Podcasts about video guitar lesson

In this lesson, Dan and I take a look at the outro solo for "Feel Like Makin' Love" by Bad Company - a song which I am covering with my band. During the lesson we go through 9 tips on transcribing from Dan and we look at 9 licks from the solo. Dan shares his ideas with me on tone and effects for songs and also the different ways to approach different sorts of solos. Timings for Video Guitar Lesson 15 - on transcribing: 00:03:18 Boss RC30 Loopstation - I talk about various features on it 00:04:32 I overdub with the part Dan came up with before 00:05:41 Dan's first improvisation over the riff 00:08:42 A word on active listening and the value of ear training 00:13:24 Comedy - the dots (correction: not Smith and Jones but French and Saunders) 00:14:40 Tip 1: You need to play the song alongside the tab 00:18:29 Tip 2: When you try to transcribe something do it in small chunks 00:23:56 Tip 3: Check out live versions and alternate versions of the song 00:24:17 Sometimes YouTube guitar lessons can be illuminative 00:24:48 Tip 4: Pick something simple and work at your level 00:25:12 Tip 5: Listen for the chords - can you work them out? 00:25:37 Summary of Tip 2 00:26:08 Tip 6: Stitch the parts together and learn the piece 00:27:05 (tip 1 summary) check tabs against the songs 00:27:17 Tip 7: Try to actively listen to different parts / instruments 00:28:33 Tip 8: write out the structure of songs and parts 00:29:26 Tip 9: Music theory helps your transcribing 00:31:36 We're going to listen to the track and lift some of the lciks from it 00:33:16 Lick 1 00:34:42 Lick 2  00:35:14 Tip 10: It's good to write down what you hear 00:36:59 Lick 3 00:39:54 Lick 3 broken down 00:50:42 Lick 4 00:54:22 Lick 5 00:54:58 Lick 6 00:55:04 Lick 7 00:55:12 Lick 8 00:55:33 Lick 9 00:56:03 Lick 10 00:56:46 Three different types of solos 00:57:32 Solo 1: Part of the song 00:58:44 Solo 2: Has become an absolute classic and so should be learnt and retained 00:59:58 Solo 3: Free to mess with but there are licks and phrases that ought to be in there 01:03:11 Solo 4: Improvised and very free to mess with  01:03:43 Example of going nuts and over the top with Bad Company riff 01:05:53 Crazy Little Thing Called Love 01:06:53 Purple Rain solo

Video Guitar Lesson 12: Arranging parts for bands and situations with two or more guitarists In this lesson, Dan and I continue to explore rhythmic patterns, looking in particular at the benefits and problems which arise when playing in situations with multiple guitarists. The focus for the lesson are two songs which I am arranging to play with a band that has in it a drummer, bassist, keyboardist/singer and me and another student of Dan’s on guitar. The two songs are ‘The One I Love’ by REM and ‘Feel Like Making Love’ by Bad Company, but throughout this lesson we look at things which arise in other songs to so that we can apply this to this situation. We look at octaves, open strings, pick up choice, EQ, guitar choice, briefly effects and playing using different inversions and much more. Timings for the SoundCloud audio version 00:02:31 The setup of my band 00:03:24 Introduction to the two songs which we are going to be looking at the parts for 00:05:09 First look at the One I love by REM 00:05:59 What Dan plays for the One I love 00:08:22 Playing a second part over the opening riff using octaves 00:09:15 Second go at the opening riff together 00:11:10 A more meaty second part - playing 5th chords piano style 00:12:30 Option of not playing at all and allowing the other guitarist space 00:13:05 Dynamics in Steve Vai's - the Love of God - using increasing vibrato 00:13:39 Back off at the beginning and as the song starts to take off you increase what you are doing 00:13:46 You want to hit a chorus and have somewhere to go, some punch, some headroom 00:14:00 Using the volume on your guitar 00:14:22 Second demonstration of the piano style part 00:15:12 Money for Nothing is a good example 00:15:22 staccato style like ACDC a Long Way to the Top 00:15:35 Discussion about frequency and where you sit in the mix 00:18:05 Best thing you can do is be mindful of separating your sound from the other guitar 00:20:19 Second part for the Kings of Leon Sex on Fire riff 00:21:13 Recap of advice on frequencies and staying out of eachother's way 00:22:29 Comfortably Numb - so many things to fill the air - use delay 00:24:09 Some effects are very indicative of the time 00:26:11 Second guitar part for after the introduction and during the verse 00:27:40 First way is to play chord shapes up at the 12th fret 00:29:13 Second option with a nice delay and more sparse playing 00:30:00 Third option - start with the Em even higher up the neck 00:31:34 Fourth option - really subtle notes with volume swells and delays 00:32:52 Chorus part 00:33:52 If someone is playing something rhythmic then a good second part could be blocky 00:34:48 Whole Lotta Rosie - ACDC 00:44:33 Humbuckers (e.g. Les Paul) Sad face EQ vs Strat smiley face EQ 00:45:40 Playing using gain - roll the tone back a bit 00:47:20 The middle position on the Les Paul mixing the pups 00:48:23 What's a treble bleed? 00:49:23 Feel Like Making Love - Bad Company 00:51:30 Run Like Hell - Pink Floyd 00:53:20 Rejigging the inversions of the triads 00:56:06 Rejigging the inversions for Feel Like Making Love 00:58:30 Arpeggiated chord part for the verse 00:58:56 Sweet Home Alabama 01:03:39 Similar chord set in Feel Like Making Love so you can do a similar thing 01:05:34 Raising the dynamics for the chorus 01:09:38 Sometimes when you consider parts for songs you can bring some modernity to your parts 01:10:35 Add a dash of your own thing

Video Guitar Lesson 9: Usable ideas for the melodic and harmonic minor scales and selected modes YouTube version = https://www.youtube.com/watch?v=8LnRYVsaA3g&feature=youtu.be Guitar Gear Mentions: Wrist Grips Website: http://www.wrist-grips.com Sure Grip Guitar Picks Website: http://suregripguitarpicks.com Curt Mangan Strings Website: https://www.curtmangan.com/ In this lesson Dan helps me to develop what we began to look at last lesson by taking the theory and looking at how we can actually use and implement it. As always, there is plenty of demonstration and guitar playing throughout including over some ideas like the progression in Stairway to Heaven and California Dreaming. Covering quite a few genres and concepts, we hope you get a lot out of this lesson, whether you want to shred or are aiming for some new strategies to add interest to the melody of your improvisation. All the best, Gary and Dan https://tunein-toneup.com/ https://soundcloud.com/tunein-toneup/ Timings for the SoundCloud audio version 00:06:23 The first scale we look at is the melodic minor 00:11:48 The first use is a descending bass line progression like: Stairway to Heaven 00:16:20 Dan's example over Stairway to Heaven progression 00:17:27 Funkier ‘Stairway’ backing demo 00:19:41 Using melodic minor in a horror movie soundtrack for tension 00:21:41 Using in tune where you use an [i IV ii V] progression like Am D Bm E 00:23:42 Considering the mode: Locrian #4 00:24:32 Locrian #4 over the E of Blues in A 00:26:19 Droning an E7#5 for a melodic minor feel 00:28:31 Using over a rock song that sits in a static place 00:35:17 The second scale we look at is the harmonic minor 00:36:56 California Dreaming - using the major chord instead of the v (minor 5th) chord of the minor scale 00:37:29 Demo of this use of the harmonic minor 00:39:45 Metal backing track and the phrygian dominant mode 00:42:58 Using diminished arpeggios

Video Guitar Lesson 7: Performance tips for acoustic guitar by Dan and Gary

Video Guitar Lesson 5: Tapping techniques; usable ideas and exercises for improvisation https://www.youtube.com/watch?v=m6TpqchLVg4 In Tune in Tone up's second full lesson we explore the theme of tapping: using the strumming / picking hand to hammer on to notes which would normally be out of reach for your fretting hand. Dan gives me some hints and useful tips to get me started and help me to develop in this area and we also spend some time trying to put some of these ideas into some improvisation over backing tracks. As always this lesson has been uploaded warts and all in order to deliver our content to you, the listener, as frequently and in as full a format as we can. We hope that this is useful to you and that there are no glaring mistakes or editing issues. We really hope that you're enjoying this new format of our lessons (with our audio also released on SoundCloud - https://soundcloud.com/tunein-toneup - as per our older format) and look forward to many more lessons with Dan and I as we tweak our setup and smooth out our production. Do get in touch with us for anything at all, including feedback in the comments below, through our Facebook page (https://www.facebook.com/tuneintoneup/) or via our website (https://tunein-toneup.com/) and we'll do our best to respond to your suggestions, ideas and comments.

Before you dig in, a quick announcement ... We just launched a new video podcast on iTunes that we call Guitar Sherpa. We've already stoked it up with some of our favorite vids including this performance of Billie's Bounce from young Swedish jazz master Andreas Oberg. You can check out Guitar Sherpa on iTunes at: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=289090432 Yes, we'll keep these audio podcast coming as well and there's tons more on its way to your earbud. Now dig this performance ... Practice smart, play hard!

McErlain shows you one of Chris's more twisted blues pieces, played on open-tuned Dobro. Chris describes it as Bukka White meets Thelonius Monk. Need we say more? Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=2042 (log-in to access streaming audio and files).

Burrell's funky comping powers many of the best late 50s and 60s beatnik-jazz records. Andy Ellis helps you summon this late-night mood by using the comping moves in this rhythm figure. Played at faster tempos and with a tighter feel, the lower line is the foundation for '50s rock and and much of '60s soul and honky tonk. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=2398 (log-in to access streaming audio and files).

It's an amazing sight. Armed exclusively with a twangy 6-string resonator-an instrument most audience members associate with the likes of Son House and accompanied by a pumping drums-and-bass rhythm section, the lanky, tattooed, 6'2" Eric Sardinas delivers a fast-paced set of adrenaline-drenched blues. But because Sardinas cranks through a Rivera half-stack and displays a penchant for crunchy, feedback-laced tones, his wicked solos evoke Jimi Hendrix and Duane Allman, even as they pay homage to Charley Patton and Elmore James. An hour before show time, the soft-spoken Sardinas sat with GP, sharing his techniques and demonstrating the slide riffs he used on his latest album, Black Pearls. Produced and mixed by the legendary Eddie Kramer, the disc is packed with taut grooves and snarling resonator tones. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=5632 (log-in to access streaming audio and files).

She's not only an enchanting singer and superb songwriter, but Joni Mitchell is also an outstanding player and master of open tunings. This lesson from Andy Ellis, explores her penchant for open tunings, and details how she uses these tunings to spur inspirations for songs including how she developed the classic riff for "Big Yellow Taxi" out of open D. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1222 (log-in to access streaming audio and files).

Few guitarists become so strongly identified with a genre of music as John Lee Hooker and his timeless boogie. Hooker laid down his share of classics, such as "Boogie Chillen" (a.k.a. "Boogie Chillun"), "I'm in the Mood," and "Boom Boom," and inspired a host of musicians to elaborate on his insistent, hypnotic themes. ZZ Top ("La Grange"), one-hit wonder Norman Greenbaum ("Spirit in the Sky"), Booker T. & the MG's ("Green Onions"), Stevie Wonder ("Higher Ground"), and even Steely Dan ("Black Friday") are among those who paid homage to Hooker by reworking his swampy riffage. Andy Ellis guides your Hooker tour. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=6203 (log-in to access streaming audio and files).

Even metal icons like Metallica's Kirk Hammett go searching for the roots. This lesson deals with his recent interest in the blues and how using blues style can add emotional heft to your hard-rock solos. Instead of just shredding through modes and scales, Hammett is interested in phrasing and bends. Fig. 1 is a cool blues-rock lick that you can master and include in metal solos. One among several. 3120, Achtung Baby!, (The Sound & The Fury/Kirk Hammett). When you're a rocker and you get up in front of people, there ain't a thing wrong with doing handstands. Show off, babe. Jimmy Brown demonstrates three of Hammett's favorite ways to put the achtung' in his solos: killer bends, repeated speed licks and other ways to get the crowd's attention away from their beer and on you. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1776 (log-in to access streaming audio and files).

When most guitarists think of the Allman Brothers Band, the image usually held in their minds is that of the late, great slide master Duane Allman. While Duane was a peerless icon of the electric blues, his counterpart in the Allmans' potent twin-guitar assault, Dickey Betts, was equally responsible for the group's innovative sound. Betts injected the band with a healthy dose of jazz and country, and was the major architect of the Allmans' extended in-concert improvisational forays. Protracted instrumentals such as "In Memory of Elizabeth Reed" and "Jessica" showcase Betts' stellar mastery of theme and variation. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=6327 (log-in to access streaming audio and files).

Want to be a better player? Of course we all do. That's why we practice. So why does it seem like all that practice time isn't paying off? It could be because you're not practicing the right stuff. Guitarists tend to associate the term chops with playing fast. And while technical proficiency is definitely part of the equation, there's a lot more to chops than just burning through scales. To really grab a listener's attention you've got to play with confidence and conviction. You need accuracy, dexterity, and a solid sense of time. The good news is that if you strive for all these things, the speed will come. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1600 (log-in to access streaming audio and files).

He's one of the most under-heralded geniuses of the jazz guitar. After cutting his teeth on the NYC bebop scene of the late '40s, and building a rep with vibraphonist Red Norvo, Farlow receded from jazz life to live in a shore town in New Jersey. Pete Wagula's lesson examines the titan's style, with a predilection for chord melody, but an astonishing facility for single-note runs and double stops. Farlow, renowned for his big hands, will test your stretching capabilities. Overall, an invaluable look at one of the all-time greats. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1339 (log-in to access streaming audio and files).

Rockabilly is a kissin' cousin of Jazz, with twangy tone and playful techniques disguising an often very sophisticated harmonic and melodic structure. Jim Campilongo lays out some of that tricky stuff-arpeggios, altered tones and substitute chords- in clear detail, giving you enough ideas to fuel your playing for weeks to come. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1571 (log-in to access streaming audio and files).

Chances are good that when Jimi Hendrix was playing timeless blues intros like the one presented in Ex. 1-which is similar to the opening notes of Red House - he wasn't consciously thinking, I'm now fretting the interval of a major sixth for two beats and then moving it down a half-step. But like great blues players before and after him, Hendrix used intervals of major or minor sixths all the time because these grips- when played with passion and conviction-have a mesmerizing, open sound. While Ex. 1 may be one of the most popular sounds in the history of the blues, an equally tasty but less common example of a blues-inflected sixth is shown in Ex. 2. Hendrix sometimes played this lick when approaching the IV chord of a slow 12-bar blues in G. This lick gets its savory flavor from the minor sixth that occurs between E and C, just before C slides down to Bb. To ensure this meaty maneuver has a huge emotional impact, play it not just with your fingers, but also with your heart-as well as a warm, biting tone and a lyrical vibrato. major and minor sixths was because he absolutely killed the notes with his pick. Learn these and three other blues sixths licks in this ear-opening lesson from Jude Gold. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=4792 (log-in to access streaming audio and files).

Another one of Andy Ellis' six-string history lessons, this 24-parter looks at slide playing from myriad angles, from Blind Willie Johnson's pocket-knife lick from 1927 to Jeff Beck's violin-like line on Beck's Bolero to Bonnie Raitt's thick-toned finesse. This two-part lesson hits the big names - Duane Allman, Cooder, Clapton, Walsh, Page- along with forefathers like Son House, Elmore James, Tampa Red and Robert Nighthawk. This stuff'll keep you busy for months. And if you haven't started sliding yet, this lesson is a perfect entry point. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1164 (log-in to access streaming audio and files).

Another one of Andy Ellis' six-string history lessons, this 24-parter looks at slide playing from myriad angles, from Blind Willie Johnson's pocket-knife lick from 1927 to Jeff Beck's violin-like line on Beck's Bolero to Bonnie Raitt's thick-toned finesse. This two-part lesson hits the big names - Duane Allman, Cooder, Clapton, Walsh, Page- along with forefathers like Son House, Elmore James, Tampa Red and Robert Nighthawk. This stuff'll keep you busy for months. And if you haven't started sliding yet, this lesson is a perfect entry point. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1163 (log-in to access streaming audio and files).

Although he has known fame as a rock star, Eric Clapton has always remained planted in the blues. Here, Andy Ellis examines nine prime Clapton-isms, from a typical Bluesbreakers turnaround to the slippery bite of his Cream stuff to the stinging roots feel of his work with Derek and the Dominoes. Besides picking the pocket of one of the all-time greats, this lesson will help you add melodic interest to the blues scale. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1655 (log-in to access streaming audio and files).

Many guitarists know how to play barre chords, yet few tap into all of the magic a 1st-finger barre can offer. Great players often use the 1st finger like a mobile capo, holding down two or more strings while the other three fingers create riffs and chords. Shane Theriot teaches you Star Barre examples from Keith Richards, Steve Vai, Eric Johnson and Allan Holdsworth. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=4128 (log-in to access streaming audio and files).

Keith Wyatt explores the Memphis sound from the axe of Steve Cropper, who was the guitarist for Booker T and the MGs. First, he fleshes out the rhythm part of the classic Green Onions' by adapting the keyboard counter melody to go along with the bass line. Then, on Fig. 2, it's time for nasty, grits-and-gravy funk, working a bass line with syncopated chord figures. Relax your right arm, Keith encourages, and go for the pure soul. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1847 (log-in to access streaming audio and files).

With his stinging, soulful solos and flawless pocket, Robben Ford has an uncanny knack for making complex music seem simple. Conversely, the guitarist can elevate a mundane one-chord vamp into something divine. Perhaps this is because Ford has successfully tackled so many genres. What has Ford learned from all of his musical adventures? We're all playing the same things, he explains to our instructor for the day, Jude Gold. To prove that common threads abound in music, Ford will take a I-VI-II-V progression and show that whether it's played with a doo-wop group's simplicity or a bebop pianist's extended chords and slick substitutions, the underlying vibe is the same-just one more universal phrase in the language of music. Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=4002 (log-in to access streaming audio and files).

Revered as one of the best firebrand lead guitarists to ever strap on a Strat, Hendrix was also an innovative rhythm guitarist. Joe examines Jimi's chordal sensibilities, the likes of which you hear on quieter tunes like Little Wing, Castles Made of Sand," Have You Ever Been To Electric Ladyland and others. Hendrix took the standardized rhythm guitar language of R&B and mutated it into weird, wondrous new shapes. This lush, beautiful stuff from Joe Gore will spice up your ballad playing and color up your rhythm chops! Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=1696 (log-in to access streaming audio and files).

There's one fistful of notes that never gets old, it's the blues scale. Once it finds its way into the hands of a young, inspired guitarist, it typically stays there for a lifetime. Though the blues scale is timeless, many players yearn for ways to import new melodic colors into their blues-based solos. The simplest way to do this is to change one note of the blues scale, resulting in a soulful sound you may have heard in the playing of Hollywood Fats, Duke Robillard, Charlie Christian, and Larry Carlton-a sound often referred to as the voodoo blues scale. Steve Trovato serves up a little voodoo here! Tab, notation and Power Tab files available at http://truefire.com/list.html?store=audio_lessons&item=4862 (log-in to access streaming audio and files).