Here’s a video lesson on how you can shape your tone by flesh harmonics. By allowing the flesh of your thumb or finger to also touch the string when you pick a note, you can access new dimensions of tone. Good tone starts with the instrument and your technique!
This year I am trialling a summer teaching term for those who may want to continue with lessons over the December January break. This will be on Wednesday at the Samford studio, on 16/12, 23/12, 13/1 and 20/1 and Tuesday 5/1.
You can book for all five dates, or just one or two. For current students who pay by the term, or others who book all five lessons, the cost will be the term rate per lesson. ($32.50)
Available times start at 3:30pm through to 7pm. So email or trxt if you’d like to book in!
Now that the COVID situation is easing in Queensland, lessons have recommenced in person at both The Gap and Samford Studios. I am very happy to be seeing everyone in person again. We will be meeting COVID management obligations in both studios, which means that
We will be sitting 1.5m apart
4 square metres of space per person (This will mean that the Samford Studio will accomodate only one student at a time)
Hand sanitiser will be available for use before and after lessons
I will be regularly disinfecting surfaces
I will not be handling students books or instruments unless absolutely necessary.
I will no longer be providing picks for student use. You will need to bring your own plectrum.
This will mean some slight changes to the way we do the lesson, including switching to electronic notes where practical.
You can never have enough of the E minor pentatonic scale. So here is another practice track, built around an E boogie power chord. There is just one chord! The organ comes in over the top with an E7 #9, while the bass line features sliding or bending between minor and major third. So hit those bends in your solo, especially the minor third!
Here is a practice track for practicing your myxolidian mode. Seventh chords occur as the chord built on the 5th degree of the major scale, and usually resolve to the Tonic chord, or the 1 chord of the major key. However in the blues and modal tunes, their may be no such resolution. There may be a change to another 7th chord. Or as in this track, there is just one chord the whole way. Notice how interest is built by having a melodic rhythm backing that varies.
The track is built on the D7 chord. So use the myxolidian mode of the G major scale. Or in other words, a D major scale with a flattened 7th. And listen to the next bass track as well, if you want to hear my ideas for soloing!
Here is the track without a bass line for the bass players. Listen to the other track too, with my Bass line, and see if you can copy aspects of it!
Here is a practice track for guitar players in the key of G minor. Its a G minor groove built around a Gm7 chord. Perfect for jamming away on a G minor pentatonic scale. For a different flavour, try a G dorian (Dorian mode of F major) or a G natural minor.
Here is the same track minus the bass line, and with a lead guitar part, especially for Bass players to jam away on. Try coming up with your own bass lines. Also see if you can hear my bass line from the track above, and reproduce it. The chromatically desending organ line that comes around periodically sounds extra good if you double that on the bass.
Use this practice track for polishing up your A minor chops. You can use A minor pentatonic, A natural minor, or A Dorian (Dorian mode of G major). There’s just one chord, Am7, with an occasional change up. See if you can figure out the chords in the change up. It shouldn’t affect your scale for soloing too much, although there is D chord which has a F sharp in it, so the A dorian would be better suited than the A natural minor over the change up. The A minor pentatonic has neither an F or F sharp, so isn’t affected.
Hi Here is a practice track for Bass players. Building on our G major scale knowledge, this track uses an Am7 and a Bm7 chord, the II chord and the III chord of the G major scale. Start building a bass line with your root notes, and when you are comfortable with knowing where all your rote notes are in a position, add other chord tones. To find the chord notes, first you need to know your G major scale. Then starting at the root note of the chord, take every second note up the scale for four notes. These are the chord notes!
The track follows this sequence, and the first chord you here is Bm7.