Hey There Moon Guitar Lesson Video Lecture - The Ultimate Guitar Course

so this is a song about talking to the
moon but not in a crazy gary busey way
more like in a romantic Jake Busey way
and if you haven't seen the song
definitely check that out first this is
gonna be kind of a lesson in how you can
accompany an acoustic guitar player in
this case Grecia with like an electric
guitar to can't do something to extend
the chords that maybe an acoustic player
is doing it and just kind of like a
little a few songwriting tips so the
song is in the key of a write basically
a major chord right a really easy one
and there's a lot of different ways to
play an a major chord some books teach
it like this with your pointer finger
out front
I personally am going to insist that you
play it and with your middle finger on
to D your ring finger on to G and your
pinky because the very next chord is
gonna be a B minor but kind of like an
open sounding B minor and this is so
this is in the key of a my favorite key
I think it's the prettiest key because
the openness of using the open a string
and an open E string which a being the
one and he being the five kind of really
gives like a cool thing that you can
always go to right so if you have
trouble with Barre chords like B minor
this is like a really good key to
playing because you can just take an E
minor shape move it down two frets and
get this kind of open B minor
now this isn't technically a b-minor
chord but it has most of the B minor
inner right so the whole song is only
three chords and grace is a really good
player and we're going to kind of show
you the rhythmic way to do it basically
uh just part of it sounds like this
right so it's pretty easy the the nuance
of it is the the percussive nature over
right so I'm getting the the root with
my thumb
then while she's getting here right but
so ad and then G and B at the same time
on the a major chord so if you can see
my hand there and then you go back down
to the next chord right so after getting
that first ad G hit you hit the a string
again do you buy yourself time to get
down to the B minor spot
and then you hit the do the kind of the
muted hit again again I'm just using
kind of like the nails of my fingers
that kind of get a percussive hit on the
string so we've got the first one a DG
to the next chord hit mute hey now this
is a really important part because it's
a very subtle move they can kind of give
more of a percussive nation shooting
acoustic guitar all right so what I did
here is I'm hitting the strings I'm
plucking a muted D string into an open a
string so hit mute hang it's very subtle
but it kind of makes a difference so and
then the same thing on here so this is a
B minor this is like a c-sharp minor but
a more open voice one with the a and
kind of the bass notes going to look at
that way right so we're doing the same
thing from the A to B minor mute open
and then back and forth so we did the
same we gave the same treatment so to
speak to the C minor chord as we did to
the 1/4 where I want ad fingers back two
frets okay so that's pretty much the
whole of that part the second time
around you just stay on the C sharp
minor right
the only other part is even easier you
just forget about the a and you go back
and forth between the C sharp minor and
the B minor now I'm doing that same
thing where I'm going
ad chord hit board back to frats ad
chord hit chord up two frets that's
really important hit the mute it you hit
new it's really just kind of like a
sequence you can get with your hand
right a lot of bass players do this but
yeah basically this is back and forth
between these two chords and then it
kind of sticks here
until it goes back to the beginning and
then it ends right there on the seizure
minor okay so now we're gonna grab the
strat to kind of see how I'm extending
these chords because she wrote this song
like she had the whole progression and I
just kind of filled it in a little bit
with the strap but before we get the
strap did you know that the moon is
actually locked in a geosynchronous
orbit with the earth so we can never
really see the back 40% of the moon
surface so there is a Dark Side of the
Moon all right so we got the strap and
the challenge was to kind of complement
her playing and singing in a way that
didn't step all over anything and kind
of kept the acoustic nature of the song
intact right so I definitely didn't want
to just double up what she was playing I
don't wanted to add something to it
right so this all comes down to chord
voicings and again that first chord is a
major now the first thing I thought it
was like okay I'll just do a different
voice a major you could do like a bar
chord a major right here but that's too
big right I don't play something like
that would kind of step it all over it
so what I did is I kind of took just a
little bit of the top of this a major I
think if you look at my hand I'm
actually kind of playing it in a bar
chord way but I'm really only getting
the D G and B strings of this right so
kind of like a F shape F F sharp G G
sharp a and she's doing kind of the
percussive like that and I'm just going
and then I'm going to the next voicing
right so I knew that the chord voicing
record is like a B minor and the next
one is the same voiced chord but down
two frets with C sharp minor right so
what I decided to do is to kind of jazz
it up a little bit is I'm thinking more
of a B minor seven into a C sharp minor
7
but this root now right here I don't
want it because I don't want I want the
who stood guitar thing to kind of take a
little bit more of a prominent role in
the rhythm section so what I'm doing is
I'm just taking it the back end of that
minor seven chord and now if you look at
this court actually
this is really just to a major voicing
down all the way here right which is a D
major chord so technically I'm playing a
D major chord but I'm thinking of it as
an extension of her B minor chord from a
minor 7 voicing it so really this is
kind of the theory behind it it doesn't
really matter I don't if I'm playing a D
major
technically am I thinking of a B minor 7
whatever it sounds good and it kind of
extends what she's doing because I'm
taking the next highest no I know
especially in that a major chord the
highest note that she's getting is the B
string right which is the C sharp so
this voicing is nice because the note on
top here is in eeeh so I'm taking the
same notes but I'm extending it I'm
pushing it one up I'm adding an e to
what she's doing it and that's why when
she goes oh I'm going home
it kind of fits together a little bit
it's almost kind of like a cohesive
meshing of the two parts right so I'm
going from this a okay so again the same
voices she used that a minor voicing I'm
doing the same thing with this major
voicing down two frets so I could play
the whole thing like I'm just getting
the D G and B string on the seventh and
the ninth fret right and I could think
of this as D major an E major or B minor
and C sharp minor or whatever you want
right so I'm kind of go back and forth
and that right there is this little I'm
just kind of leading in just again
remember I'm thinking of this more as a
c-sharp minor so I'm leading it in to
that C sharp root before I go back right
and then at the end
all right this kind of little double
stop I guess you call it I'm just on the
ninth fret of the g string and the tenth
fret of the B string up what's the
vibrato so all right and that's the
whole part for I'm just following her
chords for I guess we can call that the
verse right so then we get to the part
where she goes back and forth right so I
kind of wanted to create something a
little more atmospheric and the thing I
came up with ll came from scales right
so the thing I came up with was this
and again I'm taking this from just
different scales or modes right so what
I mean by that is like if I'm thinking
more of that c-sharp minor' right in a
this would be the three chords so the
three mode is Ionian Dorian Phrygian I'm
taking that the bottom of this Phrygian
mode right here I've got this chord
right that I've already been using where
I'm just go out there and if I take the
bottom of that Phrygian mode I get those
last three notes twelve ten and nine so
what I'm doing is I'm kind of picking
the D and the highest ringer
so I'm getting Dini at the same time and
then GP so both GP both GP
going back one note in that Phrygian
mode right and I'm doing the same thing
with the Dorian shape which the end of
Dorian is so now I have ten nine and
seven now you know how I'm thinking to
this you can come to this couple a
couple different ways like I can think
of this as an Andorian and I'm kind of
adding it the second note on the high E
string in Dorian but what I'm really
doing is I'm thinking of this right here
as a major seven chord voicing it
because I will take any opportunity to
turn something into a major seven chord
voicing if given the creative freedom
right so basically I'm doing the same
thing I was doing with the Phrygian
thing and kind of getting the sliding
back right same thing right so I'm just
kind of finger picking the D in the E
string
and then just hanging on this cord
arpeggiating this cord when she's
hitting that one right so definitely
check the video out let me know if you
have any questions but I think it's kind
of like a cool example I I'm happy with
the way it turned out and it's just kind
of like an example of how a crew stick
guitar and electric guitar can
definitely share a sonic space without
stepping on each other as long as you
kind of choose the right chord voicings