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| GUITAR: INTERMEDIATE ACOUSTIC GUITAR LESSONS | |||
| WorkshopLive's Intermediate Acoustic Guitar Lessons are designed to expand the abilities of the acoustic guitar player. Several techniques and topics covered in these lessons include Travis picking, suspended chords, the relative minor scale, harmonics, hybrid scales, alternate open tunings, augmented and diminished chords, minor chords and the minor blues. Once you have mastered these lessons, you'll be more than ready to take on the majority of our folk and pop song lessons here at WorkshopLive. |
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| COURSE | LESSON | TEACHER | DESCRIPTION |
| Triads | Intro to Triad Spelling | Tomas Cataldo & Lou Manzi | In this lesson, we'll discuss perhaps the most important aspect of harmony - triads. By going over the basic building blocks that are fundamental to triad spelling and giving you examples of how to put this information into context, you'll gain a deeper understanding and appreciation of music. Triads are the foundations of all chords. Without a good understanding of triads it's hard to understand 7th chords and any tensions or extensions you add to a chord. So, let's dig in and unravel one of the most important concepts of harmony--the triad. |
| Arpeggios | Arpeggiating Chords with a Pick | P Howard & Lou Manzi | In this lesson, we'll expand on the way we can use chords for accompaniment. Instead of simply strumming all or most of the strings with a pick stroke, we use the pick to articulate certains strings of the chord in a rhythmic pattern. We'll use bass notes often as the first note we hit on each chord, and then continue with other notes of the chord in a rhythmic and musically satisfying way. The bass note is often the root of the chord, but it may be another chord tone, especially if it fits melodically between other root notes of adjacent chords. The notes of the arpeggio are usually eighth notes and sometimes sixteenth notes. These types of patterns are more about the feel and flow of the line than about the exact order of notes to be picked. Try to develop a loose approach so that variations are natural. |
| Arpeggios | Triad Arpeggio Bass Lines | P Howard & Lou Manzi | This is going to be a lesson involving playing bass lines in a boogie style using the chord tones of the chords being played. The rhythms are often shuffle-type grooves and the lines are sometimes augmented by occasional chord hits. To play our bass lines, we draw from the chord tones of the chord being played, sometimes just the root, 3rd and 5th, and other times, we add the 6th, the flat-7th, or even the flatted 3rd as passing tones. These lines can be simple or more complex, but the bottom line is they need to provide a solid foundation and a kicking rhythm groove. |
| Playing in 2nd Position | Playing and Reading in D | P Howard & Lou Manzi | On the guitar the 2nd position is especially useful for the key of D Major. No scale tones fall on the first fret so we can sacrifice having a finger ready for first fret notes and move the hand up to the 2nd position, with the index or first finger playing notes on the 2nd fret and the other fingers sliding up accordingly. Let's examine some playing and reading in D. |
| Adding Excitement to Strumming | Mute Strokes, Percussive Sounds and Backbeat | P Howard & Lou Manzi | In this lesson, we'll examine the role of the left hand, and sometimes the right hand, in changing the sound of our chord work by muting strings, cutting off chords or letting them ring, and using the guitar in a more percussive fashion. We'll then combine these techniques with chord progressions so that we can play some things in the style of type of acoustic guitarists such as Joni Mitchell. This type of playing allows for much greater dynamic variation even though the energy level of the rhythm stays high. |
| Adding Excitement to Strumming | Split Strumming | P Howard & Lou Manzi | When we're strumming chords as the rhythm part to a song, we have to do things to vary the dynamics of the part. Loud, open strumming all the time just doesnt cut it. We do this by varying whether we strike the high or low notes of the chord and by palm muting the strings with picking hand. This allows us to keep the energy up while keeping control over the dynamics. |
| Adding Excitement to Strumming | Hybrid Picking | P Howard & Lou Manzi | One of the most important techniques to develop for pick-style playing is hybrid picking. Hybrid picking is simply using the pick in the normal fashion and then adding in notes picked by the middle finger, notated m, and sometimes the ring finger, or a, while the thumb, or p, and index finger, or i, hold the pick normally. This allows us to easily add notes on the higher strings along with a bass note or to hit a high note immediately after picking a low note. |
| Adding Excitement to Strumming | Strumming with No Pick | P Howard & Lou Manzi | Using the right hand to create strummed rhythms without the pick is a nice alternative to straight fingerpicking or pick style playing. The thumb (or 'p' finger) usually plays the bass notes or strums a few bass strings and the fingernails brush the strings in a downward or upward direction. This can be nice change of pace in a fingerpicked tune. |
| Fingerstyle - Travis Picking | Travis Patterns Leading from the m Finger | P Howard & Lou Manzi | As you play fingerstyle guitar you notice that the way you use your thumb and fingers falls into some definite patterns. As important as these patterns are, travis picking is a thumb driven style and the patterns are made to be broken. As a quick review, the fingers on the picking hand are represented in the following way; the thumb is p, the index finger is i, the middle finger is m and the ring finger is a. In this lesson we'll examine some patterns that rely on leading with the m finger each time we add high notes to the thumb line. |
| Fingerstyle - Travis Picking | Travis Patterns Leading from the a Finger | P Howard & Lou Manzi | In this lesson we'll continue to explore the possibilities of Travis picking. By the way, Travis picking is named after Merle Travis, the great country guitar picker who did a lot of good bass playing with his thumb, adding in melody with his fingers. Besides the patterns that are sometimes inherent in this style, we have to be able to drive the rhythm with the thumb and get in and out of patterns, add melody and keep that thumb cooking. |
| Fingerstyle - Travis Picking | Travis Picking with Swing Eighths | P Howard & Lou Manzi | This lesson will deal with swing or shuffle rhythms and altering fingerings of our chords to get the melody notes we need on top. We'll use major and blues scale notes; think of it as a blues-major tonality. It's a very common sound in blues, folk and country fingerstyle. |
| Drop D Tuning | Intro with Tuning Notes, Strumming, and Fingerstyle | P Howard & Lou Manzi | Besides standard tuning on the guitar, there are a variety of alternate and open tunings that guitarists use for various reasons. Many of these tunings have the guitar tuned to an open chord, hence the term open tuning. Other tunings change one or more strings to provide certain open bass notes or drone strings. One of the most common alternate tunings is called Drop D tuning. In this tuning, the 6th string only is lowered one whole step to D. There is another tuning called Double Drop D, where both E strings are dropped down to D. This low D is one octave lower than the 4th string D. This tuning is great for songs in the key of D and it's been utilized by Stephen Stills, Neil Young and many modern bands from Creed to Fall Out Boy. |
| Advancing Your Chords | Augmented and Diminished Triads | Tomas Cataldo & Lou Manzi | So you're comfortable with your triads and you're ready to add a little color, a little spice to your playing. Well, I'd say it's time to advance your chordal knowledge, wouldn't you? In this lesson, we'll walk in the dark and foreboding world of dissonance. By discussing and playing the augmented triads and diminished triads you'll find that, in music, you never know what lurks in shadows. |
| Advancing Your Chords | Major, Minor and Dominant 7 Chords | Tomas Cataldo & Lou Manzi | Ah, I see you've mastered triads and you need to expand your chordal knowledge. Well, you've come to the right place. In this lesson we'll discuss, and learn to play, the mystery known as the 7th chord. Understanding and being able to play this chord will help you to create the foundation you need for a basic understanding of harmony, so when you're faced with a 7th chord in a song you'll know were it came from and how it applies. When you're writing, it will give you a way to add a different color to your music. |
| Advancing Your Chords | Adding Color Tones: 6 and 9 | Tomas Cataldo & Lou Manzi | Another way of adding some different sounds to your playing is using the 6th and the 9th to spice things up. In this lesson, we'll discuss what the theory behind these wonderful chords is, as well as figuring out some common first-position fingerings for each of them. So, if you have a good handle on your triads as well as your 7th chords, then your ready for a trip to the land of 9ths and 6's. |
| Advancing Your Chords | Suspended Chords | Tomas Cataldo & Lou Manzi | One of the most common things to do to a major or minor triad is to suspend or 'sus' it. You can hear this chord being played on both electric and acoustic guitarists in pop, rock and folk so much that you might almost say it's being abused. So, if your ready to abuse your guitar, let's dig in. |
| Diatonic Harmony | Building Triads on Scale Degrees | Tomas Cataldo & Lou Manzi | Ah, the wonderful world of diatonic harmony. Now that you know your basic triad chord formulas, let's apply that knowledge to the major scale and create the major chord scale. This will give us a system of chords that forms the basis for most music. Understanding diatonic harmony in this way is essential to having a fundamental understanding of music. |
| Diatonic Harmony | The Primary Chords: I-IV-V | Tomas Cataldo & Lou Manzi | Did you ever wonder why music sometimes sounds the same? Well it often is. Found within more songs then I'd care to imagine is a common chord sequence that almost defines much music. In fact, if you close your eyes and listen you can almost hear a kid down the block using this chord sequence to write the next billboard hit. So strap yourself in and let's take a musical journey to 'Popsville'. Ready for take off? We'll leave in three chords. Hold on... I, IV, V, Blast off! |
| Diatonic Harmony | Adding 7ths | Tomas Cataldo & Lou Manzi | It's time to get sophisticated, that's right. Take out the tux, brush off those shoes and for God's sake get a hair cut you look like a girl. We're going to add the 7th to our chord scale for that touch of class and, if we learn these chords well enough, maybe we'll be able to hang out with all those jazz cats in the other lessons. |
| Relative Minor Scale and Chords | The Relative Minor Scale | Tomas Cataldo & Lou Manzi | It's time to enter the sad and poignant world of the natural minor or Aeolian scale. As with many things in life music is made of opposites. The antithesis of major is minor. In this lesson, we'll learn and discuss the natural minor or the Aeolian scale. We'll also unravel the mystery behind the minor keys so you, too, can be a sullen and brooding songwriter. |
| Relative Minor Scale and Chords | Primary Minor Chords and the Minor Blues | Tomas Cataldo & Lou Manzi | A little while ago we took a ride to 'Popsville' and visited the land of the major I-IV-V. Well, something went horribly wrong and now everyone's crying, because our joyful major I-IV-V just got sad and turned into a minor i-iv-v. That's right, that ever popular chord sequence took a somber turn. |
| Movable Chords | Power Chords with Three Fingers | Tomas Cataldo & Lou Manzi | It's time to don your leather and put on your attitude. That's right, we're walking on the wild side... We're going to the land of power chords. In our fun-filled journey, we'll discuss the theory behind these little rebels of our musical family, learn the 'must known' chord forms, put them in some enjoyable yet properly dangerous sounding progressions. So, if you're ready to beat your guitar into submission, you've come to the right place. |
| Movable Chords | Movable Shuffle Blues | Tomas Cataldo & Lou Manzi | It's time to take a walk to the Delta by way of Chicago. That's right, that nasty little musical element called the blues is coming to visit. I can almost smell the bourbon and cigars. In this lesson, we'll discuss the blues form, the basic rhythmic pulse that frames most blues and the harmony that is used to create the blues. We'll also look at two simple shapes that will allow you to play this staple of American music in any key. Strap yourself in as we unravel another one of music's mysteries: the blues. |
| Movable Chords | E-Form Barre Chords | Tomas Cataldo & Lou Manzi | Ah, barre chords, What's not to love about barre chords? With them you'll be able to play two versions of a major, minor, or dominant 7 chord in any key. You'll be armed and ready to play thousands of songs or if you want to write thousands of songs. So, what's not to love about barre chords? Well they can really hurt. But with some practice, they will become invaluable to you. So, get the blood flowing in your hands 'cause it's time to whip those tiny little fingers into shape. |
| Movable Chords | A-Form Barre Chord | Tomas Cataldo & Lou Manzi | So, you've taken the time to learn the root-6th-string barre chord and you're ready to move on? Well, you've come to the right place, partner, 'cause I'm going to do some silly teaching in this lesson. We're going to learn barre chords with the root on the 5th string! That's right, the major, minor and dominant 7 chord you learned with the root on the 6th string, will be taught with the root on the 5th string. It's just too good to be true but, with these chords and your open shapes, you'll be armed and ready to play a ton of songs! |
| Movable Chords | Barre Chord Review - Switching | P Howard & Lou Manzi | Movable chord shapes are an important concept in guitar playing. You've learned barre shapes that are called root-6 or E-shape chords and root-5 or A-shape chords. There are also many chord shapes that are movable but not barre chords. One of the most important of these is the C-shape Dominant 7th chord. In this lesson, we'll learn a couple of 12-bar blues progressions that mix this C-shape with our E-shape barre chords while playing dominant 7th chords. |
| Movable Scales | Closed Position Major Scale | Tomas Cataldo & Lou Manzi | It's time to play that joyous scale we call the major or Ionian scale. This scale is used as a basis for understanding other chords or scales. In many ways, it's the foundation of Musical Theory. It's an essential part of every guitarist's toolbox when soloing or composing. It can be used to great effect as a warm-up or an exercise to increase technique. Countless melodies and solos have been constructed using this scale. In this lesson, we'll look at three different shapes for the major scale as well as some useful patterns that build technique to use in improvisation as well as composing. |
| Movable Scales | Closed Position Minor Scale | Tomas Cataldo & Lou Manzi | It's time to look at that dark and moody scale we call the natural minor scale. This scale is used as the basis for most of the sad songs you hear. In this lesson, we'll learn some useful fingerings for this scale as well as some melodic patterns. We'll also review the parallel view of the natural minor scale. |
| Movable Scales | Review of the Minor Pentatonic | Tomas Cataldo & Lou Manzi | Ah, the wonderful world of the minor pentatonic; the most common scale in soloing and perhaps one of the easiest scales to play. The minor pentatonic is the absolute bedrock of any guitarist's improvisational vocabulary. In this lesson, we'll talk about the theory behind this wonderful musical device, as well as, show you some patterns that will be helpful in your own music. |
| Movable Scales | Blue Notes (Flat-3, Flat-5, Flat-7) and the Blues Scale | Tomas Cataldo & Lou Manzi | In this lesson we'll discover the value of tension in the blues. These tense notes are sometimes called 'blue notes' or 'passing tones'. Using these blue notes will add just the right amount of spice to those old pentatonic licks that you've been playing for so, so long. You'll learn some fingerings for them as well as a couple of useful licks. These notes can really make a difference in your soloing. |
| Movable Scales | Major Pentatonic | Tomas Cataldo & Lou Manzi | I'm sure you've seen people use that same old minor pentatonic shape over just about any chord in any key. That can be confusing because, after all, we do call it a minor pentatonic. So, how come it works over a major chord in major keys? Well, in this lesson we explain that little trick and, in so doing, double your scale knowledge. |
| Sixteenth Notes and Acoustic Funk | Counting Sixteenth Notes | Tomas Cataldo & Lou Manzi | It's time to get out your dancing shoes because were going to spice things up with sixteenth notes. That's right, that fantastic little rhythmic grouping has shown up for the party. We'll meet him, we'll find out what he's all about, we'll count along with him, we'll play a bunch of grooves with him and get his address. So when we have your own soiree we can invite him as well. |
| Sixteenth Notes and Acoustic Funk | Funk Strumming | Tomas Cataldo & Lou Manzi | Rhythm, rhythm, rhythm. There's a famous old saying: "You can have rhythm without music but you can't have music without rhythm." There's some truth to that, although I'd say you could play things rubato or without any strict sense of time--if you did, you'd most likely have a hard time making a career of it. Well, in this lesson, we'll talk about dotted notes and add dotted-eighth notes to our sixteenth-note patterns. We'll also look at a two new chord shapes and, in the process, get a bit funky. |
| Sixteenth Notes and Acoustic Funk | Bo Diddley Strum Using Sixteenth Notes | Lou Manzi | Wouldn't it be great to have a rhythm named after yourself? There's only one performer I know of who has that distinction. The amazing Bo Diddley. He's one of the inventors of big beat rock and roll and one of the most important guitarists of the 1950s and early 1960s. That's because the strums that he put into his songs caught on in a big way, and they're still adopted by electric and acoustic players who want the ultimate in rhythmic excitement in their music. Forget about tapping your foot, the Bo Diddley beat will send you right out of your chair. And since these strums are so much fun to play, we'll devote this entire lesson to the Bo Diddley beat and its variations. |
| Melodic Travis Picking | A Tune with Travis Picking | P Howard | One of the real joys of fingerstyle is playing melody with a supporting bassline. In other words, melodic Travis picking. Some of the titans of this style have included Mississippi John Hurt, Reverend Gary Davis, Doc Watson, Merle Travis, Elizabeth Cotten and Joan Baez. In this lesson we'll work through the melody and chords of a great old tune called 'Railroad Bill.' |
| Harmonics | Natural Harmonics | P Howard & Lou Manzi | One of the more interesting and enlightening techniques on the guitar is the concept of harmonics. Ever since our human ancestors strung a piece of cat gut between two fixed points, we began to discover by that plucking it and touching it in certain ways, many different pitches could be obtained. Our whole system of harmony and tonal relationships is based on the physical priniciples exhibited by a vibrating string. These physical laws relate to the mathematics of string length, and how the change in length or vibration affects the pitch. We can change the pitch of the string by fretting it and change it's length, or by lightly touching or grazing the string with a left-hand finger at certain points. The resulting pitches are called harmonics. |
| Harmonics | Tuning with Harmonics | P Howard & Lou Manzi | Now that we've explored playing harmonics, we can take a look at using harmonics to tune the guitar. Using harmonics to tune is one of the most accurate ways to get the guitar in tune. No fretted notes need to be used, which avoids any problems with the guitar's intonation. Only harmonics and open strings are used, and all the notes we are comparing can ring out freely and are therefore easy to hear. |
| Jazzing Up the Neck | Root Six Moveable 7 Chords - Strings 6,4,3,2 | P Howard & Lou Manzi | Once chords move beyond the basic triads and their inversions, we get to the realm of 7th chords. 7th chords are so-called because we add a fourth note to their basic structure that is a major, minor or diminished 7th interval from the root. The basic triad is 1-3-5, and if we add another 3rd above that, we get to the 7th. The minor 7th interval is often described as a flat-7 because it is the 7th note of the major scale flatted. Once we understand the basic formula for 7th chords, we can begin to explore different voicings of the chords. A voicing is the way we arrange the notes of the chords on the guitar. We'll start with a look at voicings that have their root on the 6th string and then include a group of notes on strings 4, 3 and 2. |
| Jazzing Up the Neck | 7 Chords - Strings 5, 4, 3, 2 | P Howard & Lou Manzi | In a previous lesson, we learned that 7th chords are four-note chords made by adding a new note to our basic triads. In this lesson, we'll explore voicings that have their roots on the 5th string. Usually when playing these types of voicings, we place notes on strings 5, 4, 3 and 2. We don't leave a muted string in the middle of the voicing as we did with the root-6 chords. It's possible to do that with the root-5 voicings but the chords we'll learn are used more commonly. The types of chords will be the same as those played in the previous lesson: Maj7, Dominant 7, Min7, Min7 Flat-5 and Dim7. This type of extended harmony adds a distinctly jazzy flavor to the proceedings and is used by all good players in many styles of music. |
| Jazzing Up the Neck | Swing Rhythms | P Howard & Lou Manzi | One of the most enjoyable and challenging styles to add to your acoustic guitar repertoire is swing. Swing music is a broad category that starts with the '30s era jazz style and extends through rockabilly, acoustic rock and jam band approaches. Many jazz-style tunes and country tunes are played in a swing style. This lesson will examine the basic swing rhythms and start with using movable chord forms that are familiar to you. We'll also learn a basic swing 32-bar song form, and use that to examine our chord possibilities. |
| Jazzing Up the Neck | Swing Rhythms with Movable 7 Chord Forms | P Howard & Lou Manzi | Let's continue to explore swing-style rhythms by expanding our chord palette a bit and learning to substitute chords and add passing chords. We'll tear apart our tune from a previous lesson and add some more movement. We'll also learn some stripped-down chord voicings that only use three notes to define a chord. This is an approach pioneered by the great jazz guitarist Freddie Green with the Count Basie Orchestra. We'll use some voicings that can be two or three different chords depending on how they're used. |
| Advancing Improvisation | Improvising Using Minor and Major Pentatonic | Lou Manzi | We like the minor pentatonic scale. It's got that cool blues sound. It's a little dark and nasty in a nice way because of its flat 3rd and flat 7th. But what about the major pentatonic? It's got that bright and cheery sound, a real major sound, and we like that one, too. It's true that in some songs, one or the other of these popular scales would be the best choice. But in many situations, we can use both scales in the same solo. Players often blend scales to keep their improvisations interesting and colorful. You'll be doing the same thing once you're done with this lesson. |
| Advancing Improvisation | Hybrid Blues Scale | Lou Manzi | The hybrid scale is a combination of the major and minor pentatonics and the blues scale. It's got all the cool sounds of each of these great scales and it offers us a full palette of colors to use in our solos. Do you want the bright sound of the major pentatonic? It's in there. The bluesy edge of the flat three, flat seven, and flat five?They're in there too. This lesson will show you how to create the hybrid scale in a simple way, by adding new notes to the blues scale. And some nice licks and playing examples will show you how to use the hybrid scale in your own music. |
| Advancing Improvisation | Bends | Lou Manzi | Bending and vibrato are two of the most expressive sounds available on the guitar. This lesson will give you some tips that will help you to master these great techniques. They're used by the musicians you listen to and admire, and they should be a part of your playing also. A well-placed bend in a rocking solo can really boost the intensity level of the music. And you can't beat vibrato to add a warm interesting sound to your phrasing. When you get bending and vibrato into your guitar bag of tricks, your playing will really sound polished and professional. |
| Advancing Improvisation | Slides, Grace Notes, and Combined Slurs | Lou Manzi | This lesson will focus on slides and grace note hammer-ons that will help you to take your slurring to new levels. When we play a slur we pick one note and smoothly connect it to another by using a left-hand technique. If you're moving step by step through this Workshoplive course, you've already learned hammer-ons, pull-offs, and bends. Now we'll look at ascending and descending slides and cover one-note and two-note forms of this easy slur. You'll also learn what a grace note is and learn how to add them to your improvisations. And we'll play some nice musical examples that will combine our different types of left-hand slurs. |
| Advancing Improvisation | Extending the Minor Pentatonic | Lou Manzi | If you've been moving through this WorkshopLive course lesson by lesson, you've covered some important one position scale fingerings. Some players call these box positions. They're easy to play, they're used a lot, and you've got to know them. But watch great players play and you'll see them glide fluidly from one spot on the neck to other spots. They've broken out of the box, and this lesson will be your great escape. You'll learn a few forms of the extended minor pentatonic that range from the lower positions to way up the neck. And you'll get to play some acoustic surf rock too. |
| Advancing Improvisation | Sliding Major Pentatonic | Lou Manzi | In this lesson we'll get into some extended major pentatonic scales. When you're comfortable with these fingerings you'll be able to effortlessly glide from one end of the neck to the other, and then back again. We'll cover fingerings in the keys of G, C, E, and A, and you'll learn some new licks that go along with these extended scales. The major pentatonic is a popular choice in country, country rock, southern rock, pop, and blues. So these new fingerings will help you in all of those styles. And they'll also help you express yourself in any area of the fingerboard. |
| Advancing Improvisation | Combining or Switching | Lou Manzi | We've already covered a few different fingerings for extended sliding major and minor pentatonic scales. In this lesson we'll look at combining some of these exciting scales and we'll put them together in some nice blues examples. Using both the major and the minor pentatonic in the same solo will keep your playing interesting and dynamic. And when you've really got them down, these fingerings will enable you to switch from one scale to the other in any area of the neck. And as an added bonus to this lesson, you'll get to learn three of my favorite chord fingerings. |
| Open G Tuning | Open G Tuning and Introduction to Some Basic Chords | Larry Marciano & Greg Horne | The first thing we are going to do in this lesson, is go through the process of re-tuning the guitar for Open G Tuning. I'm going to show you a quick and easy way to do this. Also, we're going to go over some basic chord shapes, that are very easy to play, but are also very useful. You're going to love it! |
| Open G Tuning | More Open G Chords and Basic Scales | Larry Marciano & Greg Horne | In this next lesson, you're going to learn some new chords which incorporate a cool hammer-on technique, that I'm sure you're gonna find very useful. Then, we're going to learn how to play a G Major Scale, in this Open G Tuning, and apply a fingerpicking technique that'll allow you to fingerpick single notes at fast tempos. Finally, at the end of this lesson, I'll show you a fun descending lick that you can apply to the scale. |
| Open G Tuning | Song in Open G Tuning | Larry Marciano & Greg Horne | In this lesson, I'm going to slowly take you through the process of learning a great finger-picking pattern that you will use for the rest of your guitar-playing life. Then, we're going to apply this finger-picking pattern to some of the chords and techniques we learned earlier and turn it into a cool little tune. Keep in mind we're still in Open G Tuning, so this will be a nice piece for you to play in Open G Tuning. |
| Open D tuning | Open D Tuning and Some Basic Chords | Larry Marciano & Greg Horne | The first thing we're going to do in this lesson is go through the process of re-tuning the guitar for open D tuning. I'm going to show you a quick and easy way to do this. Also, we're going to go over some very useful intervals and chords that you can play in this tuning; all of which are fun and easy to play. So let's get to it. |
| Open D Tuning | More Chords in Open D | Larry Marciano & Greg Horne | In this next lesson, you're going to learn some new chords which incorporate a cool hammer-on technique that I'm sure you're going to find very useful. Then, we're going to learn how to play a D Major Scale in Open D Tuning and apply a fingerpicking technique that'll allow you to fingerpick single-note lines at fast tempos. Finally, at the end of this lesson, I'll slowly break down a technique that will get you started on simultaneously playing single-note lines over alternating bass patterns. Enjoy it! |
| Open D Tuning | Song in Open D Tuning | Larry Marciano & Greg Horne | In this lesson, we're going to further explore the technique we learned earlier, of playing over an alternating bassline. However, this time we'll be playing a melody line that is syncopated, and harmonized in major 3rds. Believe me, playing in the open D tuning makes this a lot easier than it sounds. By the time you get through this lesson, you'll have another cool little tune you can play, and a lot of musical ideas you can use to create more ideas of your own. Enjoy it! |
| Open C Tuning | Tuning and Introduction to Some Basic Chords | Larry Marciano & Greg Horne | This next lesson will be our introduction to Open C tuning. This is a unique tuning that'll give you a very deep, rich, and open sound. Playing in this tuning creates opportunities for you to play in new and inventive ways. The first thing I'm going to do is take you through the process of retuning the guitar. Once we get the guitar tuned, we're going to go over some basic chord shapes and get you comfortable moving them around the neck. Enjoy! |
| Open C Tuning | More Chords and Basic Scales | Larry Marciano & Greg Horne | In this next lesson, you're going to learn some new chords that you can apply to this open C tuning anywhere on the neck. Then we're going to learn how to play an open position C Major scale and apply a fingerpicking technique that'll allow you to fingerpick single-note lines at fast tempos. And finally, at the end of this lesson, I'll show you a couple of different licks you can do, utilizing the notes found in the C Major scale. |
| Open C Tuning | Feature Tune in Open C | Larry Marciano & Greg Horne | In this lesson, I'm going to teach you a complete song that you can play in open C tuning. This song contains some of the fingerpicking techniques we learned in earlier lessons, combined with a new technique of playing a single-note melody line. Also, this song will provide you with examples of transposing some of the chords and scales we learned earlier in this course. Learning this song will undoubtedly advance the independence in your picking hand. Take your time, and check it out! |
| DADGAD Tuning | DADGAD Tuning and Introduction to Some Basic Chords | Larry Marciano & Greg Horne | The first thing we're going to do in this lesson, is go through the process of tuning the guitar for DADGAD tuning. The name DADGAD is derived from the note names of the sixth through first strings: D-A-D-G-A-D, DADGAD. The benefit of this tuning is you can play minor and major chords easier than in any other open tuning. I'm going to show you a quick and easy way to get to this tuning, and then we're going to explore how to play some very colorful-sounding chords. So let's get to it. |
| DADGAD Tuning | More DADGAD Chords and Basic Scales | Larry Marciano & Greg Horne | In this lesson, you're gonna learn some new chords to play in DADGAD tuning. First, a series of chords in D Major, and second, a series of chords in D Minor. Then, we're going to learn how to play an open-position D Major scale, an open-position D Minor scale, and then apply a fingerpicking technique to these scales that'll allow you to fingerpick single-note lines at fast tempos. Enjoy! |
| DADGAD Tuning | The Southwind: An Irish Tune in DADGAD | Greg Horne | DADGAD tuning is wildly popular among players of Celtic music. The tuning especially favors solo fingerstyle arrangements of traditional Irish, Scottish, and English melodies. In the 1960s, British guitarists like Bert Jansch and John Renbourn were on the cutting edge of adapting fiddle, harp, and pipe tunes to the guitar. Later on, Pierre Bensusan made this tuning his permanent home. In this lesson, you'll learn a deceptively easy but impressive fingerstyle arrangement of a beautiful Irish air called The Southwind. |
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