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Guitar Lessons • How To Play And I Love Her • The Beatles • Chords, Strum Pattern, Arpeggios, Solo, Tab, 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
And I Love Her • Guitar One
This is the chord chart for a very beautiful song from Paul McCartney and The Beatles. Although some of the chords could be open shapes, I have transcribed it with a mixture of Root 5 and Root 6 barre chords (see: Beginner Guitar Lessons • Barre chords). The strumming pattern, with the muted stroke on the first half of the second beat, is much easier to execute with a barre shape. Simply, release the pressure on the fret hand to achieve the proper sound. Open chords must be muted with the strumming hand to obtain the same results. This is a little trickier and only works on the downstroke. The edge of the hand is placed across the strings directly after the downstroke strum to mute the chord. Both of these techniques will be difficult for the beginner, but well worth the effort. To get started, try strumming four quarter note downstrokes, on both a barre and open shape, and mute the second and fourth beats. Strum, mute, strum, mute.
The song modulates (changes key) at measure thirty three, during the guitar solo. The original key is E Major-C sharp minor. Harmonization of E Major: E Major, F♯minor, G♯minor, A Major, B Major, C♯minor, D♯diminished, E Major. All the chords are diatonic to that key (see: Beginner Guitar Lessons • In The Style Of Runaway Train). The modulation takes the song up a half step (on guitar, this is the distance of one fret), to the key of F Major-D minor. Harmonization of F Major: F Major, G minor, A minor, B♭Major, C Major, D minor, E diminished, F Major.
And I Love Her • Guitar Two
The second guitar part kicks the song off with a short riff based in C♯Aeolian (see: Modes Of The Major Scale), then rests for the remainder of the first verse. In the second verse, the guitar enters with arpeggios, based on the top three notes of different inversions of the barre chords from the guitar one. For example, the F sharp minor shape in guitar one is a Root 6 barre, and the same chord in guitar two is a Root 5 shape. This is reversed on the C♯minor. Guitar one is a Root 5 shape, guitar two is a Root 6 barre.
The A shape arpeggio in measure twenty two is based on an open D chord, while the B7 in measure twenty three is an open D7 shape. The E6 in guitar one, is an open E chord with the sixth degree of the E Major scale (C♯), added on the second string. Chord spelling low to high is: E, B, E, G♯, C♯, E. In guitar two, the arpeggio is the same as the three notes played over the C sharp minor chord. Chord spelling for C♯minor Root 5: C♯, G♯, C♯, E, G♯. Chord spelling for the E6 in guitar two: E, G♯, C♯. These two chords are closely related. If you watch the video, I have my first finger barred across these three notes (E, G♯, C♯) for the entire progression. This is the easiest and cleanest way to play the arpeggios.
The solo is a reproduction of the vocal melody, with some embellishments. There is basically three different ways of approaching soloing:
1) An exact copy of the vocal melody. You can't go wrong here! Every note will sound perfect.
2) The vocal melody with embellishments. These embellishments could be extra notes, taken from the scale, or different techniques as hammer-ons, pull-offs, slides, etc.
3) A total departure from the vocal melody. This is the most common solo in rock, blues, etc. The player simply improvises the solo on the spot or composes a solo that sounds different from the rest of the song.
The ending chord, D Major, comes as a surprise, lending a happy sound, to a song that is based in a sad, minor tone. The Beatles did this quite often, leaving the listener hanging with a 'what the heck just happened there' feeling. You can't argue with genius!