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Two cowboys were waiting in their fort for the Indians to attack. They listened to the distant pounding war drums. One cowboy muttered to the other, "I don't like the sound of them drums." Just then, a distant voice came over the hill, "It's not our usual drummer!"

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Topics - Nick

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Articles / Wasted Time - Eagles (quick start)
« on: September 16, 2014, 12:20:06 AM »
C Major (open chord)
Strum the C, then pluck the C note on the B string followed by a D note on the B string and then open E(high) string.
F Minor
I play this directly after the open E string is plucked and it's only barred from the D string down. So you're barring the first fret from the D string down and playing an F on the D string with your ring finger.
Next comes the walk down from Bb on the A string, to Ab on the low E string and into an inverted C Major chord. This chord is weird because the G is played first on the low E string and then you're playing C on the A string and E on the D string.
Finish this part of the song on a normal open G Major chord.

"Oh my God, you can't believe..."
This part is easy, you just play a root 6 F Major barre chord, then an open E Minor and an open D Minor chord. Finish on an open G Major chord.

"Never thought you'd be alone..."
A little bit trickier! Begin this passage on an open A Minor chord, then play barre the second fret on the A and D strings and play an Ab on the low E string and a B on the G string. Then an open G Major. Next, keep the G Major, but remove your index finger and slide your middle finger (was on a G) back to an F#. This part finishes with an F Major root six barre chord into an open E Minor.

"You're afraid it's all been wasted time..."
Open D Minor to an open G Major to an open C Major.

"The Autumn (Fall ha ha) leaves have got you thinking..."
A barred root five B Minor, open E Minor and open A Minor. When it comes time to repeat, it sounds good to walk up from the Bb on the A string, into the B Minor barre chord again.

"No no, ya just, loved the boy too well..."
When you get to the third A Minor, play a G on the low E string with this chord, then play a root six F Major barre chord, an open E Minor and into then play PART IV again.

"Another love has come and gone..."
Here we play a root 6 Bb Major and an open C Major. At the end, we play some bass note trickery to get back to PART II. When you get back to C Major the second time, strum the chord, then play an open D string followed by an open E string, then go into PART II. While you're playing these bass notes, try to leave the original chords ringing as much as possible.

PART VIII (the outro)
"Ooooh ooh oh WOOOOOOOOOOOOOOOOOOOO hoooooo Ooooooo oo ooooo..."
Start on an open C Major and then play an open low E string in combination with that chord to start the bass walk up. Next whilst still playing the C Major open chord, place your thumb on the low E string F note. Then we move to an open G Major chord followed swiftly by a root six Bb Major barre chord. Slide the Bb chord up two frets to an Ab Major barre chord before dropping back to the C Major open chord to begin the whole process once more.

PLEASE NOTE, this is solely my own way of playing this number. I learnt it by listening to the record and trying to make a suitable solo guitar part for it. This is probably not correct and by following my guide above, you'll only be playing it the way I play it!

Video Lessons / Money For Nothing
« on: September 15, 2014, 06:54:24 PM »

General Discussion / "Pleased to meet you..." Introduce Yourself.
« on: September 15, 2014, 06:34:15 PM »
Tell us where you're from and what you do with music!

Guitars / Show us your guitars!
« on: September 15, 2014, 06:27:51 PM »
We all like to show off our stringed wonders, so you can do that right here :-)

Articles / Music Theory 101
« on: September 15, 2014, 06:23:30 PM »
The people of ancient Greece were the first to toy with the intervals between notes that we, today, call the Major scale. Although, they actually never had a seven note scale, but two four note scales called 'tetra chords', what is important to note is that they did not have accidentals (sharps or flats (there was also no need for musical insurance)). Their major scale was 'set in stone', so to speak. The best way to see this scale is to have a piano keyboard in front of you. Below is a diagram of the notes the ancient Greeks would have had to play with if they had the equivalent of a modern keyboard (they only had analogue synths):

There were more than 14 notes, but I've only shown enough range to give you the idea of the repeating nature of the notes. In reality, these notes may extend infinitely in both directions.

Our modern keyboards add the black keys, whose purpose will become clear as we progress.

A picture is good, but having something you are able to play notes on will be VERY helpful to understanding modes. If you don't have any musical keyboard, find some online free piano or synth and play along!
The white keys on the piano represent the C major scale. To produce this scale, you begin with the note 'C' (the 'tonic') and increase the pitch by a whole tone, to get to the next note, 'D' (the 'super-tonic' (able to leap whole tones in half step increments). From 'D', you increase pitch by a whole tone once more to achieve the note'E'. After 'E', we come to the first interesting aspect of the Major Scale, 'F'. 'F' is a semi-tone higher in pitch than 'E' and is a break in tradition. Why is this so? The only reason why 'F' is half as high again in pitch than the distance (pitch wise) between 'C' and 'D' and 'D' and 'E' is because that's the way the Greeks wanted it. And as you'll see in the diagram below, there is one other semi-tonal interval in the key of C Major.

As you may observe, there is another semi-tone interval between 'B' and 'C'.

It's these groupings of whole tones and semi tones that give the major scale its flavour or mood. You'll notice that there's a repeating pattern of TONE TONE SEMITONE TONE TONE TONE SEMITONE that falls between the notes. You may also notice that the semitones fall where there are no black keys. That's because the black keys provide the extra half step between intervals of a whole tone. Where the interval is only a semitone, there's no room for finer granularity.

So what's this got to do with MODES??? The answer is quite simple. You see, the Greeks had no black keys, or in more correct terms, they couldn't change where the whole and half tones fell. They could however start playing from a different position on the instrument, thus altering the pattern of whole tone, half tone intervals. Consider the notes from 'C' to 'C' from the C Major Scale:

The pattern of tones and semitones between the notes in the scale is T-T-S-T-T-T-S.

Now, see what happens to that pattern when we begin playing a new seven note scale from 'D'.

The pattern of tones and semitones between the notes in the scale is T-S-T-T-T-S-T.
The same pattern is there, but it's been shifted 'back' on place. This new pattern of tones and semitones is not a Major Scale, it is a MODE, and it's called the Dorian mode.

Below are listed the other six and their interval structures:

The Phrygian Mode - S-T-T-T-S-T-T.

The LydianT-T-T-S-T-T-S.

The MixolydianT-T-S-T-T-S-T.

The AeolianT-S-T-T-S-T-T.

The LocrianS-T-T-S-T-T-T.

The key thing to note is, having the black keys allows us to alter the semitone full tone intervals no matter where we start playing. Also, it's a great idea to play through all of these modes to hear what moods they reflect to you. Now modes really are as simple as picking your tonic note and building a scale on the fretboard based on the required pattern for that mode. Let's use the Phrygian mode as an example, and let's play in the key of G (snigger... the Greeks couldn't do this!).

Here's the noted we'll need:


And here's the pattern for the Phrygian mode:


Combine them, and you get this:

G semitone A tone B tone C tone D semitone E tone F tone

On the fretboard, find a 'G' note, then go up one fret (a semitone).

G -> G#

Then go up two frets from G#:
G -> G# -> A#

Then go up two frets from A#
G -> G# -> A# -> C

Then add another note, a semitone higher from C
G -> G# -> A# -> C -> D

Then to save on the tedium, place three more notes, each with a tone or two frets between them!
G -> G# -> A# -> C -> D -> D# -> F -> G

And that should be enough info for you to start building your own modes on your own fretboards. The topic is a large one and more than the Greeks had stuff to do with modes, but I hope this basic intro helped you picture what modes actually are and how they are constructed. So summarise, before the black keys, the key had to be changed if a different pattern of tones and semi tones was required for a song. After the black keys, the feel and mood of a scale could be recreated in ANY key, using sharps or flats.

Articles / How to Stand Out on Social Media
« on: September 15, 2014, 06:14:40 PM »

There's nothing wrong with the state of social media today! It can feel like you're swimming in a sea of similar fish, but that's because we've been caught with our pants down.
The majority of us music makers are not thinking outside the box enough, and we seem to just be settling with the most obvious and easiest ways of using this new technology. There are some obvious flaws in the common ways most musicians go about their business these days, IMHO, and I'll outline them below:

1. Posting in musicians forums and gig guides about your upcoming gigs and musical releases is probably a waste of your time. Not a lot of excitement can be expected from telling your competition that you're competing with them! Just because there's thousands of members in a group on Facebook, doesn't mean they're looking to discover new music. They're most likely only thinking what the group can do for their own music.

2. Social media is great, but it's not the only way to do things! Forums haven't died out yet and it's not that difficult to build your own website (if I can do it, YOU can!). Find somewhere that isn't a concentration of musicians and start a discussion about your music there. You can also stream live performances to anywhere in the world for free these days.

3. Venues are first and foremost a business and whilst they may support original music, they need to keep the lights on through patrons buying beer. They try to do this by getting live music, usually before (and in place of) they have put the effort into promoting and developing their business like most other businesses do. So you're always going to struggle with venues like this. The venues that have their shit together will be so successful that they won't want or need to deal with small time acts. So make your own shows. Organise a hall and enough fellow musicians and make it happen. At least there'll be less drunks!

4. Everyone can make music on their computer these days. That's a good thing for people who want to make music, but it doesn't always lead to the most compelling productions. I hear a lot of preset magic plugins and poor arranging on many home made productions and these things STAND OUT to listeners, but they wouldn't necessarily be able to tell what is standing out. Also, a lot of productions are a one person show and that person is too close to the production to be subjective on their decisions. There have not been many truly great records written, pre-produced, produced/tracked, mixed and mastered solely by one person. I'm happy to help in this regard, just ask.

So I say continue to think outside the box and do things to put your music above the pack. I've always thought of the status quo as a good thing. Without it, we would have a much tougher time standing out.

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