Shades of Classical Part 2
Written by: Jeff Fiorentino
Copyright © 2006 JFRocks All rights reserved
These lessons are structured much the same way I do things on the main site JFRocks.com. These lessons will cover various aspects of acoustic guitar and things to practice. Mostly dealing with steel 6 string acoustic as that's what I play. However, some lessons will deal with Nylon string acoustic guitar as well. Either way the lessons covered here are interchangeable between the two guitar string types. Although I recommend learning and practicing on Steel string acoustic. This is because its more difficult to play and you will improve your electric playing immensely because you will build finger strength. Also acoustic is less forgiving than electric. Mistakes can and will be heard and are not covered up by effects or heavy reverb. Updates to this page will be as often as I can. I'm only human and while I have help with JFRocks.com, I'm on my own with this off shoot. LOL I will strive for an average update of 1 per week. To be alerted of updates to this site or the main site, please sign up for our alerts on the main website. You will receive an email when updates to either site have been made.
|Lesson Title||Shades of Classical Part Deux|
|CD Category||Expansion on Play that THANG and Acoustic Guitar 101|
|Jeff's Guitar's tuning||Standard E, A, D, G, B, E|
|The song track||The Jam along track||The Video Guitar Lesson|
Tabs & Lesson
Original score by: Jeff Fiorentino
Transcription by: Jeff Fiorentino
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This Lesson's difficulty level 1-10 scale
This is part 2 of shades of classical. This lesson is in the key of D and it represents another way for you to mix portions of chords to get some cool sounding stuff.
I of course encourage you to embellish and mix what is written on the page with what I say on the video. While it's important to try to understand the theory at play here. What's really important is that you noodle around with this stuff and find out what works and what doesn't.
This lesson is loosely based in spots on Dee from Randy Rhoads but I have re-written and altered the whole thing but it's a great example of starting with an idea and just going with it.
Key of D: D, E, F#, G, A, B, C#. <but we do add in a D# in one spot to create tension.
Pieces like the one on the video are a mix of tension and release. The tension mostly comes from 6th and 7th chords in this piece but 9th and 11th and 13th chords can also create tension.
Main mother chords this whole thing stems from.
D G Bm Asus4 A
SOME of the common Two note or three note chord portions or exploded chords used in this piece.
D Dmaj7 Bm G6 D/F# B7 D 3rd 5th G Em Em7
As I state on the video lesson, it's great to analyze all this and know the chord names but really for your own education as far as practical guitar playing and making up stuff like this on your own, you should just explode chords and see what sounds good.
A good tip is to stay in key and just mix notes. If the chord pattern is D to G for example. Then mix two notes at random from the D scale but have at least one of the notes in the two be the root.
For example see tabs below for altering and experimenting with a simple D to G chord change using notes from the D scale and including at least 1 root note or 1 D and 1 G for each chord change.
D scale: D, E, F#, G, A, B, C#
D add 4 G add sharp 4 D G
As you can see our simple D to G to D to G chord pattern got a couple fancy names there for a second. Well that's what I mean about experimenting and messing with this stuff. It's just another way to look at it really. You can experiment like this all day long. I demo this a little bit on the video lesson for you.
Use the example tabs below to mess around with this piece try to analyze it and see what it is and try moving some notes around.
Bare in mind I didn't use any theory to write this piece. I just played around with the chord pattern for a few minutes then afterward I went back and analyzed it to see what made it tick so I could make a mental note for the future. Don't let the theory drive what you do use the theory to get out of a tight spot. The theory here is very simple in reality. I'm in key for 99.999% of this. There's only one D# in the thing and that's just there to create tension. A flat 2nd will do that for you. If you're on a D and you want to create tension you can raise the D to a D# and that will create some serious tension. In the case of the tab below I also incorporated parts of a B7 into that chord. Because the chord change was going to a Bm.
When you learn stuff like this it's a good idea to break it down for future reference.
Lesson Example Piece
Main intro section
D Dmaj7 Bm G6 A add4 D/F#
I mis-spoke on the video due to brain deadness. The optional "D" or open 4th string is what can make the Em an Em7 not the G as I said on the video. Sorry bout that.
B7/D# Em Em7 optional (add open 4th) D Gadd2 D Gadd2
G D Em G6 A add4 A11
G__0_______________________________0____<optional ending notes in italic__
D D add 4 D G G add#4 G
Bm A A add4 A
G A A/C#
D______0_______0___________2________________and repeat with slight Embellishment__
Then repeat the intro portion again with slight Embellishment.