So, so I’m gonna talk about, if I was working on a song in f and Sorry, and C and C Major I, so I look at the guitar and I think all the things I know about C Major, I mean, this is an example key. So you can do this in any key, but like if, if I, if I’m working on a song that’s in C major, I go yes, caged. Exactly. but I go in also, I look at a guitar and I think as a see, as a, see as a, so, so I look at all the things I know about sea on the guitar, and then I try and just, just do like interesting, like what, try and see how they’re all connected.
And I try and notice how they’re connected. Like for instance, like the, the actual C co which know the C major, the first, that’s a dha, but it’s just a D shape on the zero fret.
So the foot, so the top three, you know, it’s a, that co it is also a C triad And That that’s the same as playing a D and moving it down to a face. So that, so that’s, so that, that’s like a interesting way you can play, like a, a, a, a shape that you can move up the neck.
So, so like if you play a chord, Like The root that’s there, and then if you put your, your pinky down, so this is gonna play a fifth. I can’t see if you can actually see this, but you can now move that all over the neck and play, play major chord all over the neck.
So, the sea would be, so, so that’s, that’s kinda the sort of things I’m thinking about. And like the, on the, on the, the second, the A form of the C, which is L that’s the second, the cage system. So it’s that on, on that called, you can think, if you think of that, the C is that as a child. So the, the, the fourth, third and sings is a c that that’s a sea called the, so, so you can just play, you can play that over a sea and, and you can do a little henrick soul licks on that just by hammering on above that.
That’s another thing you can do. Then on the five, the G form that’s like that. So that’s actually really difficult to play.
So therefore nobody would really play that full thing very much unless in jazz with, but, but normally, so you can play The thing we just took from the A form. If you play move that, if you think of that, those three forms from the A form and then the same, the same on the G form, except you’ve got a high note. So that’s how, that’s how those connect up. I hope that makes sense.
But, and then, then it grow some there to the E, which is a normal say bar chord. But you can play, you can, you can break that, you can bring that up into parts and then so you can play and you can play that over any kind of chord that’s in the KFC and it’s kind of, but it band like you two, which use that take quite a lot.
and then the d that’s, so you’ve got a D shape of the Cs there. So that, that means the next one we have oc so you cannot, you can’t see the guitar very well. is it ’cause it’s too dark, eh? yeah, so, so, okay.
So see, see is a particularly good key for guitar. I think, I think if you, if you take, take your hands and just put your, if anyone picks up a guitar or hand automatically kind of goes to that shape anyway, so, which is roughly a c chord. So, so, So, yeah, so I think C C’s very suited to the guitar. So, what I’m gonna do now is I’m gonna play a look I made earlier and just, I’m gonna demonstrate like how you make Arps.
I’ve got a few different ideas that you can do over the same to make up parts for the song. So, so this is, the whip’s gonna be, it’s gonna be C-A-N-R-G and F, which is a kind of very popular, ation and, and so, so if I play that, I’ll show you at first the different pages.
You can do that. This is, this is them just ideas. You should, this is just how, how you should be trying to make up parts for songs. So here’s a loop, I made this earlier and it’s gonna, it just goes round. I really go around once then I’ll join in. So let’s see, chord, it may not GS You, so yeah, so that’s, that’s a, so, so that’s why I’m trying to just sort of play their pages over the, the courts and then, so, and you can do like any page where you want any as long as you’re claiming this, the right chords.
so I’m gonna also gonna talk about kind of two note riffs.
’cause over those chords you can do, you can do like a lot of just tour note riffs that go through chords as well.
So you, so you, so you, you don’t change for every chord.
You play the same thing over chords. And that’s, that’s, that pans a lot in pop music. It’s, it can be quite catchy and stuff.
So, I’ll just, I’ll just show you that over these chords. ’cause there’s what I’ve got, I would just make up a little turnout riff that goes through all those chords. Yeah.
So, so you can see that’s a little easier way to like, think of a little like hook that, that you can put in. You could put it in the verse only, or you could bring it in in the, in the chorus, whatever you can, you can just experiment with those things.
it’s just a way of, and you can, you can also, you can, you can, you can put on little extra notes when you, if you feel whatever you want to do, you can do. so, the other thing you can do is you can, you can do like weird licks around the vocal so you can, if someone sings a line, you can answer. So you can just, you can do like a call and response if the, some things they do, if you’ve done a, if you’ve got a song I’m working on at the very end when all, all the parts are done, I’ll just do a couple of takes of me just jamming little lead licks in the spaces and that, that works quite well.
And, and you can sometimes get some really special moments that you can just, you play if you special, if you improvise it, you can, you can just then get those little kinda special things that happen when you play things once. You can never do it again. You know what I mean? So, eh, yeah. So I, I do that quite a lot.
Creating strum patterns and riffs, How to play guitar like a pro, How to master guitar, Expert guitarist advice, Chord shapes