Advanced Guitar Course

In this first step we look at how to strum the verse/chorus as well as the more complex intro.

To make it sound nice, focus on how you change the dynamics of your strumming hand, maintaining the rhythm.

Let’s take a look at those four licks played during the intro in detail.

There is lots to learn from here, the unexpected b9 bends, the call and response between chord VI and I. Let’s learn this note for note.

Let’s play the complete song. Simply play along with me and the singer in the video.

Whenever I play the intro chords, play the licks and focus on getting them perfect.

This step is a minor and major pentatonic check-up extravaganza.

The first five exercises move each shape between chord VI – II – III. The last five loop chord I – IV – V.

Let’s move those perfect intro licks to all areas of the neck.

This will be a great way to check how well you know those minor and major pentatonic shapes.

In this step, we work on playing the vocal melodies of the chorus and verses.

We do this in the open position and focus on what intervals are used as well as playing the syncopated rhythm just as written.

Let’s play the chorus melody in all shapes as this will help us identify intervals in relation to chord shapes.

The ultimate goal is that you can play through all shapes in one go, just like the last TAB loop does, without looking at the TAB.

Today we do what we did in the last step but with verse 2’s vocal melody.

Focus on what interval each phrase start and end with and you will be on to great things.

Before we can start playing Sunshine Of Your Love, we have to ensure we can play the minor blues scale in Dm and Gm.

We do this as the riff is based on this very scale. First, we play the scale, then the riff.

Let’s find 10 ways to play this riff all over the neck in D and G.

By adding more notes to fatten it up and expression techniques like slides and bends, we can make this sound more or less bluesy.

By borrowing a dom7#9 from Spanky Wilson’s cover version, we can further expand on the main riff.

We also work on how to play the turnaround in a few ways.

In this step, we play the complete song with a singer. There is a 4 page, complete TAB transcription available.

However, it would be a better idea to look at the fretboard and find the riff in an improvised way, than to focus on the TAB.

It’s time to summon the spirit of Eric Clapton and play his solo in eleven individual licks.

Our mental coach is Mr. Miyagi who will assist us with the wax on, wax off slow-motion learning technique. You can do this!

The tempo is now fast enough so we can add a rhythm guitar and play longer phrases from the solo.

If you have prepared well, playing these five examples will be possible.

You’re almost there when you completed this step as we now play the solo in its entirety.

First in two halves at 96 BPM, then the full solo at 108.

In this final step, you play with me and the singer again, although now you play the solo.

For a 2nd rhythm guitar part, don’t play the riff in the same area as me and keep changing it!

In this first step, we take an overview of the chord progression which has so many important lessons in itself, especially if you want to learn more about song writing.

We also look at the initial transcriptions of bass line, horns and strings to get this arrangement going.

It’s time to start learning a bunch of variations on the verse.

The question is, how do we combine horns, keyboards and bass line into a one acoustic arrangement?

In this step we dive into the bridge and discover how it can be varied using chord extensions and bass lines.

Since the verse is varied leading into this section this is also included in all examples.

The chorus is what is put under the microscope in this step.

The horns have an important part to play here, so does the bass. Put these together and you have a part.

The final missing bits of the arrangement are here clarified. This includes the intro, m8 and outro.

If you know the previous parts well, this is not too difficult to achieve.

In this step we start putting the entire arrangement together.

Simply play along with the TAB loops and you will complete the first half of this one acoustic guitar arrangement.

Let’s play the 2nd half of the arrangement, this includes the m8 and outro.

The verse and chorus now have all embellishments such as hammer-on, slide, mutes etc. Nail it note for note using TAB loops.

After discovering all the great secrets of this composition, you are now finally ready to play the complete song.

Play it along with me and a singer.

In this first step, we look at some bass line transcriptions from the original recording for the chorus and verse.

This is followed by playing some back beat rhythms using all our CAGED chord shapes. Do this to map out the fretboard.

Let’s start working on how to combine the bass line of the chorus with some chords.

This will eventually become a one acoustic guitar part that can be either memorised or improvised.

In this step we, we keep working on that chorus part, now focusing on the 2nd half of the chorus.

This is more complicated, but using the TAB loops you will soon be able to play the chorus in its entirety.

It’s time to work out how to play the verse, now the original bass line won’t be able to form the foundation like it did in the chorus.

Instead we have to create a part that incorporates the bass drum on beat 2 and 4, into our one acoustic guitar part.

Before we can play the complete song, we need to learn the famous instrumental section.

This also means we have some variations on the verse part to implement in order for the two sections to connect better.

Finally, you get to actually play the complete song. I walk you through all the TAB in detail before you play with me and the singers.

You can then choose to improvise up a part along with us, copy me, or find parts that work with what I play. Or even better, do all these things!

Let’s understand, learn and develop the chorus vocal melody.

Since this is sung in harmony, it’s not easy to identify what the actual melody is.

In this final step, we put the verse vocal melody under the microscope as we play along with the singer, note for note.

This is followed by a very difficult 2nd guitar part which will give you plenty of ideas to play with me and the singers again.

In this first step, we work out how to incorporate the vocal melody into the chords and strumming for the verse of Cannonball.

We do this using a capo on fret 6, as well as on fret 1. This means that you have to think first in Em, then in Am.

Let’s do what we did in step 1 to the chorus. As the melody is so simple and hits almost only chord notes, this is much easier.

Again, we practice with the capo on both fret 6 and 1.

In this step we look at the chorus tag, which only appears once in the song. Again, we do this using a capo in two places on the neck.

We also learn the end in both “keys”, which is super simple.

Let’s put it all together and play the complete song with a singer.

In this step, we have the capo on fret 6, this means that you must think as if in the key of Em.

Before we move on and learn more about Cannonball, let’s play the complete song using a capo on fret 1.

We play it with the singer again. Is this easier or harder? It definitely hurts more!

Now then, Aeolian is on the menu and it’s a massive master exercise for you to try in all five shapes.

There are TAB loops, but before you can practice along with them, do this slowly and make sure you fully understand the concept.

In this step, we play the vocal melody in several areas of the neck.

When you can do it along to the individual TAB loops, play the complete song, first with the singer, then without.

In the final step we construct a 2nd guitar part. Use this when you play with us and we’ll sound like a band.

The outro takes the vocal melody and expands on it by adding some fills.

In the first step, we work on four different ways to play the verse of Roxanne.

Each example corresponds with the actual verses played in the complete song arrangement.

Let’s learn the bridge of Roxanne as that is what connects the verse and the chorus.

This is much easier than the verse, especially as you spent so much time practicing already.

Let’s learnt hat chorus. The bass lines chromatic notes have been added sparsely, as incorporating all of them clashed with the vocal.

The final example of the chorus doesn’t have any rests, this is done to emulate the outro chorus where the band plays more frenetically.

The time has come to play the complete song with a singer, simply play along with us to learn it. Having practiced all previous steps, this is easy.

There is complete TAB available as well as a TAB loop for practicing the intro.

If you really want to get much better at playing guitar and writing songs there is only one way forward.

You must transcribe vocal melodies and solos. In this step I have done this for you.

In this step, we practice Aeolian in Gm. We do this as a master exercise by adding and taking away intervals.

There is TAB and loops for everything, your goal is to not read the TAB.

You’ve heard about playing over changes, right? And everyone has probably told you how it’s better to do this than to use a blanket scale, right?

When I discovered a third way, my mind was blown. Roxanne’s verse is perfect for exploring this.

In the last step, you discovered an alternative to playing over changes, it was pretty mind blowing, how can we possibly improve on this?

By flipping the script, that’s how.

In this first step, we look at the verse and bridge of Angels by Robbie Williams.

This song is in the key of E, but is it Ionian, or Mixolydian?

In this second step, we look at three ways to play the chorus.

A very peculiarly named chord has crept in, the add4. Not a sus4, as it still has a 3rd.

In this step, we work out how to play the solo on just one acoustic guitar.

This took me a while to work out as the rhythm and chords must still be present. In the end, it became relatively easy to play.

Let’s play the complete song, from beginning to end with a singer.

TAB for the entire arrangement is available, which is just all previous examples you practiced so far.

To find out why Angels is such an obvious hit, we must study the vocal melody.

Use the TAB to discover what’s outside the key as well as avoided completely. Then, look at the syncopated rhythm as well as what expression techniques you need in order to make this come alive.

Let’s practice the E Ionian mode in three shapes.

We use the master exercise technique here as we add intervals to the Major Pentatonic.

The last two shapes is what we practice in this step, do this to complete the fret board in the key of E.

As a bonus, we also look at how to play in the open position.

Possibly the most important scale exercises around.

We must pair the chords with the scale in order to make sense of both the fret board and music in general.

In order to play Scarborough Fair perfectly at 129 BPM, we have to break the arrangement down into smaller chunks and practice these on a loop at different tempos.

In this step, we simply increase the tempo.

Instead of playing at 100 and 110 BPM, we now play at 120 and 129 BPM. TAB loops are available for all 6 examples.

Let’s play the complete song!

Capo is on fret 7, think in A Dorian and play it exactly like the original along with me and a singer with full TAB.

In this step, we work out how to play a 2nd guitar part without a capo.

The part will only work alongside the first part and is played with a pick, rather than finger style.

Let’s play all 6 examples at a higher tempo.

When you can do this, you’ll be set up to play the entire song.

In this step, there are TAB loops with the verse chopped in half to practice to at the full tempo.

Following this, there are two complete versions of the song in the playlist to play with me and the singer.

Let’s practice Dorian in the same way as when we learned Aeolian and Ionian, by using the master exercise concept.

Following this, let’s play and then develop the vocal melody of Scarborough Fair.

In this final step, we play Dorian in three shapes. This is followed by learning the vocal melody in a higher octave.

Finally, we discover the secret to how Paul Simon writes songs, and get an example of how to do it!

1. Ionian in two shapes, key of Ab
2. ‘Over The Rainbow’ chorus and outro TAB

1. Ionian in three positions, key of Ab
2. ‘Over The Rainbow’ intro and verse TAB

1. Ab Ionian in thirds
2. ‘Over The Rainbow’ solo section

1. 7th note chords through the cycle of 4th
2. ‘Over The Rainbow’ chart

1. Chords around the major scale in three positions
2. The two basic fingerstyle techniques of ‘Blackbird’

1. Two more positions of the ‘chords around the major scale’ exercise
2. How to play the ‘Blackbird’ verse

1. All chords around the major scale in five positions, key of F
2. How to play the chorus and chorus tag for ‘Blackbird’

1. Chords around the D major scale
2. A full chart for ‘Blackbird’

1. Chromatic exercises 21-23
2. Chromatic exercises 24-25

1. Chords around Ionian in the key of C, three shapes
2. Chords around Ionian in the key of C, two shapes

1. Chords around the scale shapes in the key of A
2. ‘Tears In Heaven’ intro and verse

1. Chords around the scale shape in the key of A
2. The bridge, m8 and end sections of ‘Tears In Heaven’

1. Chords around the scale shape in the key of Bb
2. A complete ‘Tears In Heaven’ chart

1. Chords around the scale shapes in the key of D
2. Five rhythmical exercises

1. Two sweeping speed exercises
2. Five min7 arpeggio shapes

1. Three more sweeping speed exercises
2. The dom7 arpeggio

1. All Phrygian shapes
2. Two shapes of the Phrygian Dominant scale

1. Three shapes of the Phrygian Dominant scale
2. A simple chart for ‘Don’t Wait Too Long’

1. Four maj7 arpeggio shapes
2. ‘Don’t Wait Too Long’ verse TAB

1. Maj7 arpeggios and licks
2. ‘Don’t Wait Too Long’ bridge TAB

1. Four positions of the min7b5 arpeggio
2. ‘Don’t Wait Too Long’ solo

1. Min7b5 Am shape exercises and licks
2. ‘Don’t Wait Too Long’ chart

1. Maj7 and dom7 through the cycle of 4th
2. A simple chart for ‘Baby Won’t You please Come Home’

1. Min7 and min7b5 arpeggio shapes
2. ‘Baby Won’t You Please Come Home’ TAB chart

1. The dim7 arpeggio
2. ‘Baby Won’t You Please Come Home’ solo

1. Revise the three minor modes
2. Revise ‘Blackbird’

1. Revise the three major modes in the G, E and D shapes
2. Revise the three major modes in the C and A shapes

1. Revise the maj7 and dom7 arpeggios
2. Revise ‘Tears In Heaven’

1. Revise the min7 and min7b5 arpeggio shapes
2. Revise ‘Don’t Wait Too Long’

1. Looped versions of Chromatic Exercises 21-25
2. Revise ‘Baby Won’t You please Come Home’

1. Revise the sweeping speed exercises
2. Revise chords around Ionian in the key of F