Music Lesson Formatting

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Warm-Up Exercise

Alright, welcome back. We're going to do something a little bit different for the warmup on this lesson. We're going to revisit our very first four by four exercise. This time, we will use a pick while playing the tune "Rocking Blues."

Playing with a Pick

Let's talk a little bit about how to play with a pick, and then we will use this for our warm-up.

• Pick Choice: Select a fairly heavy pick to get a decent tone.

  • A flabby pick can create an unwanted click unless that sound is desired, which is probably not the best choice.

• Grip Technique:

  • Use a little corner of the pick (about 1/8 exposed).
  • Align your thumb parallel to the string being played.

There are many schools of thought regarding pick playing. I use the studio player's grip. Another method is to wear the bass around your knees and do downstrokes, which may feel reminiscent of an emo style. However, I find that this isn't very efficient.

Downstroke and Upstroke Pattern

• Perform a downstroke followed by an upstroke:
  • Down, up, down, up...

From the perspective of the right hand:

• When playing, rotate your wrist rather than simply sawing back and forth.
• Keep your thumb parallel to the string.

Warm-Up Exercise Routine

For the warm-up, we will perform the first four by four exercise.

1. Tempo: 60 BPM
2. First Round: Play quarter notes.
3. Second Round: Play eighth notes.

Eighth Notes Technique

Always follow a downstroke with an upstroke for a move-counter move effect.

Here we go:

1. Count In: 1, 2, 3, 4.
2. Eighth Notes:
   • Now, let's do the eighth notes, starting with a down pick and answering with an up pick.

Key Point: Do not grip the pick too hard. Only use the corner of the pick.

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Why Use a Pick?

Question and Answer

Question: Why use a pick at all? Is it just a matter of personal preference?

Answer: That is a great question! My personal opinion is that in certain styles of music, a pick works exceptionally well:

• Styles:
  • Hard rock
  • Punk rock
  • Studio work

A pick gives a cleaner sound that can be more aggressive than using fingers, which produce a softer tone. Incorporating both techniques allows musicians to have more tonal colors at their disposal.

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Eighth Notes Review

Now, we will clarify how eighth notes work:

1. Quarter Notes:

   • Count: 1, 2, 3, 4.
   • Played using an open E string.

2. Eighth Notes:

   • Count: 1 and 2 and 3 and 4 and.
   • Play twice as fast as quarter notes.

Tapping Technique

To feel the tempo, tap your foot:

• Downbeat: Foot down on the ground.
• Upbeat: Foot up in the air.

This tapping can help keep track of the rhythm.

Different Note Notations

We will look at how different notations can sound the same:

• Whole Note: 1, 2, 3, 4.
• Two Half Notes: 1, 2, 3, 4.
• Four Quarter Notes: 1, 2, 3, 4.

Comparative Playing: Let's play each of these together, with a count in.

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Half Notes and Rhythmic Groupings

Half Notes

• Half notes can be perceived as:
  • Two quarter notes tied together.
  • Four eighth notes tied together.

Let's play all of these together with a count in.

Quarter Notes

If they are quarter notes:

• Play: 1, 2, 3, 4.

If tied together as eighth notes, they will sound the same with a count of: 1 and 2 and 3 and 4.

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Dotted Notes

The rule of thumb for dotted notes:

• Placing a dot behind a note increases its length by half.
• For example, a dotted half note has the same sound as a half note tied to a quarter.

Let's explore how this sounds with a count in.

Dotted Quarter and Eighth Rhythm

In the second tune, we use a common dotted quarter eighth rhythm. This rhythm, characteristic of rock and roll, will tie together the first three eighth notes and then play the fourth eighth note.

Here's what it sounds like when played together:

• Count: 1, 2, 3, 4.
• Play: 1 and 2 and 3 and 4.

Let's transition into practice with the band.

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Triads with Guest Jason

Introduction to Triads

Now, we welcome my student, Jason, to learn about triads. Remember, triads are formed from the first, third, and fifth notes of a major scale.

Triad on G:

1. The G is located at the third fret on the E string.

Fingering:

• Second finger on G.
• First finger on the second fret of the A string.
• Fourth finger on the fifth fret of the A string.

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A Minor Triad

Let's switch this to A Minor:

• Move the third (B) back to B flat (first fret).

Diminished Chord

For a Diminished Chord:

• Flat the third and modify the fifth.

1. Start with G.
2. Reach for B flat.
3. Move back one fret to play D flat.

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Augmented Chord

Moving to Augmented:

• Begin with the G and adjust the fifth up.

Easier Fingering:

• Use an easier shape to maintain a relaxed hand.

Playing Progressions

Major and Minor Movement:

• Take the shape and move it up the neck to find major and minor triads (A, C, D).

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Final Practice and Improv

Chord Progression - Jam Session

We will now connect these triads in a 12-bar blues in G format.

1. Progression:
   • A minor to B minor.
   • Transition to D minor and E minor.

To Play: Use pedal eighth notes for the bass line and integrate triads during play.

Conclusion

We have covered techniques with picks, triads, and various rhythmic notations. Remember to practice improvisation and jam with your friends!

Let's finish with some relaxation techniques after a lengthy playing session.

• Drop your hands to your sides and shake them out to relieve tension.

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See you in the next lesson!