Here´s another video clip from the lastest guitar course by Jon Maclennan!

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Rhythm Guitar Lesson Chord Progression for Stand By Me
This next example is in the style of Ben E. King and it’s a great
soul tune called “Stand By Me”. It sounds something like this.

So lots of familiar things here. Hopefully you’re recognizing
some of the chords and also the strumming pattern that we used.
In “Brown Eyed Girl” we used it and the Green Day song, “Time
of Your Life” we used it. In “I Want to Hold Your Hand”, the
Beatles. It’s everywhere. The strumming pattern sounds
something like this.

The chord shapes here are A for two bars, then down to F
sharp minor, which is our barre chord on the 2nd fret.
Remember to just double stack your fingers there. To D
for one measure, to E for one measure and A.

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In today’s lesson, Jon shows
a bit on how to play one of my favorite
Kansas songs… Plus there’s examples
of tunes by Ben King, John Mayer,
Jason Mraz, and more…

Play Your Favorite Songs with the Fasttrack Guitar System –
GuitarLesson from Jon Maclennan

So you’ve got A minor two beats, G two beats,
F two beats, G two beats. So we’re going to
do that for the first four bars.

Then we’re going to do the same chord progression
but we’re going to go one string higher. We talked
earlier about taking a riff and playing it on one
string and then moving it another string higher.
Well, this is now a chord progression that happens
on one string and then we move it another string
higher. So this is from A to G to F to G. Now we’re
going to go D to C to B flat to C. So that’s D minor,
C, B flat, C, D minor.

So four bars at a time, you can practice that way.
It’s a real good way of breaking down tunes and
then we’ll put it all together once this is good
and this is good, it’s like a chain. Here we go.
Ready?

For this next example we’re going to look at in the
style of Jason Mraz, “I’m Yours”. Let’s have a listen.

This next example is in the style of Ben E. King
and it’s a great soul tune called “Stand By Me”.
It sounds something like this.

This next example is another one in the style of
John Mayer, “I Don’t Trust Myself With Loving You”.
Here we go.

Notice, again, it’s almost like I’m a shaker or I’m
focusing more — like the shake of the instrument
on being a percussive element in the band than
thinking about playing every note crystal clear.
So now that you’ve learned how to get your barre
chords nice and clear, you can forget about it
for this technique.

Notice I’m using the pick and then I’m taking my
other two fingers and they’re just sort of pulling
back into the palm of my hand, like this. Here’s
the example. Ready? And then with the rhythm
we’re just going to fill it in with quarter notes
and then in the last measure we’re going to go:
one, two, three-and, four-e-and-a. And this is a new
rhythm we haven’t talked about yet. It’s 16th
notes. That’s four notes to one beat. Like this:
one-e-and-a, two-e-and-a, three-e-and-a, four-e-and-a.

Here’s another sample clip from Jon Maclennan’s “Fast Track Guitar System”.

Also: We’re holding a live interactive webinar this Thursday the 20th at 9 pm est.
Jon will reveal some killer guitar tips, some elements of his new system, and
you can ask him any guitar related question on your mind. It will be a blast!
https://guitarcontrol.com/maclennan/web1.php

Rhythm Guitar Lesson – Easy Guitar Chord Progression Tips

Here and there you’ll see us take chords and add a note here
or add and take off a finger there and that’s going to show
you how you take the basic information that we have and
you kind of start tweaking it and you get different sounds.
So let’s jump into the first example here. This is going to
be in the style of the Beatles’ “Let it Be”. All of these
chords together make-up the chords within the key of C,
so all kinds of stuff going on right now.

You may have heard a musician or someone say this song
is in the key of D. This song is in the key of A. What that
is, is that’s like a home base, a root tonality that all the
chords move around. So here’s your C, D minor. And a great
way of telling what key a song is in is by looking at the
first and the last chord that you play in the song. It’s
not always the case, but generally it is.

You can also — they’ll place Roman numerals on each
one of these chords. So for instance, the first chord built
off the first scale degree is called the I chord and then
the II chord and then the III chord, IV, V, VI, VII, I. Okay?
You’re going to want to write this down. The I, the IV and
the V, in our case the C, the F and the G, are all major
chords. The II, the III and the VI are minor, and then VII
is the I diminished chord. But if you think I, IV, V, I mean,
there are a million songs that are just like… C, F, G, F.
I chord, IV chord, V chord, IV chord, I.

So the Roman numeral system is something that I will
be referencing as we work through the examples as far
as understanding breaking-down the specific chord
progressions so that you can familiarize yourself
with these songs and not just have to think of
every song.

Okay, here’s — I’ve got to memorize this chord to this chord
and look at this giant sheet music in front of me or something
you want to learn has all these chords and you’re thinking,
I just have to do this for every song? Well, what starts to
happen is you say, okay, I see all these chords are within
the key of C. And look, I keep coming back to C and I keep
doing this move. So you’re kind of saying, okay, here’s
this and here’s this and you’re putting it together.

And again, it starts to make more sense the more you
do it. So if we apply the Roman numeral system to our
chord progression it will help us sort of decode what’s
going on and understand how the chords work together
to create the song.

So let’s take a look at — the first chord here is a C. Remember
that I said a great way of knowing what key a song is in is by
looking at the first and the last chord. So here we’re in the
key of C. We’re starting on the C and we end on C. And when
we make the first chord movement, here’s our C, we go to G.
Now what you want to start to familiarize yourself with is
the relationship between those chords.

If we reference our C major scale, we’ve got C, D, E, F, G.
This happens to be the fifth scale degree in the key of C.
So we’re moving from the I chord up to the V. So you can sort
of start to connect the relationship of those chords together.

Next we go to A minor. Now this is just one step above your
G chord. So remember the G was the V. The next note is A.
So that’s going to make this chord the VI chord in the key
of C. So we’ve got I to the V, to the VI and then let’s find
the next chord, F. So we’re going to go back to our C scale.
C, D, E, F — did you catch what scale number that is? Here
it is: one, two, three, four. This is the IV chord. Again,
that’s all of the chords that we’ve used in this example.

So just to back up, we’ve got the I to the V to the VI to the IV.
And then it just goes I, V, IV and then to I. So this is a very
common sound where you hear the IV, the F, descending.
Or you might hear it walking up in some tunes.

one of the big themes is how to play songs by ear.

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Rhythm Guitar Lesson – How to play songs by ear
Get right back up on the bridge and you want your notes
to pop-out, have a real tight sound. What I’m doing here
is I’m playing twice and then when I strum I let-up the
palm mute and just let it strum normally. So you might
just want to practice that for a little bit. Just a
cool rock groove.

And then you’re going to apply that to a G, which
here is our G bass note on the 6th string. Same
thing. And then last, but not least, D. Here we’re
moving to the open 4th string. So let’s put
it all together slowly.

Now notice this song begins on an A minor chord
and it’s important as you’re playing by ear to
learn to distinguish the difference between a
major sounding chord and a minor sounding chord.
So you might just want to try this for a second
here and play an A major chord. Again, all of my
fingers now are on the 2nd fret: 2, 2, 2. And
then notice when we go to the minor that we take
this note, this note on the 2nd fret, which is
a C sharp, we lower it a half step and we get
A minor. So it’s really just one note difference
between the A major and the A minor. You’re
trying to play a song by ear and you’re playing
an A major chord against a recording or someone
else is playing a minor, it’s a big clash, but
it’s just one note. So that’s a great way of
trying to figure out a tune.

Let’s say you figure it out. Okay, we were talking
about trying to play bass notes against the recording.
If you figure out that, say, the bass note of this
Tom Petty example is A, and you go, okay, does it go
like this… Or did it go… Now immediately my ear
tells me that it’s a minor. So what you might want
to do is — so you can get to that point — is play
against the recording, play that note, that one note
that makes it major, C sharp, or is it C natural? Ask
yourself what sits right? What feels like it sounds right?
And if one is sounding really dissonant or warbley to your
ear, then that’s probably not the one. You want to make
sure that you get the right chord in there.

The next two examples are in the style of Jimi Hendrix,
“The Wind Cries Mary” and “Hey Joe”. Here we’re going
to be applying a little bit of barre chords and all of
our caged chords, which we discussed in the beginning
of this course on the first DVD. So this will reinforce
those basic open shapes. Here we go.

What we’re going to do here is we’re going to play on
the upbeats, on the and, like this. So I have an E and
then we’re going to wrap it up with a big G, going back
to C, which is the 5 chord going to 1. So let’s see if
we can put all this together, changing chords, syncopation,
analysis. We’re getting a lot accomplished here. Here we go.

So many tunes use this strumming pattern. It’s one of the
most common in music. We’ve got a quarter note here, then
we play two 8th notes. Don’t play beat three and then come
back in on and-four-and. So it’s one, two-and, three-and,
four-and. That’s a great pattern and it’s something I think
in particular to work on for that sort of feel-good,
campfire-y, big acoustic guitar strumming sound.

This next example is in the style of Green Day. The song
reference is “Time of Your Life”. We’re going to take the
same exact rhythm that we used on the previous song.