New Beginner's YouTube Channel - Going from Dreadful to (hopefully) Decent

BillDL

That was a very well presented motivational video Shawn, and it is very "authentic" because it's coming directly from somebody that is smack bang in the middle of the learning curve you speak of and provides good metaphors to exemplify the stages of the journey.

You spoke a couple of times about " ... in 11 years time".  I think you just pulled an arbitrary number off the top of your head there so that it didn't sound like an unrealistically short period of time, but I think that if you keep learning at the same pace and have the same level of perseverance along with the same mindset, in 11 years you could very easily be in the position to be teaching guitar rather than just playing it.  Perhaps that might be a "goal" that you haven't really considered at this early stage.

I would imagine that in a year or maybe less you may be wondering about buying an electric guitar.  It's almost inevitable that you will want to play one and see what it feels like, but there's still no guarantee that you will actually feel the need to buy one.  It's a common thing to see people (mostly younger people though) starting out on an acoustic and very quickly wanting to have an electric so they can try to sound more like their favourits songs.  It's far less common to see this going the other way.  If I had to speculate I would say that of the vast majority of members on this forum that are very accomplished electric guitar players would probably say that they aren't nearly as comfortable or as good playing an acoustic guitar.  Conversely I would guess that those that are very accomplished acoustic guitar players would be more likely to be as comfortable and as competent on an electric guitar.

Although you are obviously learning on an instrument with the same tuning and same number of strings, with an acoustic guitar you will usually become more adept at fingerpicking than somebody that spent the majority of their learning and playing time on an electric.  You also get more used to making every note count and milking every nuance you can from an acoustic where it is just you and the instrument making the music. On an acoustic you tend to learn how to milk more nuances from from it than using electronic volume and tonal changes, effects, distortion, and so on with an electric guitar to achieve a sound. Both instruments have their place, obviously, but as a VERY broad generalisation I would say that a person that has spent quite a long time learning on an acoustic is more likely to be able to adapt those skills quickly and effectively to an electric than somebody that has learned almost exclusively on an electric trying to switch to an acoustic guitar and play it well.  My advice is to stick with the acoustic guitar for as long as you can before wanderlust creeps in and has you hankering for an electric.

ShawnE

https://youtu.be/7RiyIbHda6Q

After 72 hours I reckon it's fair to say I now know the cowboy chords... even if changing between them still requires a lot of work.

BillDL

Yee-hah indeed.  Feels good to reach a kind of "milestone" mark, doesn't it?  That's the benefit of a structured learning course that punctuates different stages of development with a marker, and that's a perfect place for the grade 1 part to come to an end.  Your chord changes are now looking and sounding fairly fluent.

I see that in your 2nd beginner's course you will start learning how to play moveable barre chords, some chord embellishments ("suspended" chords), and 7th chords, as well as alternating bass picking.  This is where you will begin to feel it all starting to come together and it will be more interesting.  There may be times you will feel as though you have taken a step back while learning new techniques, but for each backward step you will very quickly be two steps ahead after overcoming the new challenges that are thrown at you.  Keep going the way you have.

ShawnE

@BillDL Yeah it did feel like a bit of a milestone this week... the first 3 weeks of October seemed like a bit of a flatline... but then during the last week I could feel a bit of an improvement take place.. only very slight but I could definitely sense it & could suddenly bump up the tempo on the songs I've been practicing. Strumming is still too robotic for my liking & I need to improve my upstrumming - there are many times at the end of a bar where I think an upstrum to link the chord change would definitely sound better rather than the blatant little pause in strumming I always do... of course, there are times where I think some pausing is best... but would be nice to give myself the option haha.. but after just under 3 months I won't be too hard on myself & know it'll come with time. Strumming open strings between changes is something that's actually briefly addressed in the module I've just started.

Yeah you're right in that the grade 2 course definitely kicks things up a notch... I'm going to give myself a solid month or so at the end of this grade before moving onto the second one to consolidate & let everything sink in a little more. 

ShawnE

https://youtu.be/5C2_taVelB4

Month three - now entering a consolidation phase until I feel comfortable enough to move onto... you know... that F thing & the second grade of the course I'm following.

BillDL

I think you're doing the right thing taking a break between modules finding other songs you can play that incorporate the chords you already know, and discovering some intricate picking licks and riffs based on the chords.

A capo can be a very useful tool for the stage you are at.  With a capo you can use the same open chords you know and play a lot of songs that are in a different key because when it's fitted it just replaces what would be the nut.  If you don't want to spend a lot I can recommend the d'Addario / Planet Waves NS Capo Lite for about £12.

By now you have probably begun to get a feel for how a chord change is going to sound before you execute it.  For example in a song that is in the key of G you might be able to anticipate how it will sound when you change from G to C, and then how when you reach the D chord (or often a D7 if you have learned that) it's like a "final" chord that is left hanging with the strong need to resolve back to the G again.  In the key of A the change from A to D has a particular sound that can be anticipated, and your "final" chord that begs for resolution back to A is your E (or E7) chord.

As you enter the theory stages you will learn that for every one of the 7 notes in a major scale there is an associated major or minor chord at that position in that key.  These are often referred to by Roman numerals, with your I, IV, and V chords (the Major chords) being the common ones.  The easiest example is the C Major scale where the chords in the key of C that fall on the I to VII notes are:

C, Dm, Em, F, G(7), Am, and a fancy chord B diminished or a Bm7b5 you can ignore for now or just think of as Bm7.

In the key of G, the G is the I, the C is the IV, and the D (or D7) is the V chord.  The most commonly used minor chords are the VI and the II, which are respectively the Em and Am.  Using Roman numerals somebody could say to a fellow musician "The song is a I, VI, IV, V progression in G", and everybody then knows it is a G, Em, C, D chord progression (or in C would be C, Am, F, G).  As time goes on you will be able to hear in your own head how this will sound without even playing the guitar.

Some of the songs you have so far been learning tend to move from the I to the IV chord, back to the I chord, and then go up briefly to the V chord before returning to I again, for example G, C, G, D, C, G where D is your "last chord" before returning to the G via the C chord.  You could think about this progression as "stepping up" from G to C, then stepping back down to G, then stepping up higher to the "peak" which is D, and winding back down through C to G or just straight back to G.  The song "There She Goes" uses the different format of going from the G and going straight to the "peak" of D, then stepping back down to G via C.  Describing this sounds much more complicated than it actually is.  These chord sequencies have a particular feel and sound that you will be able to hear in your head before long, and it will prove very useful to try and "feel" this direction of chord movement.  This will become much more visually apparent when you learn barre chords.

Take another example that's often found in country music.  Just strum a couple of bars of each chord and listen to the direction of the progression almost as though you are looking at chess moves.  G, C, G, C, G, A, D, G.  The A is the unexpected chord that seems to be a slightly unsettling "sidestep" out from where you expect the chords to go, but it quickly drops back onto your "final" D chord that then wants to resolve naturally back to the G.  Once you are familiar with that sound and how it fits the song it is one that you will be able to hear in your head before long by just looking at the chords on paper and be able to recognise if you hear a song that uses it.

Here's something to try every day after you have finished your practice session.  Start playing a completely random song and see if you can find the "tonality" of the song by going up and down the notes on your 5th and 6th strings until you hear a note that fits in really well with most of the chords you hear in the song.  Once you can hear the note that fits well without clashing on most of the chords, try and find a nearby note on the adjacent strings that fits with the other chords where there is a dissonant "clash".  Doing this frequently will help you develop the ability to hear the chord movement, much like a bass player needs to hear.

ShawnE

@BillDL I actually have a capo & have had one for a while... I just haven't even unboxed it yet haha! Spent a fair bit on it as well... about £50 I think. Capo's have been very briefly mentioned in this course but not much so I haven't got around to experimenting with it just yet.

Yeah you're totally right with all that you say with regards to getting a feel for the sound of a chord change, an unexpected chord or simply where I think it should go next... I find that to be most evident during time I spend aimlessly playing around by strumming away & practicing random changes. I can sense which chord I want to change to next based on where I want the sound (we'll call it "music" hahah) to go - which then makes it less aimless as well.

Always appreciate your input and insights... very useful indeed! 

BillDL

ShawnE said:

... I find that to be most evident during time I spend aimlessly playing around by strumming away & practicing random changes. I can sense which chord I want to change to next based on where I want the sound ...

You will find that when you start playing 7th chords the strong need for it to resolve back to a "normal" chord will be particularly noticeable as a "feel".  For example if playing the G and C chords in the key of G, if the D is played as a D7 you will definitely hear it hitting that "peak" where it is a little unsettling left hanging there and needs to drop back down again.

Here's something you will find useful very soon, and you may as well have a go at trying it a few times when you have a spare moment.  Use the ring finger to form a mini barre at the 2nd fret so that it only presses down the 2nd, 3rd and 4th strings and leaves the other strings ringing open.  It requires a bit of bend in your 1st knuckle to get enough curve so that the pad of your finger doesn't damp out the 1st string from ringing.  Don't press too hard and strain your tendons or joint, and if you start feeling discomfort, stop.  This is an alternative way of playing the open A chord, and it allows you to change very quickly from an E to an A and back again.  If you can get part way there, it will be useful for when you get to playing full barre chords of the type based on the open A chord.  Don't dwell on this to the detriment of your other practice and learning though.

ShawnE

Took a step backwards this week in hopes of eventually taking several steps forwards by mainly focusing on songs that work the two chords I find most difficult - C & D.. well, save for Dm.. but I'll tackle more of that another time. I think another couple of weeks consolidating this type of stuff & then I'll feel more ready to move onto the next chunk of learning.

I'll next be reflecting on my first 100 hours & then after that it'll be December so... I'd may as well start practicing with a few Christmas bangers.

BillDL

Your strumming definitely is now far less mechanical and I can see quite clearly that you aren't having to think as much about strumming patterns.  I saw you keeping the timing going with your right hand during the break in Old Time Rock and Roll where it cuts to vocals only.  Some people will tap their foot, or nod their head, or sway their body, or even just keep the rhythm going in their head while waiting to come back in on time.  The good thing is that while you were getting your fingers into position on the chord changes you kept the right-hand rhythm going, and that is a very important aspect.  You did well.  

One observation I made, and I'm not sure whether you have been taught this in your tutorials or whether is is something you are beginning to pick up naturally, is that in places you seem to be varying where you strum the strings (i.e. concentrating in certain groups of strings).  The nature of the song allows you to play big wide strums across most or all of the strings, whereas some songs don't, but it's a valuable skill to get a feel for emphasising certain string groupings on certain beats on the up or down strums.  That's a "feel" thing that I sense is starting to creep into your strumming.  You will realise this if, in a month's time, you look back at these earlier videos.

In due course you will learn about being able to damp strings with the heel of your right hand and also by relaxing the fingers on your fretting hand momentarily.  That kind of nuanced technique is where you will really be able to drive a rhythm forward and the song will spring more to life, and is especially useful for when you are playing unaccompanied and without a track to play along with.  This kind of damping technique will make You Shook Me much more rhythmic.  I would suggest at this point that it might be a good idea to try and play some or all of the songs you played in the video without listening to the track, and just sing or hum along to it yourself instead.  It won't sound great at all to begin with, but it will help you begin to hear the song in your head and hear the timing of the chord changes.  You could also try playing the song in the key of A, where A would replace your G, D would replace your C, and E would replace your D.  Those chord changes are quite easy to execute.

There are some 3-chord songs that use similar chord sequencies to Old Time Rock and Roll where, when played in the key of G, you can use the D7 chord instead of D. You may not have learned this chord yet.  It's probably easier to get your fingers onto the strings more quickly for a D7 chord than the D chord, especially from the C, and definitely from your fingering of the G chord. Not all songs will sound as they should by using D7 instead of D, or vice versa, but Old Time Rock and Roll would work with D7.  If you think of the D as an arrowhead pointing up the fretboard, a D7 has the note on the B string moved down 2 frets so it is an arrowhead pointing at the headstock.

Changing from C to D7 your index finger can remain in the same place on the 1st fret of the 2nd (B) string and it makes for a very quick chord change.  From G to D7 your floating index finger can reach down and catch that note on the 2nd string as an anchor point as you then move your other two fingers down to their respective strings.

I have absolutely no doubt that very soon you will be exposed to a very commonly used way of playing your C chord while keeping your pinky and ring fingers on the two high strings as used in the full G chord, and only moving your index and middle fingers from the 6th and 5th strings down to the 5th and 4th strings in the same shape. That really facilitates quick changes between G, C, and D.  Once you hear this fairly distinct sound you will realise how many songs it is used in, from AC-DC (You Shook Me) to Oasis to folk music.

You have improved a lot and I'm sure that whoever you share your house with will attest to this.

ShawnE

@BillDL Yeah for sure I can feel the rhythm slowly becoming more natural over time.. I'm finding now that I get more frustrated at not being able to do something slightly more complex while strumming that my head & ears are wanting me to do rather than being frustrated at just trying to even get going haha. Just a case of waiting for my hand to catch up to the same wavelength as my mind.

Most things regarding strumming is just natural at the minute as I haven't specifically worked on it by itself too much lately.. though we're taught to strum specific strings for a chord (though I know many let you strum them all as the one's not required are muted) I can see the merit in developing the skill to be more consciously precise... I was watching someone play the other day & noted that between strumming away at a D chord they were occasionally clipping one or two of the open bass strings to fill in certain gaps & it sounded real good. I'm not consciously practicing these types of things but I am aware of it's worth! Especially when it comes to further developing a more unique way of playing further down the line.

I've seen D7 mentioned a lot but haven't reached sus chords yet... I know they are approaching though once I kickstart learning the next batch of new things. 

"You have improved a lot and I'm sure that whoever you share your house with will attest to this." - hahah none of my neighbours have kicked off at me so it's so far so good   

ShawnE

https://youtu.be/uN9xi9pr29s

100 hours officially completed... couldn't help but put together a little compilation. Still rubbish but on we march!

ShawnE

https://youtu.be/FUrqBgnKEVw

I couldn't help but get a little festive. Been practicing stuff that should well & truly annoy my family when performed in mum's living room in a couple weeks time. 

BillDL

Your chord changes are really quite fluent now and your strumming seems to be a lot more natural and almost totally by feel.  The faster chord changes seemed to really all come together from the 93 hour mark onwards, and I'm sure your "noodling" with all the chords seems to have helped quite a lot.  That's exactly what I did a lot when I was at your stage of competency.  I don't know if you have noticed how your posture and demeanour have changed during your progress.  You were sitting fairly awkwardly and all tensed up well beyond the half way mark (hours of practice - not video time) and then you began to loosen up and became relaxed enough to be counting time with your head or body movements.  That loosening up and rhythmic body movement, especially in the slower songs, was quite noticeable as you progressed, and it's a sign of how much more comfortable you are now.  I think you've done really well for 100 hours of total practice and learning. Well done.

ShawnE

Cheers Bill..! Yeah for sure I've sensed I'm gradually becoming more comfortable with everything.. certain chords & changes still trip me up a lot of course (currently the damn G to C) but think I'm at the stage now where these basics chords can all iron themselves out naturally without anymore focused exercises on them...  still play with too much tension for my liking but again I'm confident this will fade away with more experience/confidence in playing... wrist is finally starting to flow more freely rather than the rigid piston arm I felt I was struggling to shake off... but still a long way to go of course!

Mind you, I've just this week started easing into the fretting of the "Big" G for the first time & learning (& now changing) between that & Cadd9, Dsus4, A7sus4, Emin7, plus a couple more... plus running through the E minor Pentatonic scale for the first time... so feels like I've taken 10 steps back again haha! A tad overwhelming with so many new things suddenly hurled at once so I'm breaking my practice into further sections... thought I had the F chord now but that comes next... think the idea is to learn/practice these first to build up extra hand strength before moving onto the F so suspect that'll be another good few weeks away yet....

Appreciate the input as always!

BillDL

I can see good reason for you learning these chord "embellishments" at this stage.  They allow you to add little frills and inject some expression into the standard (and possibly stale by now) chord sounds.  Those little nuances are very often used in fingerpicking as well as strumming.  A passing "sus4" is a good way to add a note that naturally leads into another chord, or wants to resolve back to the same chord it's being used over.

There's one aspect of a Sus4 that you might find interesting and explains why just one note makes it sound the way it does.  If you think about your three main chords in a certain key, for example in D you have D, G, and A (or A7).  These are taken from the notes that occur on the 1st, 4th and 5th notes of the Major scale in D, so D is the root or "I" chord, G is the "IV" chord, and A(7) is the "V" chord.  If you ever hear somebody talking about a "1, 4, 5 blues progression", this is what they are talking about.  By adding that "4th" note over your D chord, i.e. "suspending it", the note is G.  Within the D chord you are actually hinting at the G (or IV) chord momentarily and for as long as you have your pinky on that suspended tone.  You can either make it sound as though you have quickly bounced across to the G chord and then back again, or set up the D chord ready for a change to G or A.

If you want to play a Csus4, you could just rock your 1st finger over from the 2nd string so that it also frets the 1st string at the 1st fret.  This additional note is hinting at the F chord, which is the IV chord in the key of C (C, F, G(7) ).

Now that you are learning the "Big G" chord along with Cadd9, I have no doubt you will start hearing AC-DC, Oasis, and loads of songs in different genres that use these chords.

Starting with the Minor Pentatonic scale in E seems to be an odd choice, because it uses open strings and it's less of a visual pattern than if it was played in G starting at the 3rd fret or A at the 5th fret.  I think I know why he's chosen it in E.  If you play it over E or E minor it will sound like a bluesy rock sound, but if you were to play it over a G chord it will sound like a commonly heard flatpicking country lick.  This is the thing to remember as you begin to learn scales.  A scale is just a pattern of dots.  In time you will be able to play the same E Minor Pentatonic scale as 5 different patterns of dots in different places on the neck.  They will all still be the E Minor Pentatonic scale as long as you are hearing it over the E or E minor chord.  It's quite easy to start hearing it with a different sound (or tonality) if you lose focus of the chords you are playing it over, and the most usual way to keep it focused on that tonality is to keep going back to the E note or emphasise that note.

This is going to be a really interesting, but possibly frustrating, time for you.  This is the stage when things really begin to open up for you and you begin to learn how to play the same chord (or lick / riff) in different places on the fretboard (the various "inversions" of the same chord).  Immediately you start getting the grasp of barre chords after you learn the F, and then the other barre shape that uses the open A chord shape as its basis, you will be able to visualise what's referred to as "intervals", i.e. the number of notes / frets that separate the different chords in a particular key.  You will know what I mean when you get to this.  In some ways it's like being able to see things like chess moves.

When you are learning the F chord, which may possibly be just on the high strings to begin with, take a break if you feel the base of your thumb getting painful while trying to make all the notes ring.  There is always a tendency to squeeze harder than necessary to maintain the shape and pressure, and it's usually the base of your thumb that takes the brunt of that excess and unnecessry pressure.  Take a break and wiggle and rub it in between short sessions.

ShawnE

Cheers Bill... I am taking all of the things you say onboard I promise... I've only had a little dabble with these new chords in the last week but already love them... definitely a sense of nostalgia from their sound & they seem to make us newbies sound better than we are haha! Guess it's mostly to with many being fretted on both low & high strings... so easy to make the chord sound like it has far more dimensions based on how we strum it etc...

Will be kicking on next week & will start making these the main focus as per the first module of grade two. Exciting times & I feel ready to get back to more structured practice sessions now after enjoying just playing freely for the last month.

ShawnE

Short snappy update as I come to the end of this consolidation phase... bigger & newer things to come in the next week or so.

ShawnE

This is just a video of my general review on the online course I'm following now I've completed grade one... might be a useful little watch for anyone considering learning guitar or looking for opinions of an online course who may stumble across this thread (now or in the future).

BillDL

Hi Shawn.  How is the learning coming along?  Taking a wee break from it?