1. Defining Moments – A Film from My Hope America


    from BGEA Added 25.3K 39 0

    From a musician, to a football hero, to an illusionist, defining moments shaped their lives. Billy Graham addresses the theme of time and the moments that matter most.

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    • 9-5 Fun with Flamenco


      from Nick Minnion Added 225 0 0

      http://www.secretguitarteacher.com Once you have familiarised yourself with the first position pattern for the Natural Minor Scale, then this lesson shows you a great way to develop your ability to work with this scale over a typical Flamenco chord sequence. This can either be played using open chords. Or using barre chords. Let's just go through the sequence: first with open chords: two bars of A minor, two bars of D minor,two bars of E Major, two bars of A minor. The whole sequence repeats so you have to remember to stay on Am for a couple more bars.. If you are happy playing barre chords there are some advantages to using them to play this, as you'll see in a while. With barre chords the sequence looks like this (shown). Now ultimately the aim is to integrate both lead and rhythm playing, but for now let's separate them out while we develop a few lead ideas. A great way to play this style of lead is to start by working close to the root notes of the chords so let's see where those are on our First Position Natural Minor Scale pattern: Let's start with these three lower root notes A on the sixth string, and D and E on the Fifth string. What we are going to do is use the scale to work out phrases that link the root notes chord like this. Starting on A and ending on A in anticipation of the Am chord. Then starting on A but ending on D in anticipation of the Dm chord. Then starting on D but ending on E in anticipation of the E Major chord. Then starting on E but ending on A in anticipation of the A Minor chord. Always landing on root notes like this isn't necessarily the best way to improvise, but learning how to do this does act as a safety net -- if, when all else fails, you know how to get back to the root note of the next chord. Once you have worked out a few phrases of your own that work in this way, the next step is to try them out with the chords. If your chord changes are up to speed, you can do this yourself by integrating the lead and chords like this (shown) Using the open chords, or the barre chords. When using the barre chords you have two advantages - firstly it's easier to control your rhythm playing by muting. Secondly you can finger the chord slightly early because the root note you end your phrase on will always be a part of the chord. If you find integrating the chords and lead difficult to begin with, then please make use of the backing track that you can access from the toolbox to the right of the video screen. When playing against the backing track try and restrict your phrases to the beats & 2 & 3 & 4 & 1 like this.. Once you have got the knack of ending your phrases on the lower root notes, then try working the higher end of the scale pattern using the four root notes available there.. ..The A on the fourth string 7th fret, D on the 3rd string 7th fret , E on the 2nd string 5th fret and Another A on the top string 5th fret. This opens up quite a bit more scope.. Finally, once you feel your safety net is fully in place, then you can broaden out and improvise a little more freely, safe in the knowledge that you can get back to the root notes if things come unstuck phrasing wise! I'm going to play out with that exercise now -- notice I'll be mixing some phrases that resolve back to the root notes, and some that don't.. OK -- have Fun with Flamenco! And I'll See you in the next lesson!

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      • 6-0 Easy blues- Stuck in the middle


        from Nick Minnion Added 202 0 0

        http://www.secretguitarteacher.com This is a sample video from the Secret Guitar Teacher website (see link above). It’s included bothe in the Complete Beginners Acoustic Guitar Course and Broaden Out with the Blues. So I think we could describe it as falling somewhere between the Beginners and Intermediate level. This is the abridged transcript of the lesson: Gerry Rafferty and Joe Egan wrote this song – in 1972 allegedly as a sort of parody of Bob Dylan’s vocal style. The song was a top ten hit in the States and in British charts and featured infamously on the soundtrack of Quentin Tarantino’s Debut movie Reservoir Dogs. Let’s start with the intro: Took me a while to work this one out as it sounded a bit like some sort of open tuning was being used, but actually it is a really neat idea using just the top four strings and leaving the first and 4th string ringing open right the way through. On the fretting hand start with your third and fourth finger holding down the 2nd and 3rd strings at fret 7…Then move the same shape down to fret 5…Then, without changing your hand position, shift the shape onto your first two fingers – 1st finger on 3rd fret on the 2nd string…and 2nd finger on 4th fret on the 3rd string…then take this shape on down to the 1st and 2nd frets. Take a minute or two to get that sorted out – don’t be tempted to compromise the fingering – if you try and avoid using your pinky, you will almost certainly find the change too fast to execute! Here it is at slow speed, but with the timing in place: And the strumming hand view This timing is the toughest part of this. Here are a few tips: Firstly, try to keep your right hand swinging eight to the bar...like this. Secondly have a go at just copying the rhythm by ear – many people find this approach works best. Finally, if that doesn’t work for you, use the printout which you can access from the toolbox to the right of the screen to work through the strumming sequence. The intro goes through the open string sequence that we have just looked at twice then into four bars of D with a strong rhythm that’s used for most of the rest of the song. Then the vocals kick in and we work through the first nine bars much as we are expecting a 12-bar blues pattern to unfold.. Four bars of D…two of G7…back to two of D…Then one bar of A…before we take a slight departure from the standard 12-bar and insert a C for half a bar before the expected G for the second half. Notice a slight change in the rhythm here as well – Down up down (Change) down up down..Before returning to finish the 12-bar with two bars of D The verse sequence is then repeated for verse two after which we go to the middle eight (which should be called a middle ten in this case!). This kicks off with the G7 chord as the rhythm flattens out to a straight eight… Back to D for two bars…And then two more of G7...Leading us to the song’s very effective hook…for this we hot the D and hold it while hopefully someone plays a cowbell for us! Be sure to keep counting a full two bars...Then A7 the same treatment – hit and count…Then it’s back to the four bars of D with the main strum pattern which we used in the second part of the intro. This time there’s a bit of slide guitar played over it on the record. That’s effectively covered all the parts of the song – if you want to perform it as recorded here is the full sequence – it’ll help for you to listen to the recording as you play along following this as it is quite a long song! Okay, have some fun with that and see you in the next lesson

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        • 52 Lesson on chord changing techniques - cluster principles


          from David B Taub Added 3,046 0 0

          52 Lesson on chord changing techniques - cluster principles

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          • 5-1 Getting the 12-bar blues


            from Nick Minnion Added 408 0 0

            http://www.secretguitarteacher.com Getting the 12-Bar Blues Beginner to Intermediate lesson about Blues. What is a 12-bar blues? Nick Minnion (The Secret Guitar Teacher) goes through three of the most popular blues chord sequences and sings (really badly!) his own Gutwrenchingly sad 'Dead Doggy Blues' by way of illustrating how blues sequences line up with blues lyrics. In this lesson we are going to introduce you to the basic underlying chord structure to literally thousands of popular songs. The 12-bar blues form first made its appearance in published music in 1912, but was almost certainly around in live African American Folk music a long time before that. Over the last hundred years the basic 12-bar sequence that we are going to look at has appeared in almost every popular music genre from jazz and 50s rock n roll right on through folk, country, and heavy rock. If you are going to play with other musicians then the 12 bar blues is far and away the sequence you will most often be expected to jam along with so you could say it's required learning for all guitar players! Now in later lessons we'll explore various bass lines, riffs, shuffle patterns and other rhythmic techniques characteristic of blues. (see video) But in this lesson we are just going to explore a few of the commonly used 12-bar blues chord sequences.Here's what I call the simple form of 12-bar blues pattern: The first line is all one chord -- E7. The second line is evenly split between two bars of A7 and then back to E7 for two bars. The last line is evenly split between B7 and E7 The best way to hear how the sequence works is to think of a typical blues vocal - here's a verse of Dead Doggy Blues -- a cheerful little number I made up to illustrate how this works. Strum along with me if you like (see video) Now in blues, chords work together slightly differently to how they do in other types of music. One of the results of this is that the seventh chord type and major chord type are pretty much interchangeable. So just with that information alone you can start improvising like this (see video) Now let's look at what is probably the most commonly used 12-bar sequence: You can see that the first two lines are just the same as our simple blues sequence, but we have made a couple of changes to the last line. Only one bar of B7 back to one of A7 one of E7 then back to one of B7. Only one bar of B7 back to one of A7 one of E7 then back to one of B7. Listen to how this makes the whole thing a bit more dynamic: Nothing much happens in the first line. Bit of change in the second line just to support the repetition of the lyric Then a real sense of build up on the B7 chord And the shift down to A7 gives us a nice set-up for our punchline Then the final bar jumps back to B7 again to provide what we call a turnaround -- this is a signal that we are heading back to start the next verse: So that's what I call the common blues progression because it's probably the one you will hear the most. Finally we come to the Quickchange progression which is one that says four bars is just too long a time to go without a change. So you can see that we break up the first line by jumping to the A7 and back again to E. I have also marked out an effective use of the difference between E major and E7 in the first and second line of this progression. Then in the 11th bar you can see we have added in a fairly busy looking turnaround progression. This is something of a blues cliché and is often used for intros as well as between verses: Here are the chord shapes for that: (see video) Have a bit of a practice, then join me in a blues jam to end this lesson off. One of the great things about blues is how different elements of it can be blended together. So regardless of whether you have fully learnt and rehearsed all of the forms we have discussed in this lesson you should be able to strum along with me now safe in the knowledge that most of what you play is going to fit in with most of what I play!! So here's both verses of Dead Doggy Blues using the QuickChange version of the 12-bar, but play along using whichever version you are most comfortable with and it won't sound too far out!

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            • 111 Guitar practice exercises strumming 16ths and embellishing


              from David B Taub Added 1,547 0 0

              111 Guitar practice exercises strumming 16ths and embellishing

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              • 21 Introduction to guitar strumming mechanics


                from David B Taub Added 8,718 0 0

                21 Introduction to guitar strumming mechanics

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                • letters and call


                  from michael strum Added 37 0 0

                  more psychic detritus from Noko, after filming the enochian letters being drawn to complete the space, the letters are loaded into modul8 and mixed while the first call is intoned.

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                  • CHARLESTONVLOG010 - miserable 1st attempt at monome live looping


                    from Charleston Patrick Added

                    today i made one of those little $3 dollar piezo pickups. i figured i should try to loop the strumstick (i found a week ago) live through the monome. the monome is still a tad buggy, and i couldn't solve a latency issue. i got impatient and just made this video without solving the problems. the video may be a little tiresome, heck it might be awful, but if you make it to the end props to you, and i hope you enjoyed it.

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                    • Chapter 4 excerpts: Rippling and Stroking, Rasgueado


                      from Peter Inglis Added 11 0 0

                      Demonstrating 'Guitar playing and how it Works' by Peter Inglis. Get the book at: http://www.smashwords.com/books/view/433367 or http://www.amazon.com/dp/B00JLYREO6 4.4.1: Rippling and Stroking, formerly known as plucking. - 'Plucking' is not a terribly useful concept on the guitar. Why? The relation between Words - Concepts - Movements. - Move one finger and all the fingers move. Fingers all move together. - Fist to fan. - Take as long as you need! - Think 'Stroking' and you will get a lot more colours from the strings. 4.5.2: Energise the strum with rasgueado - Apply the ripple movement to the strings. - Loop the ripple to create a continuous sound. In practice, the thumb helps out. - REST between repetitions to avoid injury, and CONSCIOUSLY relax between movements. - Easier at medium / fast tempos. At slower tempos it becomes a different movement and you may as well use the thumb! The book shows how guitar performance skills can be developed to a very high standard by any average person.

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