with bends in it (I struggle with bending over another part). The lesson ends with some discussion about the issues you may face when harmonizing, Dan gives some practical uses including the riff for Led Zeppelin’s Rock n’ Roll and finally there is a summary of the learning points of the lesson and notable tips.
00:00:59 Setting up this lesson on guitar harmonies and harmony vocals
00:05:01 Defining a harmony part
00:06:53 If you just keep the same distance between the two notes, some notes will fall out of key
00:08:35 Conclusion: harmonizing is not the same as pitch shifting
00:10:06 How a harmonizer pedal works
00:11:16 Harmonizing the C major scale
00:12:13 Adding a number to each note in the scale
00:17:46 Dan and I playing the C major in unison
00:17:58 Discussion around 2nds and our next activity
00:18:52 Dan and I playing the c major scale a 2nd apart
00:20:16 Discussion around 3rds
00:21:03 Dan and I playing the C major scale a 3rd apart
00:21:45 Discussion around 4ths
00:22:53 Dan and I playing the c major scale a 4th apart
00:23:39 2-part harmony vs multiple parts
00:24:16 Dan and I playing the c major scale a 5th apart
00:26:07 Dan and I playing the c major scale a 6th apart
00:27:10 Discussion around 7ths
00:27:30 Dan and I playing the c major scale a 7th apart
00:28:17 Dan and I playing the c major scale an octave apart
00:31:42 9ths
00:32:31 Practical applications of harmonies
00:32:37 Practical application 1: harmonising a simple melody (Eastenders)
00:39:18 Playing harmony 3rds from the B string to the top E string
00:41:19 Back to the Eastenders theme tune and our harmonisation demonstration
00:44:26 What are the practical uses for the Eastenders harmonization idea
00:45:16 Using an idea which the guitar is specifically good at - bending in harmony
00:50:36 Harmonizing the D major pentatonic scale
00:53:31 Back to our bending lick and harmonizing using the A dorian scale
00:55:34 Rock and Roll (Led Zep) - harmonizing rhythm parts
00:58:05 Summary of lesson and some final points -
THE TWO VIDEOS FOR THIS ONE WOULD BE HELPFUL:
https://youtu.be/K7N1TxJm17k
https://youtu.be/BSAEidhkFcU
In this lesson, Dan talks pedals and pedalboards. We take a tour round his board and a small tour round mine too. Then we examine the question (from the perspective of a beginner) of what pedal someone could start out with. Dan also gives his wisdom on some ways which you can keep in mind the big picture (perhaps of a pedalboard) and get the pedals which are the most useful.
There’s a really big section in which Dan walks me through what the different uses of the Strymon Timeline are and also regularly demonstrates a wide range of pedals with examples.
00:00:33 Start of main lesson
00:02:11 Using the Timeline - set to Pink Floyd Run Like Hell
00:03:19 Timeline setting - Reverse Delay
00:04:30 Timeline setting for Purple Rain
00:05:12 With a lighter chorus sound
00:05:29 Ducking delay
00:05:50 Clean boost
00:06:27 Different boosts
00:06:52 Wah wah pedal on
00:07:19 Sweep Filter
00:07:43 With compression
00:08:00 Octave pedal effect
00:08:28 Delay for Pink Floyd's - Another Brick in the Wall
00:13:15 Dan playing through my pedalboard
00:13:30 Corona TC Electronic Chorus
00:14:11 Increasing the depth
00:14:26 Delay Boss DSD3
00:15:21 Sampler?
00:15:34 Boss compressor CS3
00:16:34 Using a compressor pedal as a clean boost
00:17:05 Boss Overdrive OD3
00:17:32 A little trick is to leave the drive down and use the level as a boost
00:18:11 Reverb HOF mini
00:18:47 Boss GE7 Equaliser
00:20:06 Stripping it back to beginner level
00:20:29 Running with the question - what pedal ought I buy?
00:20:40 The 'ice' delay setting - pitch shifted delay
00:24:09 Srtymon - Timeline
00:25:22 Timeline: The Wall
00:25:54 Timeline: Always
00:26:43 Timeline: Ice
00:26:49 Timeline: Duck
00:27:14 Timeline: Purple Rain
00:28:09 Timeline: Streets have no name
00:28:52 Timeline: Reverse delay
00:29:34 Timeline: Tape delay (slapback rock and roll)
00:30:10 Timeline: multi-tap (run like hell)
00:30:55 Dan's tips on what pedals to buy
00:31:18 Tremolo - slapback delay (50s)
00:31:30 Less delay, wah wah and fuzz (60s)
00:31:56 Analog delays and chorus (70s)
00:32:52 Chorus and big delay (80s)
00:34:50 Into the Great Wide Open through the looper as a basis for a jam track
00:37:54 First pedal for Dan would be an overdrive
00:41:01 Explanation of overdrive
00:44:27 A good idea for a second pedal - a clean boost
00:44:49 On a clean channel - take into a solo
00:47:37 On a drive setting - a similar application shows the difference in lift
00:50:15 Buffered vs true bypass
00:55:37 Another great pedal is a wah wah
01:01:18 Next suggestion is a compressor
01:03:07 Good for Country music
01:03:46 Using a slight driven sound the compressor sustains the notes
01:06:11 Next type of pedal we discuss is a phaser
01:07:18 Using a phaser on Money (Pink Floyd)
01:08:05 You do something to me - Paul Weller
01:10:12 Another pedal to consider is a flanger
01:11:44 Next pedal is a chorus
01:13:02 Demo - chorus
01:14:18 Tremolo effect
01:17:27 Dan explains how he practically uses his board live
01:20:01 What is delay? Quick rundown
01:26:30 Tying your cables together and prepping your board for a quick setup -
THE TWO VIDEOS FOR THIS ONE WOULD BE HELPFUL:
https://youtu.be/K7N1TxJm17k
https://youtu.be/BSAEidhkFcU
This is the preamble for lesson 18, in which Dan and I take the viewer through our pedalboards, briefly describing what the pedal does and how we put together our pedalboard.
See lesson 18b for the full lesson -
In this lesson, Dan helps me out with my acoustic sound for a performance I have been asked to do for my sister-in-law’s wedding. I am performing several songs at the front of their service some of which they have chosen and some of which they have asked me to come up with. As there is a delay on publishing our episodes, this comes after I have actually done the performance and it went very well, particularly because of Dan’s excellent advice and suggestion to use a looper pedal which I followed.
In the second part of this lesson, we take a look at how to arrange multiple parts for the looper pedal performance, particularly covering “Something” by the Beatles.
In the end, the performance was of the following songs:
1) ‘Something’ by the Beatles: Played while the wedding party awaited the arrival of the bride
2) ‘Textbook’ by We Are Scientists: Played as my sister-in-law walked up the aisle
3) ‘Pretty Ugly Before’ by Elliott Smith: Played while the register was being signed
4) ‘I Don’t Want to Know’ by Fleetwood Mac: Played as everyone left
Most songs were played using my Boss RC30 to create a long loop, then some layers added to this on the fly along with some melodic playing and improvisation. On ‘Textbook’ the Looper was not utilised but I used reverb, chorus and a bit of delay to build the atmosphere. The acoustic amp I use is the Marshall AS100D which is great and has an effects loop with the downside of being very heavy.
Timings
00:01:05 Equipment which I have bought to the lesson: Gibson J45, Looper RC30, Marshall AS100D
00:01:51 Outlining the four songs I'm doing as part of this performance
00:03:11 Advantages and disadvantages to playing acoustic rather than electric
00:05:55 An experiment to discover what will happen when I push the AS100D a little harder
00:06:41 The low "A" note bass response feedback and how to solve using a soundhole cover
00:11:42 Alternative idea - you could use a volume pedal
00:12:47 Experimenting with the controls on the AS100D
00:17:49 Dan demonstrating 'digging in' on an acoustic
00:19:30 Another thing about the settings on your amp: you want the amp set so you can use "touch" to control the volume and response
00:21:11 Getting onto the songs with the looper
00:24:31 Dan's first go with the looper playing “Something” by the Beatles
00:25:56 Dan's second loop with correct start and end
00:29:23 Identifying the double stops which Dan was using
00:32:09 Dan's suggestion to layer the Am section
00:33:39 Overdubbing the Am section
00:37:47 Dan harmonising the melody of the singer using guitar loops overdubbed
00:44:02 Breakdown of the Am part
00:46:16 Quick discussion about the key change and whether to include it
00:48:04 Considering other equipment like amps, pedals and different types of guitar instruments to get used to in their own right
00:51:27 “Textbook” by We are Scientists
00:52:06 “Pretty Ugly Before” by Elliott Smith
00:56:11 Dan recording a generic chord progression and the value of double stops on acoustic
00:56:27 a) using single notes
00:56:52 b) up an octave
00:57:33 c) using sixths (interval)
00:58:00 d) using arpeggios
00:58:29 e) some more double stops
00:58:57 f) using arpeggiated triads
00:59:11 g) playing quicker - e.g. sweep picking
01:00:01 h) superimposing different chords
01:00:21 i) octaves played concurrently
01:05:51 I Don't Wanna Know Fleetwood Mac -
In this lesson, Dan helps me out with some planning for a performance I have been asked to do for my sister-in-law’s wedding. I am performing several songs at the front of their service some of which they have chosen and some of which they have asked me to come up with. As there is a delay on publishing our episodes, this comes after I have actually done the performance and it went very well, particularly because of Dan’s excellent advice and suggestion to use a looper pedal which I followed. In the end, the performance was of the following songs:
1) ‘Something’ by the Beatles: Played while the wedding party awaited the arrival of the bride
2) ‘Textbook’ by We Are Scientists: Played as my sister-in-law walked up the aisle
3) ‘Pretty Ugly Before’ by Elliott Smith: Played while the register was being signed
4) ‘I Don’t Want to Know’ by Fleetwood Mac: Played as everyone left
Most songs were played using my Boss RC30 to create a long loop, then some layers added to this on the fly along with some melodic playing and improvisation. On ‘Textbook’ the Looper was not utilised but I used reverb, chorus and a bit of delay to build the atmosphere. The acoustic amp I use is the Marshall AS100D which is great and has an effects loop with the downside of being very heavy.
I the lesson Dan demonstrates some mixed lead and chord playing, which works very well (when he does it). He gave me lots of useful advice and we’ll return to this in part 2 when I take along my RC30 to gain some input on how best to use this in the performance. Dan, as always, is very generous and helpful in his advice.
Timings
00:03:24 A quick look at the two acoustics we are using today
00:11:32 Start of getting stuck into the topic of the wedding numbers I've been asked to play
00:13:50 Elliott Smith - Pretty Ugly Before
00:15:58 Dan suggests using a hammer on and pull off instead of the slide
00:16:49 Dan suggests a focus on the importance of the melody
00:18:50 Doing fills over certain chords
00:19:09 A good suggestion to build the looper pedal into my plan for the performance
00:20:03 Play through the song again with Dan adding some improvisation and fills over the top
00:25:33 Quick rundown of Dan's Taylor 314
00:26:49 Dan demoing playing chords as a backdrop and playing a melody concurrently
00:27:54 Second demo of this dual part idea
00:33:25 Advice to pre-prepare and think a lot about the chord changes - play to the chord played over
00:35:18 A quick discussion about the tonality centres found within Elliott Smith's Pretty Ugly Before
00:37:18 Some useful discussion about what to consider with regard to song choice for different scenarios -
In this lesson, Dan and I take a look at the outro solo for "Feel Like Makin' Love" by Bad Company - a song which I am covering with my band. During the lesson we go through 9 tips on transcribing from Dan and we look at 9 licks from the solo. Dan shares his ideas with me on tone and effects for songs and also the different ways to approach different sorts of solos.
Timings for Video Guitar Lesson 15 - on transcribing:
00:03:18 Boss RC30 Loopstation - I talk about various features on it
00:04:32 I overdub with the part Dan came up with before
00:05:41 Dan's first improvisation over the riff
00:08:42 A word on active listening and the value of ear training
00:13:24 Comedy - the dots (correction: not Smith and Jones but French and Saunders)
00:14:40 Tip 1: You need to play the song alongside the tab
00:18:29 Tip 2: When you try to transcribe something do it in small chunks
00:23:56 Tip 3: Check out live versions and alternate versions of the song
00:24:17 Sometimes YouTube guitar lessons can be illuminative
00:24:48 Tip 4: Pick something simple and work at your level
00:25:12 Tip 5: Listen for the chords - can you work them out?
00:25:37 Summary of Tip 2
00:26:08 Tip 6: Stitch the parts together and learn the piece
00:27:05 (tip 1 summary) check tabs against the songs
00:27:17 Tip 7: Try to actively listen to different parts / instruments
00:28:33 Tip 8: write out the structure of songs and parts
00:29:26 Tip 9: Music theory helps your transcribing
00:31:36 We're going to listen to the track and lift some of the lciks from it
00:33:16 Lick 1
00:34:42 Lick 2
00:35:14 Tip 10: It's good to write down what you hear
00:36:59 Lick 3
00:39:54 Lick 3 broken down
00:50:42 Lick 4
00:54:22 Lick 5
00:54:58 Lick 6
00:55:04 Lick 7
00:55:12 Lick 8
00:55:33 Lick 9
00:56:03 Lick 10
00:56:46 Three different types of solos
00:57:32 Solo 1: Part of the song
00:58:44 Solo 2: Has become an absolute classic and so should be learnt and retained
00:59:58 Solo 3: Free to mess with but there are licks and phrases that ought to be in there
01:03:11 Solo 4: Improvised and very free to mess with
01:03:43 Example of going nuts and over the top with Bad Company riff
01:05:53 Crazy Little Thing Called Love
01:06:53 Purple Rain solo -
In this lesson, Dan and I take a look at some of the songs which I am performing with my band and so we focus on the dual guitar parts. I bring several songs which I am learning with other musicians in our covers band ready for a gig we will be performing in Brighton. We first look at American Girl by Tom Petty, with some talk about inversions and effects. Secondly, Dan gives me some feedback on some dual parts I came up with for Neil Young’s Cinnamon Girl. Next we pay the Smith’s What Difference Does it Make? a quick bit of consideration. We finish this lesson off by some discussion with usable ideas for the solo in Substitute by the Who and the outro solo for Feel Like Makin Love by Bad Company. As always, there are plenty of other examples thrown in to assist Dan’s explanation of his ideas and ways of approaching dual guitar situations and a good improvisation session towards the end of the lesson. Our next lesson 15 will return to the solo at the end of Feel Like Makin' Love as we look at some tips on transcribing.
Timings for the SoundCloud audio version:
00:02:39 Learning aims and some shout outs from social media
00:08:09 Introduction to the topic of the parts for songs I'm playing
00:09:05 Gary introduces his part for American Girl
00:15:46 In the spirit of the 80s you could put a nice big wobbly chorus on it
00:16:13 Two part phrase using different inversions
00:17:42 Second set of chords
00:19:56 Considering effects as of a time
00:22:32 How to approach a bit of a song which is quite sparse
00:24:45 Don't forget that "less is more"
00:25:32 Always ask whether you're adding something to the mix
00:26:56 Sparse rhythm for Comfortably Numb
00:27:58 Start of quick look at Cinnamon Girl - Neil Young
00:31:31 Making up second parts on the spot
00:35:01 Using two very different guitars for greater separation
00:35:17 What Difference Does it Make - Smiths
00:37:17 Harmonizing Johnny Marr's guitar part
00:43:52 Solo for Substitute by the Who
00:48:20 Two ways to play Creep - Radiohead
00:52:21 In the style of Green Day - rougher playing
00:53:50 Basket Case - Billie Joe
00:55:29 Embrace all types of style but seek the good
00:56:37 The solo for the One I Love by REM
00:59:21 Solo at the end of Feel Like Makin Love - Bad Company
01:04:59 Overbends as well could be really cool for improvising over this ending
01:06:08 Accent the rhythmic riff of the song -
In this lesson, Dan and I return to take a look at how to improve your creative improvisations and what that journey looks like on the guitar. The focus of this lesson, using a backing track we recently did another lesson with, is how having some predetermined themes to use in your solo and a plan can help you to come up with ideas and interest as you improvise. As we play around with improvisation Dan gives me some tips and a strategy following a structured approach to coming up with ideas. We use octaves, blues licks and then Dan delves into a couple of ideas: First he highlights the importance of being relaxed and not tense; second we take a look at three note per string pentatonic licks and referencing lots of different players Dan demonstrates how you can delve deeply into one idea to explore the theme fully.00:00:56 Reference to That Pedal Show and our last episode00:01:36 Introduction - how do we mix our licks up to make them not feel too samey?00:02:11 Fancy Fusion Backing Track in B minor | #SZBT 205: https://www.youtube.com/watch?v=IZUCq_UlqzI 00:02:34 The focus for today's lesson is making your licks stand out - one idea leading to the next and the next...00:03:16 Breaking solos into rigid structures00:03:39 EG - Ritchie Samboura's solo from Dead or Alive00:04:19 Analysing the ideas behind the parts of this solo, e.g. octaves, little blues lick, pinched harmonics, country blues rock lick, chugging chords 00:08:43 First soloing over the backing track00:12:00 Guthrie Govan interview00:13:34 How important it is to have goals and visualise where you want to be00:17:55 Learn something different - have a bit of surprise left in your life00:19:18 Dan's example of how beginners approach improvisation00:20:01 1) isolating the ocatave theme and idea00:21:09 2) by landing here on the fretboard you're ready for the blues lick00:21:32 Be bold and not scared of the improvisation00:23:53 Two tips to help when you're not sure: leave a note to hang or leave space00:29:33 Second improvisation, focussing on relaxing and themed ideas00:35:00 Running with weights: e.g. go up the whole scale using octaves00:36:23 using octaves00:36:51 Foo Fighters idea - fattening up a melody00:37:01 Steve Vai - slipping up to the octaves, slide then octave00:38:59 The pentatonic thing: with 3 note per string patterns00:40:26 Second three note per string pentatonics00:42:37 three notes on one string, then one note00:43:10 Joel Hoekstra thing - 00:47:12 Podcast episode idea and call to action - get in touch if you want this00:48:02 Shawn Lane lick00:52:28 Some advice about digging deep into ideas00:53:17 Country bends00:54:19 Guthrie Govan idea from waves - arpeggiating with string skipping00:55:37 Arpeggiating a Bm chord00:58:05 Dan using the Guthrie Govan idea to solo over the backing track00:59:05 Mixing in the Vito Bratta idea of adding tapped notes01:01:12 Interesting video by Rick Graham - https://www.youtube.com/watch?v=wsEHi1wykkc&feature=youtu.be 01:04:57 Final jam over the backing track
-
Video Guitar Lesson 12: Arranging parts for bands and situations with two or more guitarists
In this lesson, Dan and I continue to explore rhythmic patterns, looking in particular at the benefits and problems which arise when playing in situations with multiple guitarists. The focus for the lesson are two songs which I am arranging to play with a band that has in it a drummer, bassist, keyboardist/singer and me and another student of Dan’s on guitar. The two songs are ‘The One I Love’ by REM and ‘Feel Like Making Love’ by Bad Company, but throughout this lesson we look at things which arise in other songs to so that we can apply this to this situation. We look at octaves, open strings, pick up choice, EQ, guitar choice, briefly effects and playing using different inversions and much more.
Timings for the SoundCloud audio version
00:02:31 The setup of my band
00:03:24 Introduction to the two songs which we are going to be looking at the parts for
00:05:09 First look at the One I love by REM
00:05:59 What Dan plays for the One I love
00:08:22 Playing a second part over the opening riff using octaves
00:09:15 Second go at the opening riff together
00:11:10 A more meaty second part - playing 5th chords piano style
00:12:30 Option of not playing at all and allowing the other guitarist space
00:13:05 Dynamics in Steve Vai's - the Love of God - using increasing vibrato
00:13:39 Back off at the beginning and as the song starts to take off you increase what you are doing
00:13:46 You want to hit a chorus and have somewhere to go, some punch, some headroom
00:14:00 Using the volume on your guitar
00:14:22 Second demonstration of the piano style part
00:15:12 Money for Nothing is a good example
00:15:22 staccato style like ACDC a Long Way to the Top
00:15:35 Discussion about frequency and where you sit in the mix
00:18:05 Best thing you can do is be mindful of separating your sound from the other guitar
00:20:19 Second part for the Kings of Leon Sex on Fire riff
00:21:13 Recap of advice on frequencies and staying out of eachother's way
00:22:29 Comfortably Numb - so many things to fill the air - use delay
00:24:09 Some effects are very indicative of the time
00:26:11 Second guitar part for after the introduction and during the verse
00:27:40 First way is to play chord shapes up at the 12th fret
00:29:13 Second option with a nice delay and more sparse playing
00:30:00 Third option - start with the Em even higher up the neck
00:31:34 Fourth option - really subtle notes with volume swells and delays
00:32:52 Chorus part
00:33:52 If someone is playing something rhythmic then a good second part could be blocky
00:34:48 Whole Lotta Rosie - ACDC
00:44:33 Humbuckers (e.g. Les Paul) Sad face EQ vs Strat smiley face EQ
00:45:40 Playing using gain - roll the tone back a bit
00:47:20 The middle position on the Les Paul mixing the pups
00:48:23 What's a treble bleed?
00:49:23 Feel Like Making Love - Bad Company
00:51:30 Run Like Hell - Pink Floyd
00:53:20 Rejigging the inversions of the triads
00:56:06 Rejigging the inversions for Feel Like Making Love
00:58:30 Arpeggiated chord part for the verse
00:58:56 Sweet Home Alabama
01:03:39 Similar chord set in Feel Like Making Love so you can do a similar thing
01:05:34 Raising the dynamics for the chorus
01:09:38 Sometimes when you consider parts for songs you can bring some modernity to your parts
01:10:35 Add a dash of your own thing - Mostra di più
