Discontinued Tunes

Songs from Rage Against The Machine, Green Day, Gary Moore, Stevie Ray Vaughan, T-Bone Walker, Albert, Freddie and B.B King, Norah Jones, Freddie Green, Coldplay, John Mayer, and more!

On this page, you’ll find a list with links to all songs that used to be part of my eBooks and guitar courses.

For one reason or another, they are not anymore, so I’ve gathered them all here since the videos are still available.

To see what is available in the course right now, check out my guitar courses.

(They Long To Be) Close To You

Carpenters Close To You was written by Burt Bacharach so we are in for some clever chordal movement here.

Starting off with an Asus2 chord, Bacharach cleverly disguises where the tonal center is since a sus2 chord could be pretty much any of the chords from the key.

Go to (They Long To Be) Close To You chords.


Feist’s 1234 is played in drop D tuning, this means that you lower the 6th string from an E to a D.

Because of the drop D tuning, we need to alter the way we fret a G chord, the root will be on fret 5, rather than 3.

Go to 1234 chords.

All My Life

The main thing that strikes me when I look deeper into All My Life is that this has, no doubt, been written by a drummer.

It’s almost as if Dave Grohl’s exercise book has come out and been transformed into a monster guitar riff.

Go to All My Life chords.

American Idiot

This modern punk classic uses only major chords, which makes the song a bit tricky to harmonically explain.

As with most punk songs, the theory is way more complicated than the execution!

Go to America Idiot chords.

Arthur’s Theme

This is a feast of chord progressions, extensions, and clever key changes.

To fully understand this masterpiece you have to name each chord as a Roman numeral and keep track of all of those very clever modulations.

Go to Arthur’s Theme chords.

Basket Case

In Green Day’s Basket Case, we only hear power chords on the recording. A power chord, also called a 5 chord, is a chord without a third.

This means we do not know which of the chords are major or minor. However, as you know, every chord has a number and every number has a sound.

Go to Basket Case chords.


The chords could be seen as from either the key of Eb or Ab, or both at the same time!

It’s tricky to play chords in keys such as Eb and Ab when you don’t play with a capo. All chords will be barre chords.

Go to Beautiful chords.


Belief is (just like Stairway To Heaven) balancing between Dorian and Aeolian, although we are now in Dm rather than Am.

The verse riff uses 6th intervals to hint at the chord colors.

Go to Belief chords.

Born Under A Bad Sign

An 8 bar blues with some great switches between minor and major pentatonic we find in Born Under A Bad Sign.

Probably Albert King’s most famous song is put under the microscope in this video and guitar lessons.

Go to Born Under A Bad Sign chords.

Breakfast At Tiffany’s

The chords for Breakfast At Tiffany’s are very simple, it’s the speed of the picking that is hard.

Using D, Bm, and A (with some extensions) for the verse we only change to D, A, and G for the chorus.

Go to Breakfast At Tiffany’s chords.

Bullet In The Head

Bullet In The Head is during the Intro and Verses led by the bass. On top of this, you hear Tom Morello adding his unique experimental effects.

A wah wah, whammy, delay, kill switch, and tapping metal objects on his pickups are his main tools.

Go to Bullet In The Head chords.

Call It Stormy Monday

The slightly odd-looking chord you see sliding around in Call It Stormy Monday is in fact a G9.

The theoretical jazz chord police might go as far as to say that T-bone Walker was using chord substitution, playing a Bm7b5 instead of a G9.

Go to Call It Stormy Monday chords.

Creepin’ In

This fast-paced country song is played using pull-offs and hammer-ons from the Minor Pentatonic and Mixolydian scales.

This is in clear contrast to what Norah Jones is known for!

Go to Creepin’ In chords.


The riff uses an A chord, with a C on string 5. C is the m3rd in relation to A. We also have a C# on string 2, which means that the riff is a mix between minor and major.

This makes complete sense since it is common practice in blues to mix minor and major.

Go to Crossroads chords.

Empire State Of Mind

One of the main lessons here lies within understanding how the simpler or more spacious the arrangement is, the bigger it sounds.

Originally played on the piano, this song has been arranged for just one acoustic guitar.

Go to Empire State Of Mind chords.

Killing In The Name

In Killing In The Name, we get a monster riff that sounds extremely dark by tuning down the low E to a D.

The next note we play is an Eb, being a semitone away, this creates ultimate tension.

Go to Killing In The Name chords.

Know Your Enemy

In order to play Know Your Enemy, you need a guitar with a pick-up selector and individual volume controls for the pickups you switch between.

Set one of them to 0 and the other 10, turn that amp up, and start flicking the switch as you play.

Go to Know Your Enemy chords.

Last Request

Paolo Nutini’s first single, Last request, is played with a capo in the video guitar lesson. We did this so the key would be right for the singer.

Using a seemingly simple chord progression, there are actually some very strange movements going on here.

Go to Last Request chords.

Monkey Wrench

Monkey Wrench is one of Dave Grohl’s earlier compositions for his band Foo Fighters.

A classic power punk track that he perhaps looked to Green Day for some tips. To begin with, tune down the low E to a D.

Go to Monkey Wrench chords.

Need Your Love So Bad

This slow blues in A use an interesting chord progression. The original consist of a string arrangement so there is some room for interpretation here.

Before we look at all the tasty licks, let’s analyze that chord progression.

Go to Need Your Love So Bad chords.

Parisienne Walkways

Parisienne Walkways has a strong connection with two other songs. The melody is strongly influenced, some may even say stolen, from Blue Bossa.

The other song is Still Got The Blues, a song written by Gary Moore a decade later.

Go to Parisienne Walkways chords.

Papa Ain’t Salty

The sliding chords you hear in Papa Ain’t Salty are a horn-influenced jazz/blues chord lick that involves some nice extensions.

The first chord (the higher of the two) should be seen as a G6. As we slide the same shape down a tone, we get a G9.

Go to Papa Ain’t Salty chords.

Paying The Cost To Be The Boss

This is a classic B.B King mid-tempo blues. The chord progression uses the sliding 6 to 9 trick we find seemingly everywhere in this style.

The licks B.B produce here are brilliant combinations of minor and major pentatonic scales, a feast for the budding blues soloist!

Go to Paying The Cost To Be The Boss chords.

The Pretender

The Pretender is harmonically pretty closely related to the most epic rock song ever; Stairway To Heaven.

Just like in Stairway, The Pretender walks a fine balancing act between A Aeolian and A Dorian.

Go to The Pretender chords.

Pride And Joy

The intro of Pride And Joy only uses notes from the minor pentatonic. Although most minor 3rds are bent towards major.

The most difficult thing with this intro is to work out where in the bar it starts as you transcribe it.

Go to Pride And Joy chords.

The Scientist

This arrangement uses an open tuning when playing The Scientist by Coldplay, which originally was performed on the piano.

By allowing the top two strings to be a part of every chord we get different extensions for the chords that are unique and bind the progression together.

Go to The Scientist chords.

Still Got The Blues

This blues-influenced classic was the title track off Gary Moore’s most successful album.

In many ways, Still Got The Blues was Gary Moore’s signature song. Ironically, it’s not a Blues, all diatonic chords (chords from the major scale) are used!

Go to Still Got The Blues chords.

The Stumble

In order to understand the scales used, we must break it all down into licks and analyze them individually.

First of all, the head is in the key of E, so make sure you can see the E minor and major pentatonic scale shapes clearly before you start.

Go to The Stumble chords.

Texas Flood

This blues in G start off with a major pentatonic riff that borrows the minor 3rd and 4th from the minor pentatonic over the G.

The chord played before you move to the IV chord is a G6.

Go to Texas Flood chords.

The Thrill Is Gone

Using min7 chords, The Thrill Is Gone has an interesting chord progression variation on the standard minor blues format.

Instead of moving to chord IIIx we first hit the chord a semitone up, a IV. When the next chord is IIIx the tension is built even more to go back to the VI chord.

Go to The Thrill Is Gone chords.


Vultures’ is in F# Dorian, using the Em shaped F# minor pentatonic, we add the 9th interval for a sweeter sound throughout.

When the progression moves up to an A, followed by a B, we can definitely tell it’s F# Dorian, not Aeolian.

Go to Vultures chords.