Here’s a cool, easy lesson brought to you by Alfred Music. It’s a tutorial of how to play John Lennon’s “Jealous Guy.” The lesson gives you a bit of background and then breaks down what you need to know to strum the verse and chorus, with plenty of explanation of any fingering variations and anomalies.
Here's a really cool lesson from acoustic master Mike Dawes. In it he teaches a technique for fretting and plucking a harmonic note all with the right hand. As he says, this leaves your left hand free to do other things. What those are is up to you!
It's that time of year when some of us might start dotting our I's with little hearts and thinking of ways to impress. And for that I am here to help! Here are ten wonderful love songs that you can work out with ease. In fact, most of them only have three or four chords. These may be simpler versions than the original, but trust me, the object of your affection will not care.
Of the four Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan.
I grew up listening to James Taylor, and I admit I know pretty much every word of every song he’s ever performed. But when it comes to the guitar parts, that’s something I’ve still gotta work on. Luckily the legendary Mr. Taylor has taken steps to remedy that. He’s posted a series of free lessons on his site that not only run through some of his most beloved songs, they also incorporate new portable camera technology so that you can see his right hand technique from the inside.
I had the privilege of sitting down with John Butler recently as he went through the fingering and technique for his new song “Spring to Come” off the upcoming album Flesh and Blood. Check it out and Play It Now!
When I was studying music, one thing I remember my professors kept driving home was that you don't just stop when you see a "rest" in music notation. You play silence. Silence acts as a frame around the sounds you're producing and helps make those sounds feel more profound. Think about what a picture frame does for a photograph.
Song structure (or lack thereof) can definitely prove to be a source of considerable frustration, especially for new writers. You might have a great collection of hooks or parts, but how you string them together can really make or break a tune. While there are certainly no “rules” as to how a writer should structure their tunes, there are some tried-and-true classic structures (especially in the pop tradition) and variations on the like that just plain work, building excitement and keeping the listener’s attention. Why not look at these workhorse structures from songs past and incorporate them into our own work -- or at least use them as a springboard for our own variations on the theme?