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Learn To Play Jar Of Hearts By Christina Perri On Guitar • Chords, Tab, Strum Pattern, Fingerstyle, Lyrics, Videos.
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Learning Blues Guitar
I have been teaching guitar professionally since 1992, when Don’t Fret Guitar Instruction was established. Over the years, I have taught countless students (beginners to advanced) how to play or improve their chops. Past students include four members of PROTEST THE HERO.
With this book, my goal is to relate the scales with chords and rhythms as opposed to just learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge is crucial to good soloing and vice versa. This comes through understanding the relationship between chords and scales. This book provides that important foundation.
The book is unique in the fact that each chapter is based around a different key signature and an open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the pentatonic scale. Eventually all the box patterns are covered, from the open strings to the fifteenth fret.
There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a chord progression, moves into various rhythm patterns derived from the chord progression, and then culminates with solos based on the scale and key covered. These solos tie in with the chord progression and rhythm patterns to form a complete lesson for each chapter.
The book is progressive. Upon completion, the student will have a solid foundation in blues guitar, and will understand the rhythm, lead connection.
The book is best studied from beginning to end, without slighting any material. All theory is explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and photos of hand positions as well as videos posted on YouTube to aid in the learning process.
It is best, but not necessary, to have a knowledge of barre and open chord shapes before beginning this course. All the chords have fretboard grids associated with them.
Good luck and have fun. Music is a celebration. Enjoy!
Lorne K. Hemmerling
2011 release from the Bensalem, PA-born singer/songwriter. Ms. Perri spent a month plus locked away at the famous Sunset Sounds studio with producer Joe Chiccarelli (White Stripes, Tori Amos, The Shins) working on the eleven songs featured on lovestrong. including her already platinum-selling single "Jar Of Hearts." Also available as a Deluxe Edition with three bonus tracks.
Christina Perri's song Jar Of Hearts, became popular after it was featured on the Fox TV show, So You Think You Can Dance in 2010. The song has also appeared in , Prom NightGlee, and . She has also recorded songs for The Twilight Series. At the age of 16, she taught herself how to play guitar, and began her singer-songwriter career at the age of 21. Switched At Birth
After the song was featured on So You Think You Can Dance, it went on to sell over one hundred thousand copies in the space of one month. This led to appearances on The Early Show, Jay Leno, Letterman and Conan.
She released her first album, Lovestrong in May of 2011. She also has four EP's (extended play) on the market, The Ocean Way Sessions, The Karaoke Collection, and A Very Merry Perri Christmas.
Jar Of Hearts is a beautiful song. Great melody, chord changes and lyrics. I have arranged the song for solo rhythm guitar at a beginner to intermediate level. Most of the chords are open shapes, with some difficult switching to the barre shapes. I have found, that most all beginning students (including myself, when I was just starting out), hate barre chords. Rightly so… they are not easy, and they hurt! Take your time, make sure your form is correct. This is essential to achieving the proper sound. It is not unusual for all the strings to sound muted at the beginning. Place the second, third, and fourth fingers first, then apply the barre finger. Check to see which notes are muted by picking them individually.
This piece has been notated with all rhythm slashes. There are a few different patterns, that I have used to emulate the keyboard part. Treat the whole and quarter note slashes as downstrokes. Since the tempo of the song is quite slow, try using downstrokes for the eighths and down up for the sixteenths. For example: at measure thirteen, where the rhythm kicks into a full pattern, the strum direction would be down, down, down, down, up, down, down, down, up, down, up. In order to play with the recording, a capo must be placed on the third fret.
As stated, most are open shapes. The F Major and F minor are best treated as Root 6 barre chords. this makes the transition much easier. There is also an unusual diminished shape at the end of the song (measure seventy).
Most of the transcriptions I have seen on other sites, have this chord wrong.
Diminished chords are not often used in pop songs, but are prevalent in jazz, mostly as passing chords. This version is a great accompaniment for a vocalist or a solo instrument.
The C/G in measure thirty three is a slash chord. The G is the lowest note of the chord. In reality, this is just a C Major, because the note G, is already part of the C chord (the fifth). The fingering is a bit odd, but if you look closely, it is a G Major, C Major combination.
In order for the chord to sound properly, the fifth string (A), must be muted out. I use the edge of my third finger. When releasing the the C/G to G, take off the first and second finger and continue to mute the fifth string.
Once you get used to these shapes, these forms come in very handy when a progression calls for a fast change from G to C.
The intro to 'Wild Night' by Van Morrison comes to mind.
Jar Of Hearts With Elizabeth Storms
I have arranged this version after working with vocalist Elizabeth Storms. I realized it needed a bit more variation and technique, as opposed to simply strumming the chords. I really wanted the guitar to compliment her voice and work in unison with the flow and dynamics of the tune. I have arranged it this time with a combination of fingerpicking and flat-pick strumming. For want of a better place, I hold the pick in my mouth, until it is time to employ it. Another solution would be to use hybrid picking (a combination of the fingers and pick), instead of fingerpicking. That way, the pick is still in your strumming hand, ready to go. I like the sound and feel of the fingers better, although I do employ hybrid picking quite often, when I play. Whatever works. Try different techniques and see what is best for you. For more on fingerpicking and the 'grabbing' chords technique see: Home, Dust In The Wind, Misty, When Sunny Gets Blue.
Christina Perri • Jar Of Hearts
© 2013 Lorne Hemmerling