4 More Days Guitar Lesson Video Lecture - Guitar Become a Pro (English)

what's going on everybody is time to
learn how to play one of the originals
now this is a song I wrote with an
awesome singer writer Gracie Cespedes
that we did for Blues Week which is at
my channel I'm just kind of wrapping up
right now and basically it can be
thought of as an interesting example of
some alternative things you can do with
like a 12 bar blues pattern right so if
you haven't seen the video definitely
watch that first and get into this but
I'm gonna teach how to play it it's
basically two parts we're gonna learn
the chords and then I'm gonna actually
kind of rundown how I recorded it and
mixed it too because some of you said
you were interested so we're gonna be
going right now with this E minor 7
voicing and basically I'm kind of a the
telly has a little bit more bass on it
than I usually would just because it was
kind of like a 1 guitar vocal
performance so what's kind of going on
is this voicing right here but I'm
thinking of the root note right as the
actual low E string opens this was kind
of responsible for eating that like that
kind of that kind of sound which kind of
fills it out getting that kind of really
just hammering home on this open E
string thing right so basically yeah
there's the voicing right there pointer
finger is barring kind of seven starting
at the a string and they get a power
more it is basically a minor voicing
without your pinky so there's the E
minor seven right and if you watched the
tutorial I gave on hand positioning kind
of how I play finger style wise I'm just
having my thumb go back and forth
between the E and the a string and then
my index middle and ring finger assigned
to D G and B right so what I'm doing
here is I'm gonna play four bars just in
the four bar or the twelve bar blues the
first four bars is the same Florida so
I'm thinking of like this a minor is
kind of one right so it's one it's kind
of the pulse of it right I'm hitting
though I'm hitting the low E string and
that's kind of sustained and then I'm
starting it off with like a hammer on
and a barring the seventh fret end
hammering on that cord it's almost kind
of like a reggae groove if you slow it
down
I really slow so cord and handle cord
and Lorne board and hammer cool born
alright so usually got four of these but
what I'm doing to kind of make it a
little more interesting to me at least
instead of just kind of like doing the
same for of bar 1/2 of 2 or whatever
we're starting here 1 and I'm going to
these voicings use just minor 6 chord
voicings so if you go to like the the 4
and the 5 usually you would go to like
maybe like an a minor chord and then a B
minor chord for your next part of the 12
bar blues but I'm just using my
knowledge of for voicings I thought
maybe it'd be cool to start with the
minor 6th chord right here so middle
finger 5 e there's my root note there's
the a four-finger 4d ring finger 5 g
pinky 5 B and sometimes I'm kind of
doing this little which is kind of like
a finger style thing where I'm on was
kind of like going one thing at a time
if you see my hand it's kind of coming
off almost like I'm pulling a sticker on
right sometimes it's just a minor 6 B
minor 6 other times it'll be kind of
like a because I'm incapable of playing
the same thing twice for whatever reason
in a row right so we've got the E minor
a minor 6 B minor 6 back to the E
so each one of those times can be
considered kind of like one time around
the 12-bar blues so as most 12 bar blues
go then we're gonna go to like 4 chord
or however you want to look at it I'm
thinking of it as going to the a right
so I'm gonna do the same thing where I
end that phrase and then go back to the
a and then I take that 2 times 2 bars
full and then back to the e and then as
we know if you watch the Blues video
which I'll link to below how the 12 bar
blues is sequenced which if you haven't
watched that definite watch the XS gonna
be really helpful in explaining this I'm
gonna stand the five which is the B it
for one bar to the for for a bar and
then back to the line B so you can
almost kind of think of this little an A
to B thing in E minor part is kind of a
turnaround I don't know I mean it's not
like the most creative crazy thing in
the world but it is maybe a somewhat
non-traditional way to look at sprucing
up those four bars however you want to
look at it right so that's kind of the
main sequence of the song and then we
kind of go to a different part which my
philosophy on using blues structure in
songwriting to kind of spice it up a
little bit is to make something your own
whatever it is even if it's just a
little riff inside one of the chords or
just changing the chords one way around
I think it's important to try to bring
something fresh to any 12 bar blues
composition right there are different
reviews I'm not saying this like the
greatest song world or whatever but I
was just kind of using my ears like okay
I knew I wanted to go somewhere else but
I wanted to keep the same tone so I
decided on this voicing right here if
you've seen the other ones this is kind
of like an a9 poisoning right so it's
the octave a 12 a with my middle finger
back from 11 D index
ring-finger 12 Jia and pinky 12 Bo it's
the same thing and then I split all the
way down into here now what this is at
the time I had no idea what this is and
this is kind of a good example of just
songwriting how knowing theory and stuff
foot is great it's a great tool but at
the end of the day you want to follow
your ears I've never even used this
chord voice before
stellen even sure what it is I guess I
would call this like a C with a major
3rd and a major 7 so I guess this would
be like a C major 7 type voicing I've
got my middle finger on the C on the a
string which is 15 a pointer finger 14
is 7 1 2 3 4 5 6 7 I'm a sucker for
major 7th chords in any contact and my
pinky down here this high E which is the
17th fret of the B string right so I've
never I had no prior experience with
this chord I was just kind of trying
different chord voicings out until I
found something that I thought I had had
some tension
it doesn't really belong in the key or
however you want to look at it but this
is what I decided on so ever that's cool
or not I don't know I liked it is this
an example of how I'm not even using a
lick of theory to find these next chords
but I'm just using the context of chord
voicings I know and just kind of using
my you're finding different tones that I
want until I land on something that I
think is going so we've got this a 9 to
the C so we're kind of going back home a
little bit which is the eu- is the E
minor 7 voicing a higher one this easier
to get to from here instead of this
again same for just a different voicing
right
and then we're going to this a flat half
diminished or E flat minor 7 flat 5
however you want to look at it and again
another chord I'm always a sucker for
and it is kind of a jump to get from
here to here and I realize that there's
another voice thing that might have
worked here but to me it's easier to get
from here to here and here to here which
seems kind of backwards but that's just
you know we wrote this song in like like
20 minutes so I was just kind of more
comfortable jumping back here so anyways
these four chords right we've got this a
9 to the C major 7 to E minor C flat
half diminished right we do the G times
and the second time that goes around we
got to get back to the main thing
alright so how are we gonna make our way
back to the original so basically I'm
just taking this corner and I'm gonna
walk it all the way through a scale
thing so what my ears are telling me to
do is go from here to here to here to
here back home to the original thing
that goes right out right so I'm just
taking those root notes but I'm gonna
put a chord on each one over right so I
start with the half diminished I know I
got to get to this sixth fret so I'm not
even thinking and chord wise what I want
to put here I just know I'm gonna change
my root note and I ended up with this
right so
and to the ninth fret of the a-string 10
so it's kind of leading the ear through
this back to the main group right so
those are all the chords for the song
and kind of like the groove in which
slate so hey try it out it's cool
because it's kind of you're moving all
over the neck from you as a fun song to
play but I also want to talk a little
bit about the the guitar solo for the
song right it's a very ethereal thing
and the way I actually recorded it the
way I recorded the whole thing is we had
Gracie singing on a shure sm7b which is
going into Universal Audio preamp I
picked that microphone because it's a
very directional thing and it doesn't
get a lot of extra noise like ambient
noise and with the guitar turned off
fairly loud to kind of hear it
I wanted something kind of focused in on
her so I could adjust the levels
afterwards because I was biking up my
Mesa Boogie cab with an audix i-5 which
i think is an awesome microphone
relatively inexpensive that does a great
job also into a different universe a lot
of your preamp and again it was just a
Mesa on a clean Channel with a lot of
reverb so the actual original guitar
channel is not affected at all and her
vocal is only the only thing we did we
didn't I think it was compressed on the
way in through the universal audio 61 76
and I just put like a Native Instruments
RC 24 reverb on it that's all that's on
her vocal and there's nothing extra
plugin wise on the guitar but the solo
guitar was just played with a strap
which I'm just gonna do it on the tele
had a lot of processing after the fact
so I still recorded a clean through the
amp with the same microphone and
everything just because I didn't feel
like I'm packing my pedal board which is
just a huge it's like the biggest chore
in the world for me for whatever reason
so I just recorded it clean into logic
which is what I use the old version of
logic so I'm certain for people make fun
of me for that but whatever
into some plugins which I'm going to
show you I'll put a screenshot out
basically I like Native Instruments
plugins a lot Guitar Rig is a really
cool thing because they have just like
an infinite amount of options so once
you find stuff that you like you can put
it on there and get a cool sound so with
this guitar solo has on it is a psych
delay it has a delay and a reverb called
the ice verb in addition to the reverb
that was on the amp the ice firm plug-in
is like my favorite reverb the Native
Instruments has for a lot of like
ethereal sounding type stuff so
basically we're in E minor right so
what's the most natural place to go is
the E minor pentatonic scale and
actually personally for me I actually
think I don't really think in
pentatonics as much I kind of think in
full minor scale mode whatever however
you want to look at that I'm kind of
mimicking what Gracie was seeing with
like this so again you can find all
these notes in the minor scale right I'm
sliding from here 14 bu to 12 G back to
14 so 14 12 14 14 G walk it back to 12
11 sliding from 12 to 14
and then I'm gonna stand on the d-string
14 14 14 14 alright and then yeah I'm
not sure exactly what I was doing at the
time but afterwards I'm kind of adding
like a it's kind of like I guess I'm
just kind of filling a little bit more
space with the with the ambien Eicher if
you're in an ambient stuff it's always
kind of good to have maybe a little bit
of like dynamics where you have
something softer playing against the
lead line and just my opinion right so
I'm kind of making a chord like this you
can see you can hear a little bit of
this chord in between each lines so the
corn is 14 d 12 g pinky 15 beer and then
softer so again I'm still in the same
scale so it's the same way I'm gonna
kind of go out of the shape two frets
and again I could go when I get fly
especially with so much like the reverb
on it I like that kind of sliding
effects right and then the last time to
kind of finish that out I'm kind of
rising I'm getting a little higher with
each phrase which kind of gives the
impression that Souls maybe going
somewhere this is kind of how I like to
think of it so now I'm sliding into that
position right now my ring finger is on
16 G which I know I can go to 1517 B so
it's a relatively simple you know you
could you could use this in a pentatonic
way you can say it's the minor scale
however you want to look at it I'm just
thinking of scales and connecting them
and then at the very end towards the
Phaedo I'm kind of I'm just kind of
going through these notes to kind of
collect your might now this is kind of a
cool little thing I mean this is really
the song but something that helped me
out I think maybe a lot of you have
heard the term pentatonic boxes this is
a good example of that is just 1012 1012
I mean a sliding down into the same
thing so we have like a box here in a
box here so it's kind of a good thing to
kind of practice anyways this basically
the processing of the mix I kind of just
use a real simple thing I had like I
said they interviewed individual tracks
I just had the reverb on Gracie's voice
and then going through the guitar
plug-in for the solo part and then on
the whole mix I generally put like the
Native Instruments solid buss compressor
the passive EQ which is like a cool
plugin that gives you just it just kind
of opens up a mix if it's you know not
used too drastically and then just to
kind of get the level right I had one of
the waves all three plugins which just
kind of gets the loudness up without you
know I'm cranking it up too much so
that's basically it I hope you liked the
track and if you have any questions
please let me out