Backer Chat - Livestream with Matt Heaton (ask chordal questions!)

https://www.youtube.com/watch?v=ie1iqrEIgTg

[01:52] Hey, I wrote a theme song.
[01:56] It's backer chat with Matt.
[01:59] You're sitting where you sat.
[02:01] It's backer chat with Matt.
[02:04] Guitars, bazookies, too.
[02:07] Whichever's right for you.
[02:09] We'll strum them up and play.
[02:13] Wait, we'll tune them up and strum.
[02:14] There's no question that's dumb.
[02:18] Back or chat with Matt.
[02:21] Back with Matt.
[02:23] Back or chat with Matt.
[02:25] You're sitting where you sat.
[02:27] Hey, thanks guys.
[02:31] Um, so yeah, this is this is my um attempt.
[02:33] Uh I'm doing it's a supposed to be a question and answer format and we're going to cover um uh.
[02:37] We'll cover I don't know what we'll cover.
[02:39] This is this is all an experiment.
[02:40] We I haven't tried this before but I thought it might um it might cater to my strengths um which are not uh uh uh overplanning things let us say.
[02:44] So anyway thanks for thank you for
[02:55] So anyway thanks for thank you for coming.
[02:55] Thanks for coming gang.
[02:57] Um and coming.
[02:57] Thanks for coming gang.
[02:57] Um and we've got this is great.
[02:59] So, people are we've got this is great.
[02:59] So, people are there's a few questions in the in the chat already and I will do my best to get to all of them.
[03:03] Um, the first thing I want to talk about though is somebody somebody had emailed me and I thought this was kind of a um it's kind of a big question, kind of a broad question, but I thought it might um sort of set the stage.
[03:18] The the question was essentially how do I get good at this fast, right?
[03:23] like I really want to I want to jump into my local session and play like how do I do it and you know and that's kind of at the heart of it right I mean how do you what do you work on how do you efficiently get better um and and I thought about it and and I think I have an answer um I have I think there are three things that you need to work on you need to work on or one I like three things we need to work on as as backers
[03:53] Um, and I'm again I'm assuming most
[03:55] Um, and I'm again I'm assuming most people play either, you know, guitar or bizookie or one of the one of the plucked strings.
[04:02] But if you um the three things you need to work that I need to work on, there's the hands, there's the head, and there's the heart.
[04:08] Now, what I'm what I mean by that is for the hands, a person needs to be able to physically play the instrument.
[04:16] Uh, a person need needs to be able to switch chord to chord and, you know, uh, at at will and just have all of the like the the the the chord shapes and the strumming and just all the all the technical details and technical details are actually easy to learn because it's just um you you find out like what is the good form and then you you repeat it a lot until you can do it easily.
[04:43] So there are loads of exercises and things.
[04:45] I might give give one example um in a moment.
[04:48] But the then the head when I say the head I mean I mean theory.
[04:52] I mean knowing a bit about knowing a bit about
[04:57] knowing a bit about knowing a bit about how chords work together.
[05:00] Like for example if if you know that the tune is in G major.
[05:04] uh it's nice to know what chords commonly show up in G major.
[05:11] Right?
[05:11] So, so the head and that's so theory is kind of uh it's it's a little bit it's a little bit memorization.
[05:18] It's just you need to know um sort of how how you know how scales work a little bit so that you know how chords work a little bit so that and at the bare minimum you need to just you know memorize like that these shapes work in this key.
[05:34] And then but then the heart is sort of the the most fun and the most elusive thing and that's just really knowing the music.
[05:41] And the best thing you can possibly do for that is is listen to a lot of it.
[05:47] Uh and and putting what I like to do is put on if if I find a get a new record uh a new album uh or it doesn't even
[05:58] uh a new album uh or it doesn't even have to be a new album.
[06:00] If I you know listen to I like to listen to albums all the way through.
[06:02] Um, and I'll listen to the same album a bunch of times, you know, when I'm when whenever like when I'm driving, when I'm cooking, just whenever whenever it's convenient to to have music on.
[06:13] And I try to listen kind of actively.
[06:16] I try to really pay attention to like, you know, okay, this is the track that has that cool change from the, you know, first tune to the second tune or whatever.
[06:24] you know, try to try to not not let it just be kind of a a general wash, but actually pay attention to what's going on.
[06:32] And if you if if you when you do that, when you really focus on the tunes, if you if I listen to that album a bunch and then I sit down and decide to play along with that album, um then I can sort of dig in and be like, "Oh, that's interesting."
[06:53] you know that tune that that key relationship is not what I thought it was or oh that okay that chord doesn't
[07:00] was or oh that okay that chord doesn't really you know go there.
[07:02] If it's an album with backing then I can think like oh man that's a cool choice that's a cool choice that person made.
[07:09] Um or if it's an album without backing I can try and do do things um do things my own way.
[07:17] So those are you know that's kind of at the heart of it um the the hands the head and the heart.
[07:21] And I'm sure you could probably apply that to other, you know, other aspects of music, too.
[07:27] But the the technical stuff and then the theory stuff and then just knowing the music.
[07:36] Uh, I can't stress enough that um, you know, I mean, this music is great and it's nice to listen to and listening is a listening is a good thing to do.
[07:45] So, that's that's my that's my overall here.
[07:48] Um, so, okay. Now, now I'm Are we going to go Are we just going to dive in and start doing some questions?
[07:55] Let's do it. Uh, let's see. I'm scrolling. I'm scrolling. Um, when do you use triplet strumming? And, uh,
[08:00] do you use triplet strumming?
[08:02] And, uh, what else can you use in a mixelyian key?
[08:04] So, triplet strumming, do you mean like an ornamental thing like, you know, that kind of like a quick little snappy thing?
[08:16] Um, I assume that that's what you mean rather than like, you know, a jiggity jiggity strum.
[08:23] Uh, so I'll talk about the the ornamental triplets here.
[08:26] I'm going to scroll down in case you in case.
[08:28] Yeah, ornamental.
[08:32] Okay.
[08:34] Um, it's they're to me they're they're a little Okay.
[08:38] And obviously everything I say here is my opinion.
[08:41] And uh, you know, take it take it or leave it.
[08:43] like some some people might disagree with whatever I say and some people might love it, but it's, you know, this is sort of how I how I think of it.
[08:51] Um, the the ornamental triplets are they're they're kind of I I tend tend to do more of them
[09:00] kind of I I tend tend to do more of them if it's a little faster and peppier.
[09:03] if it's a little faster and peppier.
[09:06] the the the the pace of the tunes.
[09:08] like I wouldn't I wouldn't if we're playing like a slow pretty thing,
[09:11] I wouldn't try to throw it in there.
[09:14] but if you're if you're moving right along,
[09:18] you know, then then I think it can be kind of nice.
[09:26] the way that I I I I think they're best used a little sparingly uh
[09:31] because they're kind of they're a fairly if you do it all the time it's it's uh
[09:36] it takes the uh takes the spice out of it in a way.
[09:43] the thing that I don't do or at least not very often like twice a year is the sort of the roll thing which would be
[09:55] like if I'm playing this is a real okay duck duck duck and if you subdivide it
[10:03] into [music] and do like a b
[10:08] uh so 1 2 3 4 5
[10:11] uh so 1 2 3 4 5
[10:13] >> [clears throat]
[10:13] >> D which is like a
[10:16] >> D which is like a um that is a very very uh big gesture
[10:22] um that is a very very uh big gesture and that is the that is a gesture I
[10:25] and that is the that is a gesture I would only feel comfortable making if it
[10:28] would only feel comfortable making if it were just a probably you know later in
[10:33] the evening maybe perhaps some people
[10:36] the evening maybe perhaps some people have had a beer or two perhaps it is
[10:38] have had a beer or two perhaps it is very fast and very loud and everyone is
[10:41] very fast and very loud and everyone is just being very rockous.
[10:43] Um, then I would then I might do it like once and I
[10:45] would then I might do it like once and I would do it
[10:47] would do it pushing the end of a part back into the
[10:50] pushing the end of a part back into the A part like you know just sit on the sit
[10:53] A part like you know just sit on the sit on the the five chord [music]
[10:57] and and get hit the hit the down beat of
[10:59] and and get hit the hit the down beat of of the um the next part. So, and I I
[11:05] The of the um the next part.
[11:05] So, and I I So, I you know, they can be I the.
[11:09] So, I you know, they can be I the I can see already that I'm going to have a hard time keeping this to one hour.
[11:12] But um essentially I want to keep I would I would use them um to add excitement to what might be an already kind of peppy exciting tempo, you know.
[11:23] Um in jigs, they're easier in a way.
[11:29] Oh, right.
[11:29] Well, the real uh what I do is diddly dumb and I kind of skip the next beatdly dumbly dump.
[11:47] So I I'm ending that dumb on an upstroke and I just leave the next one out.
[11:55] Right.
[11:55] Uh because I I found I can't I wouldn't be able to get it back down there.
[12:03] Um, so yeah, I hope that that kind of I'm
[12:06] so yeah, I hope that that kind of I'm gonna have to jump back and forth here.
[12:08] gonna have to jump back and forth here.
[12:08] Uh, okay.
[12:11] Hope that answers that a little.
[12:13] Oh, and a jig jig if you're doing um down up down up.
[12:16] Uh, let me think about this.
[12:29] You can kind of it can kind of come in on there.
[12:35] And it's because you're already doing that double downstroke.
[12:41] It It's if you do two downs in a row, your hand has to come back up at some stage.
[12:47] And if when it comes up, it just happens to hit the string, right?
[12:59] That doesn't interfere.
[13:00] It doesn't interrupt the rhythm that you've already got going or the pattern that you've already got going.
[13:04] So, they're a
[13:06] you've already got going.
[13:08] So, they're a little easier to do in a jig.
[13:08] On the little easier to do in a jig.
[13:10] On the other thing about all of them is I would tend to limit the number of strings I'm doing them on.
[13:14] I wouldn't try to go through all six strings.
[13:20] Um, by the way, if um when I'm doing this stuff, like let me know if it's like clipping or or if I've got the the microphone too loud or anything.
[13:29] I can imagine that that could be kind of unpleasant if you're wearing headphones or something.
[13:31] Um, all right.
[13:34] I'm gonna I'm gonna uh I'm going to move on.
[13:37] I'm going to move on.
[13:39] Um, gonna move on to the question of do I ever an analyze the notation to decide on possible chords and substitutions or have it played so long it's more intuitive?
[13:48] Great question.
[13:53] Um, sometimes uh the Shannon and I are in the process of putting together another book collection and so I'm sort of forced to look at the notation for all the tunes.
[14:05] And I'll be honest with you in sometimes it
[14:08] I'll be honest with you in sometimes it sends me into an existential quandry.
[14:10] Sends me into an existential quandry because I've it might be a tune that I've been playing for years and I've always played this chord in this particular spot and then I look at the notes and I'm like well that I mean that doesn't make any sense at all what I'm doing like it you know the notes clearly are spelling out this other chord and I'm playing this chord but but I like my chord so what what is it?
[14:28] What do I put down?
[14:30] Um, which is, you know, one of the one of the joys of not reading chords is your ear kind of decides uh what what what it might like to hear.
[14:44] Um, this being said, with uh with newer compositions, like Shannon writes a lot of tunes, and it is I sometimes do find it very helpful to like actually read what she wrote to figure out sort of uh what she was getting at because she tends to have something in mind.
[15:04] Um, and so it it does make I I I think it's a little that it
[15:11] Make I I I think it's a little that it is helpful.
[15:14] Now, if I'm generally speaking, I'm not going to read I'm not going to look for the notes.
[15:17] I'm not going to look for the notes.
[15:18] I'm not going out of my way for that unless unless it's something that's just really like weird, something new.
[15:23] Like I had to there was um I had to do some gigs with someone uh a a couple summers ago and there was this one tune that was like what's the deal?
[15:39] It was like in seven, eight or something and had just this weird chord progression.
[15:46] There was just something going on with it that was very very specific and I just wasn't quite like I knew I wasn't getting it and I'm like, "Do you have do you have that thing written out and and so they they gave me a they they gave me the the notes and then I was like, "Oh, I see.
[16:01] It's just it's this."
[16:04] Um, I of course don't remember the specific example of what I'm talking about, but uh, you know, it can help.
[16:08] It can help. So, essentially, essentially, if it um, if
[16:14] Essentially, essentially, if it um, if looking at the music helps clarify something, great.
[16:19] But for session playing especially, I think it's it's best to try it's best to try not, right?
[16:25] Um, okay. Okay, we got a couple of we got a couple of um uh of questions about some mixelyian things.
[16:35] So, let me let me let me think about some mixelyian kids tunes.
[16:43] Um got to bounce around. Uh sorry.
[16:45] Scrolling scrolling over the metadatonian.
[16:51] So, mixelyian.
[16:59] Kind of hoping that I can tie this into the Barney Pilgrim discussion.
[17:04] So, the mixelyian scale is a major scale. Oops.
[17:09] With a flat 7, right?
[17:12] Uh, and
[17:14] Uh, and so that means you got a major one chord.
[17:18] So that means you got a major one chord, but then that seven.
[17:21] But then that seven means you have this a I call it a flat seven chord.
[17:25] Means you have this a I call it a flat seven chord.
[17:27] That's not really, you know, they just for the sake of ease.
[17:29] Know, they just for the sake of ease.
[17:31] Uh, someone else might call it something else, but
[17:33] Something else, but
[17:41] Right. So it has that that kind of um modal sound as we like to say and you know so there are a lot of tunes that you know
[17:43] Right. So it has that that kind of um modal sound as we like to say and you
[17:45] Modal sound as we like to say and you know so there are a lot of tunes that
[17:47] Know so there are a lot of tunes that you know
[17:50] You know
[17:52] That just you know the most obvious thing is rocking back and forth from the one to one to the seven.
[17:55] Thing is rocking back and forth from the one to one to the seven.
[17:56] Uh and there's nothing wrong with that.
[17:58] Uh and there's nothing wrong with that.
[18:01] Uh if you want to spice it up a little bit the first thing to do is think about like the
[18:04] Thing to do is think about like the mixelyian mode.
[18:07] Mixelyian mode.
[18:10] Mode is the two ways that you can look at
[18:12] Mode is the two ways that you can look at
[18:15] is the two ways that you can look at these modes are either just the formula.
[18:19] these modes are either just the formula.
[18:20] You know what I you know what I did?
[18:20] I'm going to I brought my whiteboard.
[18:23] So, I'm going to try and use this.
[18:25] Now, the one thing I don't know and we'll find out in a second is will this be reversed on screen.
[18:30] So, we'll find out.
[18:33] Um flat 71.
[18:37] So, mixelyian mode.
[18:40] Hey, I think that's good.
[18:40] Good.
[18:41] Right.
[18:41] So, those are the scale degrees, right?
[18:44] 1 2 3 4 5 6 flat 7 1.
[18:48] Uh, the major scale being 1 2 3 4 5 6 7 1.
[18:51] So, you know, if you're doing like whole steps and half steps, it' be whole half whole half whole.
[18:53] Yeah.
[18:58] And so if we're in D, um, those notes are D, E, F sharp, G, A, B, C, D, like that.
[19:01] And so if we're in D, um, those notes are D, E, F sharp, G, A, B, C, D, like that.
[19:03] um, those notes are D, E, F sharp, G, A, B, C, D, like that.
[19:10] B, C, D, like that.
[19:13] like that.
[19:16] like that.
[19:21] Now, um, the way that the modes are generated,
[19:22] generated, like I find that this like the numbers
[19:26] like I find that this like the numbers is maybe more useful to think about them
[19:28] is maybe more useful to think about them to remember which is which, but the way
[19:31] to remember which is which, but the way that they're generated, G, A, B, C, D,
[19:35] that they're generated, G, A, B, C, D, sorry, excuse me,
[19:38] sorry, excuse me, G.
[19:39] G.
[19:42] Um,
[19:44] hang on. I didn't leave myself enough room.
[19:47] Uh, G E
[19:49] E G A B C D E F G.
[19:56] Okay. What I've written here is a two two octave G major.
[19:59] Right?
[20:04] So, um, G A B C D E F G and then I wrote it again.
[20:08] So the the major scale is this G to G.
[20:11] G to G.
[20:15] Uh the mixelyian if you take if you take those same notes and go D to D that's
[20:17] those same notes and go D to D that's your mixelyian scale, right?
[20:26] Okay.
[20:28] So it's the same notes. You're just starting on a different scale degree.
[20:31] Same token, if you were to do the second scale degree A to A, that is the Dorium,
[20:45] right?
[20:47] So that is just how those how those are are how those sets of notes are generated.
[20:53] And if the if we've if the D mixelyian scale is generated from the notes in G major, that means that other chords in the key of G major should be available to us.
[21:09] Excuse me, I got to close this thing.
[21:10] It's getting hot in here.
[21:14] Um, so, so what are some other chords we can play?
[21:17] And now I I'm I'm not thinking of
[21:18] play?
[21:18] And now I I'm I'm not thinking of a specific tune at the moment, but um
[21:22] the keys the chords in the key of G are
[21:24] the keys the chords in the key of G are of course G, A minor,
[21:27] B minor, C, D, right?
[21:34] Um E minor, and then the F sharp diminish.
[21:36] Don't worry about that.
[21:36] And then G.
[21:39] So, you know, we could um there could be a, you know, a mixelyian tune.
[21:54] Like sometimes I might try to approach the C via a B minor.
[22:02] You could approach the C via G.
[22:12] you could use you could um substitute the B minor for the D.
[22:14] So, you know, normally that would just be your normal
[22:18] normally that would just be your normal like minor third substitution. So you
[22:20] like minor third substitution. So you could go
[22:23] could go um
[22:26] [singing and music]
[22:32] uh I I do
[22:35] uh I I do sometimes throw in that a
[22:41] that kind of thing. So, um, the Blney
[22:44] that kind of thing. So, um, the Blney Pilgrim is the one that goes, um,
[22:48] Pilgrim is the one that goes, um, [music]
[22:53] is that right?
[23:03] Am I thinking of the right tune? Um,
[23:07] I'm going to look in the comments, make
[23:08] I'm going to look in the comments, make sure I'm thinking of that tune. Is
[23:10] sure I'm thinking of that tune. Is anyone uh am I thinking of the right
[23:12] anyone uh am I thinking of the right tune? Anyone? Anyone?
[23:15] tune? Anyone? Anyone? Okay. Uh I'm gonna I'm gonna I'm gonna
[23:18] Okay. Uh I'm gonna I'm gonna I'm gonna look it up. [laughter] This is
[23:19] look it up. [laughter] This is embarrassing, but this is how we roll.
[23:22] embarrassing, but this is how we roll. This is how we roll here on the backer
[23:23] This is how we roll here on the backer chat. Um
[23:27] chat. Um yes, that's it. Okay. Thought so. Okay.
[23:29] yes, that's it. Okay. Thought so. Okay. So, that tune
[23:59] >> [music]
[24:01] >> [music] >> Right. So um the way I hear it is that
[24:06] >> Right. So um the way I hear it is that the first part is in D makes sidian. Uh
[24:11] the first part is in D makes sidian. Uh I hear the second part I play hear the
[24:13] I hear the second part I play hear the second part as being in G and then the
[24:16] second part as being in G and then the third part goes back to D is how I hear
[24:18] third part goes back to D is how I hear it. Um but you know [singing and music]
[24:26] D. [singing and music]
[24:38] [singing]
[24:44] [singing and music]
[24:49] Um, that's how I play it. Uh, but you
[24:53] Um, that's how I play it. Uh, but you could hear it other ways. I I I'm pretty
[24:56] could hear it other ways. I I I'm pretty sure that there is a recording of uh
[25:04] sure that there is a recording of uh [sighs]
[25:06] it might be on that like one of those
[25:09] it might be on that like one of those Paul Brady records back in the day, but
[25:12] Paul Brady records back in the day, but where they play it,
[25:15] where they play it, they play it in G.
[25:19] [singing and music]
[25:21] D
[25:24] D [music]
[25:25] [music] like that.
[25:28] like that. Whoops. [singing] Stop g
[25:31] Whoops. [singing] Stop g like um
[25:34] like um because it's the same notes, right? I
[25:36] because it's the same notes, right? I mean, you can you can certainly make a
[25:38] mean, you can you can certainly make a pretty solid argument for it uh on that
[25:41] pretty solid argument for it uh on that one. Um and
[25:43] one. Um and that's which is fine. Like I mean, but
[25:46] that's which is fine. Like I mean, but you know what's not fine? What did what
[25:48] you know what's not fine? What did what did you say? Half of them plays it in D.
[25:49] did you say? Half of them plays it in D. Half of him plays it in G. Uh half of
[25:52] Half of him plays it in G. Uh half of them plays the first chords is G, A
[25:54] them plays the first chords is G, A minor, B minor and C. [singing]
[25:56] minor, B minor and C. [singing] [music]
[26:00] Yeah, that that I mean um I wouldn't uh
[26:06] Yeah, that that I mean um I wouldn't uh I wouldn't love that all just I feel
[26:10] I wouldn't love that all just I feel like that's that would be a nice
[26:12] like that's that would be a nice variation maybe. Um, but I wouldn't love
[26:15] variation maybe. Um, but I wouldn't love that for like to say like this is how
[26:18] that for like to say like this is how this tune goes. Um, that seems it seems
[26:21] this tune goes. Um, that seems it seems a little just perhaps uh like a
[26:25] a little just perhaps uh like a convenient port chord progression.
[26:28] convenient port chord progression. Uh, a word about chord progressions
[26:30] Uh, a word about chord progressions while we're at it. Um just just
[26:35] while we're at it. Um just just there are
[26:37] there are people some people approach uh approach
[26:41] people some people approach uh approach this whole project by trying to learn
[26:46] this whole project by trying to learn specific patterns and
[26:50] specific patterns and assuming that if you you know get a few
[26:54] assuming that if you you know get a few patterns that chord patterns I mean like
[26:57] patterns that chord patterns I mean like you know an order of chords a
[26:58] you know an order of chords a progression that uh that you'll be
[27:02] progression that uh that you'll be covered like you'll be able to use at
[27:03] covered like you'll be able to use at least one of those in any given
[27:05] least one of those in any given situation. And
[27:08] situation. And while like it's not that it's you know
[27:13] while like it's not that it's you know it's not entire it's not like a a lie
[27:16] it's not entire it's not like a a lie because I mean yeah there are if you're
[27:18] because I mean yeah there are if you're playing in G you're going to there's a
[27:19] playing in G you're going to there's a lot of tunes that go you know G C G D or
[27:23] lot of tunes that go you know G C G D or you know or GG CD that kind of thing.
[27:26] you know or GG CD that kind of thing. There are a lot you do that a lot. Um,
[27:29] There are a lot you do that a lot. Um, but there are
[27:33] but there are a it sort of it sort of writes us an
[27:36] a it sort of it sort of writes us an excuse note to not know the stuff as
[27:39] excuse note to not know the stuff as well as maybe we should. Um, and it's
[27:43] well as maybe we should. Um, and it's better if you if we learn it better. If
[27:45] better if you if we learn it better. If we if the, you know, if we dig in and
[27:47] we if the, you know, if we dig in and know the tune,
[27:49] know the tune, it's more fun. It's it's it's it's a
[27:52] it's more fun. It's it's it's it's a great deal more enjoyable to sit in a
[27:54] great deal more enjoyable to sit in a session and recognize a tune and play it
[27:58] session and recognize a tune and play it versus,
[28:01] versus, you know, just sort of knowing what key
[28:02] you know, just sort of knowing what key it's in and being able to figure your
[28:05] it's in and being able to figure your way through it. That's a helpful skill,
[28:08] way through it. That's a helpful skill, but it's not as good as actually knowing
[28:10] but it's not as good as actually knowing it because it just feels then you're
[28:12] it because it just feels then you're comfortable. Then you're not on edge.
[28:14] comfortable. Then you're not on edge. And and of course
[28:17] And and of course that doesn't
[28:19] that doesn't even take into account the tunes that
[28:22] even take into account the tunes that don't follow the rules or don't do what
[28:25] don't follow the rules or don't do what you want them to do. Uh because there
[28:27] you want them to do. Uh because there are plenty and you know we have all had
[28:30] are plenty and you know we have all had moments of just being completely
[28:34] moments of just being completely uh
[28:36] uh I I refer to it as getting bit in the
[28:38] I I refer to it as getting bit in the butt when you're you know I'm playing
[28:40] butt when you're you know I'm playing along and I don't know this tune and
[28:42] along and I don't know this tune and then there's this chord that you know
[28:45] then there's this chord that you know something happens in the melody and I'm
[28:47] something happens in the melody and I'm playing a chord that is clearly wrong.
[28:48] playing a chord that is clearly wrong. It is not the right chord. But I don't
[28:51] It is not the right chord. But I don't immediately know I haven't quite figured
[28:53] immediately know I haven't quite figured out what is the right chord there in
[28:55] out what is the right chord there in that situation. And the dreadful thing
[28:58] that situation. And the dreadful thing about it is that you know it's going to
[29:00] about it is that you know it's going to repeat in another like whatever six bars
[29:03] repeat in another like whatever six bars and you don't really have that much time
[29:05] and you don't really have that much time to figure it out. And so then you you
[29:07] to figure it out. And so then you you know you try another one when that part
[29:09] know you try another one when that part comes around and oh that's wrong too.
[29:11] comes around and oh that's wrong too. And it you know like well now I've got
[29:13] And it you know like well now I've got two B parts to figure it out. But uh um
[29:15] two B parts to figure it out. But uh um it's that situation. It happens. It h
[29:18] it's that situation. It happens. It h it's happened to every backer on the
[29:20] it's happened to every backer on the planet, you know. I guarantee it. Nobody
[29:21] planet, you know. I guarantee it. Nobody knows everything. And it's nice to um I
[29:25] knows everything. And it's nice to um I would rather I would rather spend more
[29:28] would rather I would rather spend more time learning specific tunes than just
[29:32] time learning specific tunes than just learning patterns. Make sense? Um okay.
[29:36] learning patterns. Make sense? Um okay. I'm gonna I'm gonna uh How do I choose
[29:39] I'm gonna I'm gonna uh How do I choose the the the
[29:41] the the the Wait. Well, here here we go. There's a
[29:43] Wait. Well, here here we go. There's a there I think I just answered the
[29:45] there I think I just answered the question that I I uh uh just read here.
[29:48] question that I I uh uh just read here. How do you how do you choose the chords
[29:49] How do you how do you choose the chords you'll be playing? Um depends on the
[29:51] you'll be playing? Um depends on the tune, right? So if you know step one is
[29:55] tune, right? So if you know step one is knowing the key you're in, knowing the
[29:57] knowing the key you're in, knowing the the key of the melody, right? Because
[29:59] the key of the melody, right? Because that to a very large extent dictates the
[30:05] that to a very large extent dictates the chords that you'll be choosing from.
[30:08] chords that you'll be choosing from. I'm gonna I'm gonna get my whiteboard
[30:10] I'm gonna I'm gonna get my whiteboard out again because I don't have to
[30:13] out again because I don't have to [clears throat] if anyone can scroll
[30:15] [clears throat] if anyone can scroll backwards and screenshot things, right?
[30:18] backwards and screenshot things, right? So,
[30:20] So, let's say we're in a major key.
[30:23] let's say we're in a major key. Um, and I'll do this generically first
[30:27] Um, and I'll do this generically first and then we can plug in some actual
[30:30] and then we can plug in some actual things. One, two, three minor, four,
[30:34] things. One, two, three minor, four, five, out of room, six minor. Um, Maybe
[30:38] five, out of room, six minor. Um, Maybe I can just do that. Six minor. Uh, so
[30:41] I can just do that. Six minor. Uh, so the basic chords in any major key are
[30:45] the basic chords in any major key are one, two minor, three minor,
[30:50] one, two minor, three minor, four, five, and six minor.
[30:54] four, five, and six minor. And then the seven, the seven chord,
[30:57] And then the seven, the seven chord, like we don't talk about Bruno, but
[30:58] like we don't talk about Bruno, but we'll not worry about that. Um, so if
[31:02] we'll not worry about that. Um, so if we're in the key of G, which we seem to
[31:04] we're in the key of G, which we seem to be a bit today, uh, that would be the
[31:06] be a bit today, uh, that would be the one chord would be G.
[31:09] one chord would be G. The two chord would be A minor, the
[31:12] The two chord would be A minor, the three chord would be B minor,
[31:15] three chord would be B minor, the four chord would be C, the five
[31:18] the four chord would be C, the five chord D, the six chord E minor,
[31:23] chord D, the six chord E minor, and then
[31:25] and then back to G. Uh so the first thing if I
[31:29] back to G. Uh so the first thing if I were if there were a tune in the key of
[31:30] were if there were a tune in the key of G uh I would assume that I would be
[31:33] G uh I would assume that I would be playing um
[31:36] playing um choosing from those chords and the
[31:40] choosing from those chords and the the first thing. So
[31:44] the first thing. So this this comes up a lot like how do you
[31:45] this this comes up a lot like how do you know what keys something's in? Like if
[31:47] know what keys something's in? Like if you're if you're in a session or or if
[31:49] you're if you're in a session or or if you're just trying to figure out at home
[31:50] you're just trying to figure out at home even better. Uh what I what I tell
[31:53] even better. Uh what I what I tell people is that, you know, you do have a
[31:56] people is that, you know, you do have a a kind of limited set of choices if
[31:59] a kind of limited set of choices if you're playing Irish music. Like G, D,
[32:04] you're playing Irish music. Like G, D, A major, like G and D. I I actually last
[32:09] A major, like G and D. I I actually last week uh played in a session where we
[32:12] week uh played in a session where we played for three hours and we only
[32:15] played for three hours and we only played in the keys of G major and D
[32:17] played in the keys of G major and D major. I swear to you, there was some D
[32:18] major. I swear to you, there was some D mixelyian. There was not one minor tune.
[32:21] mixelyian. There was not one minor tune. There was not one tune that was not in
[32:23] There was not one tune that was not in the key of G or D. It was amazing. It
[32:26] the key of G or D. It was amazing. It wasn't like on purpose. It's just how it
[32:29] wasn't like on purpose. It's just how it turned out. Um, but so you do get an
[32:32] turned out. Um, but so you do get an awful lot of so an awful lot of uh uh
[32:35] awful lot of so an awful lot of uh uh mileage out of those keys. So, you know,
[32:38] mileage out of those keys. So, you know, knowing that if it's in G, there's going
[32:41] knowing that if it's in G, there's going to be a lot of G. And the there's this
[32:44] to be a lot of G. And the there's this idea that like, you know, if the tune's
[32:46] idea that like, you know, if the tune's going along and you're trying to figure
[32:47] going along and you're trying to figure out what key you're in, if you sort of
[32:50] out what key you're in, if you sort of quietly play one of your possible root
[32:52] quietly play one of your possible root notes, you know, could it be in G? You
[32:55] notes, you know, could it be in G? You could just kind of quietly play a G.
[32:57] could just kind of quietly play a G. This is, you know, that kind of thing so
[32:59] This is, you know, that kind of thing so you're not disturbing anyone. And you're
[33:02] you're not disturbing anyone. And you're looking for the note that sounds right
[33:04] looking for the note that sounds right for most of the time, right? Uh so it
[33:07] for most of the time, right? Uh so it doesn't immediately clash. Like if I'm I
[33:11] doesn't immediately clash. Like if I'm I now this is
[33:13] now this is I don't know if I can do this. Um,
[33:16] I don't know if I can do this. Um, I'll try I'll try and sing and play at
[33:18] I'll try I'll try and sing and play at the same time. So, this I'm going to try
[33:19] the same time. So, this I'm going to try and sing you a tune in Gum D.
[33:25] Okay, I'll just do that much. So, if I
[33:27] Okay, I'll just do that much. So, if I if I am trying to find out the the key
[33:30] if I am trying to find out the the key to this and I'm like, oh, maybe it's an
[33:32] to this and I'm like, oh, maybe it's an A and I'm playing
[33:36] [singing]
[33:37] [singing] [music]
[33:38] [music] D.
[33:42] You can hear that that doesn't really
[33:43] You can hear that that doesn't really fit, right? Um, so then I think maybe
[33:46] fit, right? Um, so then I think maybe it's in D and I go, sorry.
[33:59] And that one like it doesn't it doesn't
[34:02] And that one like it doesn't it doesn't like set my teeth on edge or anything,
[34:03] like set my teeth on edge or anything, but it's some somehow a bit
[34:05] but it's some somehow a bit unsatisfying, which makes me think it
[34:07] unsatisfying, which makes me think it might be like a false positive because
[34:09] might be like a false positive because of that whole D&G relationship. But then
[34:11] of that whole D&G relationship. But then when you hear the real one,
[34:22] then it sounds nice. It sounds really
[34:24] then it sounds nice. It sounds really good, right? Um do that. Like that's a
[34:28] good, right? Um do that. Like that's a great great thing to do with with a
[34:29] great great thing to do with with a record. Um just like put on put on a
[34:32] record. Um just like put on put on a recording and just kind of see if you
[34:33] recording and just kind of see if you can don't don't worry about like trying
[34:35] can don't don't worry about like trying to figure out the whole thing. Just
[34:36] to figure out the whole thing. Just figure out what key it's in.
[34:41] >> It's a good um a good ear training
[34:43] >> It's a good um a good ear training exercise. Um and then once you've got
[34:45] exercise. Um and then once you've got the key, I I my usual advice to people
[34:49] the key, I I my usual advice to people is sort of stay on the one chord till it
[34:52] is sort of stay on the one chord till it tells you to leave.
[34:57] D,
[34:59] D, [singing and music]
[35:02] you know, you could stay on the one
[35:03] you know, you could stay on the one chord for most of that most of that
[35:05] chord for most of that most of that part. I think um the
[35:10] part. I think um the if you that's to get sort of the bones
[35:12] if you that's to get sort of the bones of it and then you can move around more
[35:14] of it and then you can move around more certainly like you can you can you know
[35:17] certainly like you can you can you know snake all the way around and throw in
[35:19] snake all the way around and throw in different chords and if as long as
[35:20] different chords and if as long as you're within the key like you can
[35:22] you're within the key like you can probably make it you know that you can
[35:24] probably make it you know that you can probably if you handle it right you can
[35:27] probably if you handle it right you can probably make any chord work at any
[35:29] probably make any chord work at any given time as long as you you know get
[35:32] given time as long as you you know get to it and from it in a in a good way.
[35:34] to it and from it in a in a good way. Um, we'll talk more about that in a
[35:37] Um, we'll talk more about that in a moment. But the the but you know if I
[35:40] moment. But the the but you know if I know
[35:45] maybe that's a D chord there.
[35:51] If I wanted to do it a little more uh
[35:54] If I wanted to do it a little more uh add some more to it. I might sing G
[35:56] add some more to it. I might sing G [music] D
[35:59] [music] D G D D D D D D D D D D D D D D D D D D D
[35:59] G D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D
[35:59] D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D D
[36:00] D D D D D D D D D D D D D D D D D D D D D G G [singing and music] D, different G
[36:05] D G G [singing and music] D, different G D C D,
[36:11] right? So, it's the same. I'm just sort
[36:12] right? So, it's the same. I'm just sort of adding uh find out the skeleton
[36:15] of adding uh find out the skeleton first. Find out the the bare minimum and
[36:18] first. Find out the the bare minimum and then then add to it. Then add more more
[36:20] then then add to it. Then add more more chords and more um more stuff until you
[36:24] chords and more um more stuff until you like it. Till it's done. Done. All
[36:28] like it. Till it's done. Done. All right. Okay. I'm moving on. I'm moving
[36:29] right. Okay. I'm moving on. I'm moving on because I want to get uh let's see.
[36:32] on because I want to get uh let's see. Uh
[36:35] Uh relationship of the backer to the melody
[36:36] relationship of the backer to the melody player. Well, um you want to support the
[36:38] player. Well, um you want to support the melody. that sort of like the I think
[36:43] melody. that sort of like the I think that
[36:44] that good backing can
[36:48] good backing can really elevate the whole musical
[36:51] really elevate the whole musical experience. Uh I am
[36:54] experience. Uh I am you will run into people who are of the
[36:56] you will run into people who are of the opinion that you know backing should
[37:00] opinion that you know backing should well some people just think there
[37:01] well some people just think there shouldn't be any and then some people
[37:04] shouldn't be any and then some people think that it should be just as out of
[37:08] think that it should be just as out of the way and unobtrusive as possible
[37:12] the way and unobtrusive as possible and I think it should be
[37:15] and I think it should be part of the music and I think it's okay
[37:21] part of the music and I think it's okay to sometimes assert yourself a little as
[37:24] to sometimes assert yourself a little as a backer.
[37:25] a backer. Throw in that weird cord, you know, make
[37:28] Throw in that weird cord, you know, make people sit up and take notice. Um, it I
[37:30] people sit up and take notice. Um, it I I I think
[37:34] I I think if you try to be too passive, like, oh,
[37:37] if you try to be too passive, like, oh, I don't want to mess up. I don't want
[37:38] I don't want to mess up. I don't want anyone to hate me. I don't want to mess
[37:39] anyone to hate me. I don't want to mess up. It's it's it's it's not it's not as
[37:42] up. It's it's it's it's not it's not as fun and it doesn't maybe drive the bus.
[37:45] fun and it doesn't maybe drive the bus. it doesn't serve the music as well as as
[37:48] it doesn't serve the music as well as as uh
[37:51] uh knowing what you're doing and then and
[37:52] knowing what you're doing and then and then doing it, I guess. Um that being
[37:56] then doing it, I guess. Um that being said,
[37:58] said, if there's a if there's a disagreement,
[38:00] if there's a if there's a disagreement, you need uh we need to defer to the
[38:04] you need uh we need to defer to the melody player. Um because without if I
[38:09] melody player. Um because without if I get up and go have a beer, they can keep
[38:12] get up and go have a beer, they can keep playing tunes. if they get up and go
[38:15] playing tunes. if they get up and go have a beer, uh, unless I'm going to
[38:17] have a beer, uh, unless I'm going to sing a song or something,
[38:20] sing a song or something, there's no session. So, the,
[38:24] there's no session. So, the, um, it is, you know,
[38:28] um, it is, you know, you have to be you have to be
[38:30] you have to be you have to be differential. You can't like walk all
[38:31] differential. You can't like walk all over it certainly.
[38:34] over it certainly. And, you want to be I want to be when I
[38:38] And, you want to be I want to be when I play, I want to support the melody. I
[38:39] play, I want to support the melody. I want to make it sound better. I want it
[38:41] want to make it sound better. I want it to sound better than if I weren't
[38:44] to sound better than if I weren't sitting there.
[38:46] sitting there. And so, I want to
[38:49] And so, I want to lock in with the melody player as much
[38:51] lock in with the melody player as much as I can. I want to really follow the
[38:53] as I can. I want to really follow the melody player's rhythm, uh, their
[38:55] melody player's rhythm, uh, their rhythmic feel, you know, is it fast, is
[38:58] rhythmic feel, you know, is it fast, is it slow, is it is it, you know, a heavy
[39:01] it slow, is it is it, you know, a heavy sort of rhythm or is it a kind of flowy
[39:04] sort of rhythm or is it a kind of flowy rhythm? Whatever whatever is going on, I
[39:06] rhythm? Whatever whatever is going on, I want to I want to lock into that and and
[39:07] want to I want to lock into that and and follow that and play that way. I want to
[39:09] follow that and play that way. I want to play that way, too.
[39:10] play that way, too. Um, and I want to sus out like is this
[39:17] Um, and I want to sus out like is this the type of player who is going to
[39:18] the type of player who is going to appreciate me, you know,
[39:22] appreciate me, you know, throwing in jazz chords or something
[39:24] throwing in jazz chords or something like or not? And and you know, you you
[39:28] like or not? And and you know, you you or is this the sort of player who wants
[39:30] or is this the sort of player who wants me to go uh or or not? Uh, and then, you
[39:35] me to go uh or or not? Uh, and then, you know, play accordingly. Make sense? Um,
[39:38] know, play accordingly. Make sense? Um, so yeah, it's a it's a it's it's a good
[39:40] so yeah, it's a it's a it's it's a good relationship. We like a good
[39:42] relationship. We like a good relationship. Um, and I'm just going
[39:44] relationship. Um, and I'm just going through these in order here. In a
[39:45] through these in order here. In a medium-sized session and there are more
[39:47] medium-sized session and there are more than one guitar player, how do you
[39:48] than one guitar player, how do you handle it? Uh, great question. Depends.
[39:51] handle it? Uh, great question. Depends. Depends on how well you know each other.
[39:56] Depends on how well you know each other. If it's a
[39:59] If it's a if yesterday I happened to go out and
[40:02] if yesterday I happened to go out and there were three backers and
[40:07] there were three backers and excuse me, three backers and one, two,
[40:10] excuse me, three backers and one, two, three, four,
[40:12] three, four, five, excuse me, maybe five melody
[40:14] five, excuse me, maybe five melody players. Um,
[40:17] players. Um, which, you know, on the surface is not
[40:20] which, you know, on the surface is not maybe the uh ideal distribution. Uh but
[40:25] maybe the uh ideal distribution. Uh but the all of the the backers we all know
[40:29] the all of the the backers we all know each other very well and have been
[40:32] each other very well and have been playing together you know in town for
[40:34] playing together you know in town for for years and years and so it's e so in
[40:38] for years and years and so it's e so in that case it's easy because I know I
[40:40] that case it's easy because I know I know how my friend John plays and I can
[40:43] know how my friend John plays and I can fit in with him and so we would you know
[40:45] fit in with him and so we would you know we we some tunes we would fit in some
[40:48] we we some tunes we would fit in some tunes one of us would sit out for a bit
[40:49] tunes one of us would sit out for a bit or the you know the other it just
[40:51] or the you know the other it just depends like if it's a if it's a session
[40:54] depends like if it's a if it's a session If it's a regular session, you need to
[40:56] If it's a regular session, you need to figure something out so that because if
[40:59] figure something out so that because if if regularly there are multiple backers
[41:01] if regularly there are multiple backers showing up, you sort of need to have
[41:03] showing up, you sort of need to have some something in in place to handle it.
[41:06] some something in in place to handle it. If it's like a one-time thing like like
[41:08] If it's like a one-time thing like like if it's a this, you know, the example is
[41:10] if it's a this, you know, the example is always like at a festival or a camp or
[41:12] always like at a festival or a camp or something where it's, you know, this one
[41:15] something where it's, you know, this one time thing that this group of people is
[41:17] time thing that this group of people is going to be playing together. I say, you
[41:18] going to be playing together. I say, you know, don't worry about it. Like it's
[41:20] know, don't worry about it. Like it's just play away. like you know it's it's
[41:22] just play away. like you know it's it's not really worth I mean if if someone
[41:25] not really worth I mean if if someone wants to have the discussion like hey do
[41:26] wants to have the discussion like hey do you want to take turns or something
[41:28] you want to take turns or something great you know yeah take turns like
[41:29] great you know yeah take turns like that's cool uh but I I kind of feel like
[41:33] that's cool uh but I I kind of feel like it's more of an issue if you're going to
[41:34] it's more of an issue if you're going to have to be dealing with it every week
[41:37] have to be dealing with it every week and then then you know some strategies
[41:40] and then then you know some strategies are uh put on a capo up high like one of
[41:42] are uh put on a capo up high like one of you one of you plays up high and one of
[41:44] you one of you plays up high and one of and one of you plays down low um that's
[41:47] and one of you plays down low um that's a good one uh or you know just flat out
[41:50] a good one uh or you know just flat out take turns playing. That's certainly
[41:52] take turns playing. That's certainly certainly an option um that that can be
[41:57] certainly an option um that that can be quite effective. Uh but it's it just
[42:03] quite effective. Uh but it's it just it's not necessarily a problem. But if
[42:06] it's not necessarily a problem. But if it is a problem, then it needs to be
[42:09] it is a problem, then it needs to be addressed in some way and cordially of
[42:12] addressed in some way and cordially of course. Um because you know it's
[42:14] course. Um because you know it's supposed to be fun. Um all right. So
[42:18] supposed to be fun. Um all right. So next question. Sometimes a lead chord
[42:19] next question. Sometimes a lead chord would introduce the next chord. Go from
[42:21] would introduce the next chord. Go from a D to a C and add a quarter note before
[42:23] a D to a C and add a quarter note before the G or G to a G. Yeah. Um Yeah,
[42:26] the G or G to a G. Yeah. Um Yeah, absolutely. So, uh I like to connect
[42:29] absolutely. So, uh I like to connect things. Um
[42:33] uh I if I'm going from a G to a C, I
[42:37] uh I if I'm going from a G to a C, I will almost inevitably go [music]
[42:41] will almost inevitably go [music] play a G over B to the C.
[42:50] Um, and G. Then this, I use [music] this
[42:53] Um, and G. Then this, I use [music] this a lot. D over F# sharp going [singing]
[42:56] a lot. D over F# sharp going [singing] to G. We're up here.
[43:02] Um, so my there's there's
[43:07] Um, so my there's there's two ways to do that. So the approaching
[43:10] two ways to do that. So the approaching a note by a half step, in other words, F
[43:13] a note by a half step, in other words, F sharp to G, like one fret motion. That's
[43:16] sharp to G, like one fret motion. That's a really strong motion because if we're
[43:17] a really strong motion because if we're here and I play this,
[43:22] it really wants to resolve, right? Um
[43:27] it really wants to resolve, right? Um so if you can use those half steps that
[43:31] so if you can use those half steps that are in the key, which would be the half
[43:33] are in the key, which would be the half step between um three and four and the
[43:37] step between um three and four and the half step between seven and one, right?
[43:40] half step between seven and one, right? So if I play in I'll play in D for a
[43:43] So if I play in I'll play in D for a change here. So, here's um I'm just
[43:45] change here. So, here's um I'm just going to say one. I'm going to say one
[43:48] going to say one. I'm going to say one seven things like that. Okay. So, here's
[43:51] seven things like that. Okay. So, here's one
[43:53] one 6 7 1
[43:55] 6 7 1 uh [music] 1 oops 3 4
[44:00] uh [music] 1 oops 3 4 2 [singing]
[44:00] 2 [singing] 5
[44:02] 5 7
[44:04] 7 1. Here we go. 5 6 7 1
[44:11] uh 3 4 2 5 7 1
[44:17] uh 3 4 2 5 7 1 1 uh 1
[44:20] 1 uh 1 3 4 2 [music] 1 3 4 2 1 It smooths it
[44:28] 3 4 2 [music] 1 3 4 2 1 It smooths it out. It just It just makes the change
[44:31] out. It just It just makes the change from one thing to another a little a
[44:33] from one thing to another a little a little bit smoother. um the the the you
[44:38] little bit smoother. um the the the you know the technical term voice leading uh
[44:40] know the technical term voice leading uh which comes from like a choir like if
[44:43] which comes from like a choir like if you're if you look at if you've ever
[44:44] you're if you look at if you've ever like sung in a choir or a hymn or
[44:47] like sung in a choir or a hymn or anything like if it's well written the
[44:49] anything like if it's well written the you don't jump around a lot it's because
[44:51] you don't jump around a lot it's because your voice doesn't like that you don't
[44:52] your voice doesn't like that you don't like to go you know you like to go like
[44:56] like to go you know you like to go like something smoother so voice leading is
[44:58] something smoother so voice leading is like uh trying to write things that are
[45:02] like uh trying to write things that are smooth. Um, now you can also throw in
[45:05] smooth. Um, now you can also throw in like I don't know what to call it,
[45:07] like I don't know what to call it, chromatic voice leading, which is like
[45:09] chromatic voice leading, which is like not in the key. For example, if I'm in D
[45:13] not in the key. For example, if I'm in D and I want to go to a B minor,
[45:16] and I want to go to a B minor, I could approach it or
[45:19] I could approach it or by this A sharp, which A sharp is not in
[45:22] by this A sharp, which A sharp is not in the key of D, right? So I could go.
[45:26] the key of D, right? So I could go. That was a bad one.
[45:32] [music]
[45:38] Right. You can kind of
[45:42] And some people will do that by just
[45:44] And some people will do that by just taking the minor chord and sliding the
[45:47] taking the minor chord and sliding the whole thing up like that.
[45:49] whole thing up like that. >> [music]
[45:49] >> [music] >> I tend to use a diminished diminished
[45:52] >> I tend to use a diminished diminished chord, diminish seven chord, which is
[45:55] chord, diminish seven chord, which is not that different.
[46:03] [music]
[46:06] But all that kind of stuff just makes it
[46:08] But all that kind of stuff just makes it just smooths out the changes. Um, which
[46:10] just smooths out the changes. Um, which is uh I think a desirable outcome. Uh, I
[46:15] is uh I think a desirable outcome. Uh, I I believe I did maybe a video about um
[46:17] I believe I did maybe a video about um passing chords. It's in there somewhere.
[46:20] passing chords. It's in there somewhere. Um, let's see. What do we got here? Uh,
[46:22] Um, let's see. What do we got here? Uh, the traditional music guitar players
[46:24] the traditional music guitar players seem to move in a very fluid fashion.
[46:26] seem to move in a very fluid fashion. Uh, oh, there's another passing chords.
[46:28] Uh, oh, there's another passing chords. Um, yes, [laughter] exactly what I just
[46:30] Um, yes, [laughter] exactly what I just said. Um, uh, they it's it's just a
[46:33] said. Um, uh, they it's it's just a matter of connecting things. Like if I
[46:35] matter of connecting things. Like if I go, you know,
[46:40] [music] that's a big old jump. Whereas
[46:42] [music] that's a big old jump. Whereas if I go
[46:47] [music]
[46:48] [music] that's more chill. Sometimes you might
[46:49] that's more chill. Sometimes you might want to go,
[46:54] you know, and sometimes you might not
[46:55] you know, and sometimes you might not might
[46:58] might just be a little more a little more
[47:00] just be a little more a little more close in. Um
[47:02] close in. Um the when So fast jigs. Fast jigs. Okay,
[47:06] the when So fast jigs. Fast jigs. Okay, I got a right-hand question. Let's do
[47:08] I got a right-hand question. Let's do it. Um, so the jig thing, which probably
[47:11] it. Um, so the jig thing, which probably you all know, but I'll say it again.
[47:12] you all know, but I'll say it again. Down, up, down, down, up, down, down.
[47:18] Sometimes there is a speed limit on
[47:20] Sometimes there is a speed limit on that. Um, and
[47:23] that. Um, and how how do you deal with that? So, I'm
[47:26] how how do you deal with that? So, I'm going to give you two quick answers.
[47:27] going to give you two quick answers. They might not be quick. My answers are
[47:29] They might not be quick. My answers are never quick. One is here is a fantastic
[47:33] never quick. One is here is a fantastic way to work on this. Uh, I mentioned at
[47:36] way to work on this. Uh, I mentioned at the at the top of this working on the
[47:37] the at the top of this working on the hands. This is a great example. If you
[47:41] hands. This is a great example. If you um
[47:42] um this works with best with a metronome,
[47:44] this works with best with a metronome, which I do not have in this room, so I'm
[47:46] which I do not have in this room, so I'm just going to go you like click click
[47:47] just going to go you like click click click, right? But if I if I go click
[47:50] click, right? But if I if I go click click click click. Okay. So, I'm just
[47:53] click click click. Okay. So, I'm just setting this tempo
[47:55] setting this tempo tick tick and then I go down up down up
[47:58] tick tick and then I go down up down up down up down up down tick tick tick.
[48:01] down up down up down tick tick tick. [music]
[48:04] So going back and forth. When I practice
[48:05] So going back and forth. When I practice right-hand rhythm stuff, I always mute
[48:08] right-hand rhythm stuff, I always mute the mute the strings so I don't have to
[48:10] the mute the strings so I don't have to don't have to listen to anything and
[48:11] don't have to listen to anything and don't have to hold down a chord. You can
[48:12] don't have to hold down a chord. You can if you're going to do it for a long
[48:13] if you're going to do it for a long time, just put a sock on it. But um
[48:18] tick tick tick tick tick tick tick tick.
[48:22] tick tick tick tick tick tick tick tick. Right? So that's all the same. So what's
[48:24] Right? So that's all the same. So what's happening is you're giving your hand
[48:26] happening is you're giving your hand four beats, four strums to kind of rest
[48:30] four beats, four strums to kind of rest after doing the down, up, down, down.
[48:32] after doing the down, up, down, down. And then there are two ways to increase
[48:34] And then there are two ways to increase you you you can increase the speed dut
[48:41] [music]
[48:42] [music] and then you can also increase the
[48:44] and then you can also increase the length of the interval. So you can go
[48:46] length of the interval. So you can go like um I was doing you know equal 1 2 3
[48:49] like um I was doing you know equal 1 2 3 4 1 2 3 4 but I could go 1 2 3 4 1 2 3
[48:53] 4 1 2 3 4 but I could go 1 2 3 4 1 2 3 [music] 4 1 2 3 4 1 2 3 4 1 [music] 2
[48:59] [music] 4 1 2 3 4 1 2 3 4 1 [music] 2 [singing] 3 4 1 2 3 4 right um and so
[49:03] [singing] 3 4 1 2 3 4 right um and so you keep either increasing the speed at
[49:07] you keep either increasing the speed at which you're doing it and or increasing
[49:08] which you're doing it and or increasing the length you're doing it to build your
[49:11] the length you're doing it to build your stamina. Um, but the key thing is when
[49:14] stamina. Um, but the key thing is when you when you get back to the to this,
[49:19] you when you get back to the to this, you relax your hand. You relax it
[49:22] you relax your hand. You relax it because every um pretty much any
[49:26] because every um pretty much any technical problem that anyone ever has
[49:28] technical problem that anyone ever has is because they're tight. You're
[49:30] is because they're tight. You're gripping too tight and your arm gets
[49:31] gripping too tight and your arm gets tight and shoulders get tight. Um,
[49:34] tight and shoulders get tight. Um, that's always it. It's always tension
[49:36] that's always it. It's always tension somewhere. And so if you can train your
[49:39] somewhere. And so if you can train your hand to feel as relaxed when it's going
[49:42] hand to feel as relaxed when it's going fast as it is when it's going slow,
[49:45] fast as it is when it's going slow, that's uh that is the that is the goal.
[49:48] that's uh that is the that is the goal. That is my goal anyway. Um, [singing]
[49:53] [music]
[49:57] now what happens if it really is just
[50:00] now what happens if it really is just too fast? Like, you know, I can't think
[50:02] too fast? Like, you know, I can't think of a like,
[50:05] you know, and it just starts to sound
[50:07] you know, and it just starts to sound bad. Anyway, um uh um
[50:14] I guess the what I would say if you go
[50:16] I guess the what I would say if you go to a down up down up um [music]
[50:23] just make sure we we just have to make
[50:26] just make sure we we just have to make sure that it still sounds like a jig.
[50:28] sure that it still sounds like a jig. And so that means accenting that
[50:30] And so that means accenting that upstroke a little bit.
[50:35] D,
[50:39] right? Um, the the the trick is it's
[50:42] right? Um, the the the trick is it's it's hitting
[50:44] it's hitting it's hitting the treles first instead of
[50:47] it's hitting the treles first instead of hitting the bases first. So, it sounds a
[50:49] hitting the bases first. So, it sounds a little different, but it it it can work
[50:51] little different, but it it it can work just fine. Um, I actually I I play
[50:55] just fine. Um, I actually I I play slides like that because um I slides
[50:59] slides like that because um I slides tend to go too fast for me to like the
[51:02] tend to go too fast for me to like the the the down up down up. It was actually
[51:04] the the down up down up. It was actually sort of how I learned that like, oh,
[51:05] sort of how I learned that like, oh, they're not just jigs. Um, but if you
[51:07] they're not just jigs. Um, but if you think of a slide,
[51:10] think of a slide, there's no way I'm doing down, up, down,
[51:12] there's no way I'm doing down, up, down, down, up, down, down, up with that. I
[51:13] down, up, down, down, up with that. I couldn't even say it that fast. Um,
[51:16] couldn't even say it that fast. Um, [music]
[51:24] all right. So, that can go
[51:26] all right. So, that can go really fast when you need it to. It's um
[51:29] really fast when you need it to. It's um it's a really great uh uh
[51:33] it's a really great uh uh it doesn't have the the problem that
[51:36] it doesn't have the the problem that that down up down up does of like a sort
[51:38] that down up down up does of like a sort of a speed limit. Uh but it's just a
[51:42] of a speed limit. Uh but it's just a matter of making sure that it still
[51:44] matter of making sure that it still sounds like a jig and doesn't start to
[51:46] sounds like a jig and doesn't start to sound like [music]
[51:49] sound like [music] one, two, three. Like if you if you your
[51:51] one, two, three. Like if you if you your your arm sort of naturally wants to
[51:54] your arm sort of naturally wants to accent down strokes because gravity and
[51:56] accent down strokes because gravity and hitting bass strings. So if we are
[52:01] hitting bass strings. So if we are careful to not overdo the downstrokes if
[52:05] careful to not overdo the downstrokes if if I overdo the downstrokes it sounds
[52:07] if I overdo the downstrokes it sounds like a a waltz you knowump
[52:10] like a a waltz you knowump one two three one two three instead
[52:13] one two three one two three instead instead of 1 2 3 uh uh 1 2 3 4 5 6 1 2 4
[52:17] instead of 1 2 3 uh uh 1 2 3 4 5 6 1 2 4 5 6 1 2 3 4 5 6 1 2 3 4 1 2 3 1 2 3 1 4
[52:22] 5 6 1 2 3 4 5 6 1 2 3 4 1 2 3 1 2 3 1 4 right
[52:26] [music]
[52:32] hear the the difference. Um it's just a
[52:35] hear the the difference. Um it's just a it's just a different accent and it
[52:37] it's just a different accent and it happens on an upstroke. So it just have
[52:40] happens on an upstroke. So it just have to make sure that that is uh that is
[52:43] to make sure that that is uh that is what's happening. Um do I ever use
[52:46] what's happening. Um do I ever use augmented chords? No, I don't.
[52:50] augmented chords? No, I don't. Uh, do I do I
[52:54] Uh, do I do I uh
[52:57] augmented chord?
[52:59] augmented chord? [music]
[53:01] I I really don't. I really don't. uh if
[53:04] I I really don't. I really don't. uh if I if I have if I have to go to
[53:08] I if I have if I have to go to if I'm using
[53:10] if I'm using like when I hit if I'm going okay if I'm
[53:13] like when I hit if I'm going okay if I'm going up a uh a scale in chords for
[53:16] going up a uh a scale in chords for example
[53:18] example uh 1 [music] 2 3 4 5 6 when I get to the
[53:24] uh 1 [music] 2 3 4 5 6 when I get to the seven which would be diminish oh you're
[53:28] seven which would be diminish oh you're talking about augmented well I'll say
[53:29] talking about augmented well I'll say this anyway because u when which would
[53:32] this anyway because u when which would be a diminish chord
[53:35] I actually play a um I use that as a a
[53:39] I actually play a um I use that as a a time to play a five chord with a three
[53:42] time to play a five chord with a three in the bass with a the seven well the
[53:47] in the bass with a the seven well the third note of the five chord which is
[53:49] third note of the five chord which is actually the seventh note of the scale.
[53:50] actually the seventh note of the scale. Is that confusing or what? There. And an
[53:53] Is that confusing or what? There. And an augmented chord is what is what is an
[53:55] augmented chord is what is what is an augmented chord?
[53:56] augmented chord? That's that.
[53:59] That's that. [music]
[54:01] Uh
[54:03] Uh uh do I ever I'm sure at some point, but
[54:09] uh do I ever I'm sure at some point, but it's definitely not a regular
[54:11] it's definitely not a regular occurrence. Um if I did, it would just
[54:15] occurrence. Um if I did, it would just be like some
[54:18] be like some uh I don't know. I don't know. Actually,
[54:21] uh I don't know. I don't know. Actually, I'm I'll I'll maybe I'll just say no on
[54:24] I'm I'll I'll maybe I'll just say no on that one. Um, can I cover the rhythm for
[54:27] that one. Um, can I cover the rhythm for Little Beggar Man and Red-Haired Boy?
[54:30] Little Beggar Man and Red-Haired Boy? Uh,
[54:33] I don't know if I can, honestly. I don't
[54:35] I don't know if I can, honestly. I don't um
[54:37] um are those I think those are two I don't
[54:42] are those I think those are two I don't know the name know the first one by
[54:44] know the name know the first one by name. Is it I believe those are like
[54:48] name. Is it I believe those are like reels that are very popular among like
[54:49] reels that are very popular among like in the bluegrass world, right?
[54:52] in the bluegrass world, right? um in which case I would probably just
[54:53] um in which case I would probably just say that they're uh you know probably
[54:55] say that they're uh you know probably just like reals. But let me um let me
[54:58] just like reals. But let me um let me think about that for a second. I'm going
[55:00] think about that for a second. I'm going to give I'm going to do my one other
[55:02] to give I'm going to do my one other exercise that I mentioned since I did a
[55:03] exercise that I mentioned since I did a right-hand thing. I wanted to show a a
[55:05] right-hand thing. I wanted to show a a left hand thing. And so when when
[55:11] left hand thing. And so when when learning a new chord, here is a great
[55:13] learning a new chord, here is a great way to learn to change because the the
[55:15] way to learn to change because the the hardest thing the hardest thing about
[55:17] hardest thing the hardest thing about playing a fredded instrument is not
[55:20] playing a fredded instrument is not playing a chord. It's uh it's changing
[55:24] playing a chord. It's uh it's changing chords, right? It's it's um uh like I
[55:29] chords, right? It's it's um uh like I could, you know, like I could put your
[55:31] could, you know, like I could put your anyone's [music] you could put a
[55:33] anyone's [music] you could put a monkeykey's fingers down like that and
[55:35] monkeykey's fingers down like that and could stay there all day. It's it's when
[55:37] could stay there all day. It's it's when you have to go to the next one that it
[55:39] you have to go to the next one that it gets tricky. Um, and [music] so here's a
[55:42] gets tricky. Um, and [music] so here's a great This is such a good exercise. Uh,
[55:44] great This is such a good exercise. Uh, if once again, metronome. Let's say
[55:46] if once again, metronome. Let's say we're going from um I'll give you
[55:48] we're going from um I'll give you something juicy. How about if we're
[55:49] something juicy. How about if we're going from a
[55:51] going from a a [music] C6 chord
[55:55] a [music] C6 chord down to an A minor? I'll do it. I'll do
[55:57] down to an A minor? I'll do it. I'll do it so it makes more sense.
[56:03] Okay. Um,
[56:06] Okay. Um, [music] so here I'll I'll write them on
[56:08] [music] so here I'll I'll write them on my whiteboard. Got my whiteboard.
[56:10] my whiteboard. Got my whiteboard. Um,
[56:12] Um, so just a moment, please.
[56:18] This is
[56:21] This is And this is on the
[56:23] And this is on the uh eighth fret.
[56:26] uh eighth fret. Eth fret. And that is a C chord. And And
[56:30] Eth fret. And that is a C chord. And And that is uh open and open. And then we'll
[56:34] that is uh open and open. And then we'll go.
[56:36] go. No one's gonna be able to read this.
[56:39] No one's gonna be able to read this. And then we'll go down here
[56:42] And then we'll go down here because my handwriting is terrible
[56:45] because my handwriting is terrible to an A minor. Now, I am I am very like
[56:50] to an A minor. Now, I am I am very like I don't bother with extensions. Um, so
[56:54] I don't bother with extensions. Um, so there's a C chord going to an A minor
[56:55] there's a C chord going to an A minor chord. So the C chord's up on the eighth
[56:57] chord. So the C chord's up on the eighth fret. If you need a nice C chord,
[57:00] fret. If you need a nice C chord, there's one. And then it's going down to
[57:01] there's one. And then it's going down to that A minor chord. technically an A
[57:03] that A minor chord. technically an A minor 9 chord, but who's counting? Um,
[57:08] minor 9 chord, but who's counting? Um, okay. So, there's no way I can hold this
[57:11] okay. So, there's no way I can hold this up and show you what I'm going to show
[57:12] up and show you what I'm going to show you. So, you'll have to make your way.
[57:15] you. So, you'll have to make your way. But, uh, the first thing we do is we
[57:18] But, uh, the first thing we do is we find one of the chords.
[57:21] find one of the chords. Make sure you got that chord. Now, this
[57:23] Make sure you got that chord. Now, this is a C chord, I said, but it has this D
[57:26] is a C chord, I said, but it has this D in it. Why does it have a D in it?
[57:29] in it. Why does it have a D in it? Because I like it. because I might be
[57:31] Because I like it. because I might be playing it in a mixelyian tune.
[57:35] playing it in a mixelyian tune. So, we'll just do it. We'll just go with
[57:36] So, we'll just do it. We'll just go with it. [music] And then the A minor one is
[57:39] it. [music] And then the A minor one is all on the uh fifth fret.
[57:44] all on the uh fifth fret. [music]
[57:46] [music] It has I get my first finger [music] can
[57:50] It has I get my first finger [music] can play both of them, which is nice. So,
[57:54] play both of them, which is nice. So, the first thing you want to know notice
[57:55] the first thing you want to know notice is are there any common fingers between
[57:57] is are there any common fingers between the two? And the answer is yes. I I can
[58:00] the two? And the answer is yes. I I can use my first finger. But here's the
[58:01] use my first finger. But here's the trick. You put on your metronome and
[58:04] trick. You put on your metronome and you're going to play one measure of C
[58:06] you're going to play one measure of C and one measure of A minor.
[58:09] and one measure of A minor. But uh
[58:12] But uh the most important thing is to make the
[58:14] the most important thing is to make the change in time. So I'm going to play
[58:16] change in time. So I'm going to play that C one. But as soon as I Excuse me.
[58:20] that C one. But as soon as I Excuse me. As soon as I play it, I can start
[58:22] As soon as I play it, I can start moving. 1 2 3 4 1. Move back up. 2 3 4 1
[58:31] moving. 1 2 3 4 1. Move back up. 2 3 4 1 2 3 4 1 2 Right. So, and if if that's
[58:38] 2 3 4 1 2 Right. So, and if if that's hard, you slow it down. You get it to it
[58:41] hard, you slow it down. You get it to it can it does not matter how fast or slow
[58:43] can it does not matter how fast or slow you go with this as long as you're there
[58:45] you go with this as long as you're there on the down beat. Um 1 [music]
[58:48] on the down beat. Um 1 [music] 2 3 4 1 2 All right. And then we add
[58:55] 2 3 4 1 2 All right. And then we add another strum. We go 1 1 [music] 2 3 4 1
[59:01] another strum. We go 1 1 [music] 2 3 4 1 2 3 4 1 [music] 2 3 4 1 2 3 4 1 And then
[59:10] 2 3 4 1 [music] 2 3 4 1 2 3 4 1 And then we add another one. 1
[59:12] we add another one. 1 [singing and music] 2 3 4 1 2 3 4 1 2 3
[59:20] [singing and music] 2 3 4 1 2 3 4 1 2 3 4 1 And then you do all four. [music]
[59:30] >> [music]
[59:33] >> Right? So what you're doing is you're
[59:36] >> Right? So what you're doing is you're reducing the amount of time you have to
[59:38] reducing the amount of time you have to make the shift. Um and in so doing you
[59:42] make the shift. Um and in so doing you learn to make that shift more quickly
[59:44] learn to make that shift more quickly because the as you know the the thing
[59:46] because the as you know the the thing the the great um the thing that can
[59:48] the the great um the thing that can happen uh with beginning guitar players
[59:50] happen uh with beginning guitar players is they you you know we all did this.
[59:53] is they you you know we all did this. So, you learned a chord
[59:55] So, you learned a chord and then you're like, hang on,
[01:00:06] right? So, if you if you work on
[01:00:08] right? So, if you if you work on reducing that that amount of uh uh
[01:00:11] reducing that that amount of uh uh shifting time, that's uh that is a a
[01:00:14] shifting time, that's uh that is a a really great exercise. And you can do
[01:00:16] really great exercise. And you can do it, you can make variations of that
[01:00:17] it, you can make variations of that obviously and do like um more like a a
[01:00:21] obviously and do like um more like a a bigger chord group or something. Uh I
[01:00:23] bigger chord group or something. Uh I realized something that I to completely
[01:00:26] realized something that I to completely forgot about and that was to put up my
[01:00:28] forgot about and that was to put up my Venmo link. Hey,
[01:00:31] Venmo link. Hey, so um if you're if if you're enjoying
[01:00:34] so um if you're if if you're enjoying this enough to um to throw throw money
[01:00:37] this enough to um to throw throw money in the in the pot, my Venmo is
[01:00:41] in the in the pot, my Venmo is Matt Heaton Music. Uh, or you can find a
[01:00:45] Matt Heaton Music. Uh, or you can find a PayPal. Uh, actually, I don't have the
[01:00:48] PayPal. Uh, actually, I don't have the link, so I'm not going to put it up
[01:00:49] link, so I'm not going to put it up there, but I'm sure you could you could
[01:00:51] there, but I'm sure you could you could find it. Um, let's see what else we got
[01:00:54] find it. Um, let's see what else we got here. Uh, what is the chord progression
[01:00:56] here. Uh, what is the chord progression in E minor? Um, right. So minor keys are
[01:01:00] in E minor? Um, right. So minor keys are essentially
[01:01:02] essentially there tends to be a one chord
[01:01:06] there tends to be a one chord and then [music] much like in the
[01:01:07] and then [music] much like in the mixelyian it's like a mixelyian tune
[01:01:09] mixelyian it's like a mixelyian tune where you've got a but a minor one and
[01:01:11] where you've got a but a minor one and then a major [music] seven below it. So,
[01:01:19] and this will actually maybe this might
[01:01:20] and this will actually maybe this might be the last thing I I cover, but some
[01:01:22] be the last thing I I cover, but some this this sort of dovetales. Someone had
[01:01:25] this this sort of dovetales. Someone had asked me um ahead of time about the uh
[01:01:28] asked me um ahead of time about the uh on the bazooki,
[01:01:31] on the bazooki, how might you uh spice it up a little
[01:01:35] how might you uh spice it up a little bit? So, [music]
[01:01:41] so if I were doing um Get that out of
[01:01:43] so if I were doing um Get that out of the way. That's ugly. Um, if I were
[01:01:46] the way. That's ugly. Um, if I were playing in a minor, you know, let's
[01:01:48] playing in a minor, you know, let's think of coolies, E minor.
[01:01:53] [singing]
[01:02:01] So that really that's just going
[01:02:05] So that really that's just going D E minor to D
[01:02:08] D E minor to D back and forth. Uh equal the the the how
[01:02:12] back and forth. Uh equal the the the how do you say the um equal amount. It's
[01:02:15] do you say the um equal amount. It's like two bars, two bars, two bars. Um so
[01:02:18] like two bars, two bars, two bars. Um so one thing that I really like to do in
[01:02:21] one thing that I really like to do in that situation is I change the bass note
[01:02:23] that situation is I change the bass note to something else in that another note
[01:02:27] to something else in that another note in that chord. So, for example, um E
[01:02:30] in that chord. So, for example, um E minor. The [music] notes in E minor are
[01:02:33] minor. The [music] notes in E minor are E, G, and B. So, I might go E
[01:02:39] E, G, and B. So, I might go E for one bar
[01:02:43] and then put a G in the bass. [music]
[01:02:49] And then I could do the same thing on
[01:02:50] And then I could do the same thing on the D, [music]
[01:02:53] D to F sharp.
[01:03:01] And then following that little voice
[01:03:02] And then following that little voice leading thing we were talking about,
[01:03:09] [music] maybe I would go E to G to F
[01:03:11] [music] maybe I would go E to G to F sharp because it's closer. And then the
[01:03:13] sharp because it's closer. And then the D.
[01:03:19] [music]
[01:03:34] Right. Uh, and now a lot of people
[01:03:36] Right. Uh, and now a lot of people might, you know, on the bazooki you
[01:03:38] might, you know, on the bazooki you might do it coded, but you that it just
[01:03:41] might do it coded, but you that it just makes it easier for your hand. You can
[01:03:42] makes it easier for your hand. You can do the same move. [music]
[01:04:08] Um, and yeah, without getting too too
[01:04:11] Um, and yeah, without getting too too far into that into the weeds, but that
[01:04:14] far into that into the weeds, but that um that is one trick I use all the time.
[01:04:17] um that is one trick I use all the time. Uh if I'm going from a minor one chord
[01:04:20] Uh if I'm going from a minor one chord to a major seven chord below it, uh I
[01:04:25] to a major seven chord below it, uh I always not but I often often often will
[01:04:29] always not but I often often often will use uh I'll I'll just change the third
[01:04:33] use uh I'll I'll just change the third or change the bass note of the chord
[01:04:36] or change the bass note of the chord that I'm playing. So go from like the
[01:04:38] that I'm playing. So go from like the you know the one in the bass to the
[01:04:39] you know the one in the bass to the three in the bass. it it all of a sudden
[01:04:42] three in the bass. it it all of a sudden you've you've written you've got a a
[01:04:44] you've you've written you've got a a little line going instead of um instead
[01:04:47] little line going instead of um instead of just two blocky chords always you
[01:04:51] of just two blocky chords always you know if it I I like whenever possible I
[01:04:53] know if it I I like whenever possible I try to avoid blocky chord movements.
[01:05:03] [music]
[01:05:05] [music] So this is you know a minor
[01:05:09] So this is you know a minor to G
[01:05:11] to G [music]
[01:05:21] or down the octave.
[01:05:30] [music]
[01:05:34] Um, that's just I'm not changing any
[01:05:38] Um, that's just I'm not changing any harmonies with that. I'm just trying to
[01:05:40] harmonies with that. I'm just trying to spice them up a little bit. Uh, I'll do
[01:05:43] spice them up a little bit. Uh, I'll do the same trick on the guitar
[01:05:46] the same trick on the guitar just to
[01:05:49] just to since I feel like I feel like we are
[01:05:51] since I feel like I feel like we are more um we are more guitar players here
[01:05:54] more um we are more guitar players here than uh so uh one if you want to do it
[01:05:56] than uh so uh one if you want to do it kind of sparse here. I'm going back to E
[01:05:58] kind of sparse here. I'm going back to E minor. So here's a nice E minor for you
[01:06:00] minor. So here's a nice E minor for you in standard.
[01:06:06] >> [music]
[01:06:15] [music] >> right? So, I'm going I'll show you real.
[01:06:18] >> right? So, I'm going I'll show you real. There's the G.
[01:06:22] Do it down here.
[01:06:27] You don't have a low D if you're in
[01:06:28] You don't have a low D if you're in standard, so you can't do that.
[01:06:34] But, you know, A is in a D chord. Or if
[01:06:38] But, you know, A is in a D chord. Or if we're going to drop D, [music]
[01:06:54] but um just good to remember that if
[01:06:57] but um just good to remember that if you're trying to if the interesting part
[01:06:59] you're trying to if the interesting part is the baseline, try to bring that out a
[01:07:02] is the baseline, try to bring that out a little bit. try to I I I tend to
[01:07:06] little bit. try to I I I tend to like I'm I'm kind of playing the top
[01:07:08] like I'm I'm kind of playing the top strings more lightly.
[01:07:18] And you hear that I'm I'm
[01:07:22] And you hear that I'm I'm I'm not playing
[01:07:24] I'm not playing I'm letting that be long.
[01:07:35] which I think separates the voices a bit
[01:07:39] which I think separates the voices a bit so it sounds like I've got a you know I
[01:07:41] so it sounds like I've got a you know I have a fake cello playing with me or
[01:07:43] have a fake cello playing with me or something if I if if I'm able to do that
[01:07:46] something if I if if I'm able to do that do that correctly. Um all right and the
[01:07:49] do that correctly. Um all right and the final question the final question I
[01:07:51] final question the final question I believe uh any tips for books or online
[01:07:53] believe uh any tips for books or online courses on on backing for Irish music?
[01:07:55] courses on on backing for Irish music? Um, well, uh, there's certainly stuff on
[01:07:59] Um, well, uh, there's certainly stuff on this YouTube channel, uh, in the the
[01:08:01] this YouTube channel, uh, in the the backer's corner is full of of videos
[01:08:04] backer's corner is full of of videos I've made that are mostly on, uh,
[01:08:05] I've made that are mostly on, uh, specific topics.
[01:08:08] specific topics. Um the and
[01:08:12] Um the and uh Shannon and I did make a book called
[01:08:14] uh Shannon and I did make a book called In Harmony which has it's um standard
[01:08:19] In Harmony which has it's um standard tunes played fairly slowly. But the the
[01:08:22] tunes played fairly slowly. But the the trick that we did is we panned the
[01:08:24] trick that we did is we panned the guitar hard to one channel and the flute
[01:08:26] guitar hard to one channel and the flute hard to the other. So if you take your
[01:08:28] hard to the other. So if you take your balance knob and twist it all the way,
[01:08:31] balance knob and twist it all the way, you'll cut out one or the other
[01:08:33] you'll cut out one or the other instrument. So, if you want to practice
[01:08:34] instrument. So, if you want to practice playing with, you know, just the melody
[01:08:37] playing with, you know, just the melody or just the guitar, um, it's it's pretty
[01:08:40] or just the guitar, um, it's it's pretty easy to do that. Um,
[01:08:43] easy to do that. Um, and, uh, there are, of course, a whole
[01:08:46] and, uh, there are, of course, a whole heck of a lot of other resources. And
[01:08:48] heck of a lot of other resources. And I'll be honest, I don't I I haven't done
[01:08:51] I'll be honest, I don't I I haven't done a huge survey, so I don't know, um, I
[01:08:53] a huge survey, so I don't know, um, I don't know what all I would recommend,
[01:08:55] don't know what all I would recommend, but the thing I always do recommend is
[01:08:58] but the thing I always do recommend is listen to a lot of stuff. And when I
[01:09:01] listen to a lot of stuff. And when I listen to stuff, if I like if I hear if
[01:09:04] listen to stuff, if I like if I hear if I listen to something, I'm like, "Oh, I
[01:09:06] I listen to something, I'm like, "Oh, I like that backing. I like that. I like
[01:09:07] like that backing. I like that. I like that. Who is that? Oh, that's who that
[01:09:09] that. Who is that? Oh, that's who that is. Huh. I'm gonna listen to more of
[01:09:11] is. Huh. I'm gonna listen to more of their stuff. I'm going to watch videos
[01:09:13] their stuff. I'm going to watch videos of of that person playing and I'm going
[01:09:15] of of that person playing and I'm going to try and steal their tricks because
[01:09:17] to try and steal their tricks because that's really how we we learn this stuff
[01:09:19] that's really how we we learn this stuff is it's uh you I I learned by sitting
[01:09:23] is it's uh you I I learned by sitting across the table from other guitar
[01:09:25] across the table from other guitar players and watching their hands like a
[01:09:28] players and watching their hands like a little hawk and and you know learning
[01:09:32] little hawk and and you know learning figuring stuff out that way. Um which I
[01:09:35] figuring stuff out that way. Um which I [clears throat] think is you know I
[01:09:37] [clears throat] think is you know I learned this chord from that
[01:09:40] learned this chord from that >> [music]
[01:09:43] >> which is a a D chord over an A
[01:09:50] going to a like a G chord and then
[01:09:54] going to a like a G chord and then there's your A chord and then which I
[01:09:57] there's your A chord and then which I believe um well I know for sure where
[01:09:59] believe um well I know for sure where exactly where I learned that um that was
[01:10:02] exactly where I learned that um that was in Chicago many years ago um but anyway
[01:10:05] in Chicago many years ago um but anyway that's not important what is important
[01:10:07] that's not important what is important is if we call this a success Uh maybe
[01:10:10] is if we call this a success Uh maybe we'll do it again sometime. Uh let me
[01:10:13] we'll do it again sometime. Uh let me know and uh come back to this place in
[01:10:19] know and uh come back to this place in uh two weeks, May 9th. May 9th for the
[01:10:22] uh two weeks, May 9th. May 9th for the final virtual guided session when you
[01:10:24] final virtual guided session when you can well the final of the season finale
[01:10:26] can well the final of the season finale virtual guided session where you can uh
[01:10:29] virtual guided session where you can uh test drive test drive all these all
[01:10:31] test drive test drive all these all these ideas. Um I appreciate you so much
[01:10:34] these ideas. Um I appreciate you so much for showing up. I wasn't sure if anyone
[01:10:36] for showing up. I wasn't sure if anyone would and uh it might not have stopped
[01:10:38] would and uh it might not have stopped me for talking from an hour but uh it
[01:10:40] me for talking from an hour but uh it was definitely more uh [laughter] more
[01:10:43] was definitely more uh [laughter] more more enjoyable uh in this way. So thank
[01:10:46] more enjoyable uh in this way. So thank you. Thank you very much and have a
[01:10:49] you. Thank you very much and have a fantastic rest of your rest of your
[01:10:51] fantastic rest of your rest of your Sunday.
[01:10:54] Sunday. Yeah. Oh and if you have any other
[01:10:55] Yeah. Oh and if you have any other questions you know you can find us find
[01:10:57] questions you know you can find us find us on Facebook and wherever. So take
[01:11:00] us on Facebook and wherever. So take care.

Backer Chat - Livestream with Matt Heaton (ask chordal questions!)

https://www.youtube.com/watch?v=ie1iqrEIgTg

Summary

TL;DR — This livestream with Matt Heaton focuses on improving musicianship through a three-pronged approach: hands (technical skill), head (music theory), and heart (musicality and listening). He addresses common questions about triplet strumming, chord substitutions, and playing in modes like Mixolydian, emphasizing the importance of understanding tunes over just memorizing patterns.

Key points

• To improve quickly, focus on developing technical proficiency (hands), theoretical knowledge (head), and deep musical understanding through listening (heart).

• Triplet strumming is best used sparingly for faster, peppier tunes, while more complex