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This topic contains 91 replies, has 2 voices, and was last updated by  Steve MacLellan 4 years, 5 months ago.

Viewing 10 posts - 21 through 30 (of 92 total)
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  • #1579

    Steve MacLellan
    Keymaster

    How many hands does it really take to play the guitar?

    #1610

    Steve MacLellan
    Keymaster

    American Woman
    Adam Stark, from The Kicks, shows you how to play “American Woman” by Lenny Kravitz. “American Woman” was originally written and recorded by Canadian rock band, The Guess Who, and first released in 1970. Lenny Kravitz covered “American Woman” for the soundtrack to Austin Powers: The Spy Who Shagged Me. Kravitz put his own twist on the song, giving it a slightly different groove, but maintaining that classic rock guitar tone.

    You can get the lesson here and don’t forget to get the free tab included with it. The tab is featured in musical notes, not real tab.

    #1611

    Steve MacLellan
    Keymaster

    I Want You To Want Me
    Brandon Trapp walks you through a classic tune from Cheap Trick, “I Want You To Want Me.” This classic tune first appeared on Cheap Tricks 2nd studio album, In Color, which released in 1977. At first, the song didn’t chart in America, but was a big hit in Japan. The success of a number of their singles in Japan led to their now famous 1979 concert in Budokon. The live recording of this concert was a smash hit in the US, as well as the live single version of “I Want You To Want Me.”

    You can get the lesson here and don’t forget to get the free tab included with it. The tab is featured in musical notes, not real tab.

    #1615

    Steve MacLellan
    Keymaster

    Fast Fingerstyle Runs
    Have you ever heard a guitarist rip through a fast run as he plays some solo or song? You may wonder, “How is he doing that? What are the notes he’s using? Is he actually thinking about all of those notes, or is it some pattern?” Well, the answer is that you can create fast and impressive sounding runs with a simple technique incorporating major scales, open strings, and hammer-ons and pull-offs.

    This lesson covers…

    • Using Hammer-Ons and Pull-Offs to Create Fast Runs
    • Combining Major Scales with Open Strings
    • Finger Patterns for Fast Runs
    • Chaining Finger Patterns Together for Longer Runs
    • Drop D Tuning

    You can apply the techniques learned in this lesson to a wide variety of open keys like C/Am, D/Bm, E, A/F#m, and G/Em. Grab your guitar and let’s learn a key that will unlock fast fingerstyle runs in your playing! – Steve Krenz

    You can see the lesson here.

    #1616

    Jack

    Wow! Great lessons. Thanks for sharing, Steve!

    #1645

    Steve MacLellan
    Keymaster

    Black Dog — Led Zeppelin

    Anyone here over fifty who didn’t grow up listening to Led Zeppelin?

    What was the name of the album that had Stairway to Heaven on it? Ya’ I don’t remember either. But another really cool tune on the same album was Black Dog — the timing is a bit tricky but here is how it’s done:

    Regards,
    Steve

    #1697

    Steve MacLellan
    Keymaster

    Hot for Teacher

    Part #1:

    Part #2:

    Part #3:

    Part #4:

    Full tune:

    #1725

    Steve MacLellan
    Keymaster

    Nice lesson by Steve Krenz today on the Gibson website on diminished 7th chords and their use. You can view it here, but there are some elements of theory left out. If you have a look at the tab for it… there are a couple of things I would point out.

    Notice the progressions are going up the scale, not down. If you’re modulating down, augmented 5ths are better.

    He also mentioned using the diminished 7th that was a half-step below, and this could be confusing in some situations. For example, in the key of C, if you’re playing the V7 you can play the last bar as a B diminished 7th to take you home but it helps if the root tone is a half-step down so the B would be your lowest note on the fretboard in the chord. Because a G#dim7 has the exact same notes as the Bdim7 but if you don’t have a good bass player, it doesn’t sound as good for a baseline going from G-G#-C. If you have a good bass player, then he would be playing the B instead of the G#, which would help cover you regardless of which chord form or note you had in the baseline.

    See, Steve only touches on this briefly, but the diminished 7th chord can actually take it’s name from any of the four notes that are used to play it.

    #1726

    Steve MacLellan
    Keymaster

    Sorry, the augmented 5th is used in place of the V7, although it can be used in tunes that have a secondary dominant.

    #1734

    Steve MacLellan
    Keymaster

    Steve Krenz shows how to jazz up a typical II-V-I progression:

    The pdf download for this lesson can be found here.

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