Yea this is perfect

Haha

😂😂😂

Fr the first theory video where im not suicidal at all

Shocking. Positively shocking. 😂😂😂

thank you 🙏 im currently 3 weeks into learning guitar (i already knew some chords but not really theory) and barre chords hurt so bad 😢

@@mimimi999 Yes! Keep going! I wish more muse-tubers shared their journeys with their fans, because Id love to hear how long it took for them to be comfortable enough to teach etc. But really, barre chords are purely technique and muscle memory just like the rest of them. You'll get it.

Also, start learning barre cords in the middle of the fretboard, rather than the first few as it should be easier with less tension in the middle

@@SexyCatluvrTHIS! And also the frets are closer together so fingers 3 and 4 fit more naturally with less stretch required. Way, WAY easier to get clear.

@@Mendeleviusexcellent advice - took a few weeks, but now barre chords are non-issues and don’t hurt. Muscle memory is everything when moving them!

I do listen to those albums of course!

Thanks! I appreciate it

Great teacher.

Working on it! Thanks for watching!

Thank you!

I appreciate that!

Glad it helped!

Thanks!

This is on my list of stuff to do

​@@kevinnickensif you do that start with the drone, circular breathing then move onto the sounds. If you teach a sound before the circular breathing do the dingo because that's the easiest one to transition into circular breathing when starting

​@kevinnickens I'd also love to know how they incorporate animal noises. What the musical terminology?

Thanks babe!

Thanks! That’s a great idea, I’ve always found it trickier than it seems bc the playing portions of the video con conflict with the background music, but I definitely need to get more creative to find a way to implement background music

That alternative sounds terrible! I’ll take my lame jokes at 11:22pm instead. Here’s to the hobbies!

Thanks for paying my rent

Thanks! It's a Martin OOO - 28. Awesome guitar, totally love it

@@kevinnickens So i just read that was Eric Clapton's choice of guitar also

@@Timberdam that’s exactly why I got one lol

What’s the best way to learn it?

@alexv426 I believe that being systematic is important. Beginning with an understanding of the chromatic scale. Reciting A, A#, B, C, C#, D etc. as well as the descending A, Ab, G, Gb, F... until never losing track of natural 1/2 steps. Structures built from the available chromatic tones can start with major scales (any row of notes with 1/2 steps between the 3rd & 4th and 7th &8th degree) and progress to finding the basic (diatonic) chords i.e. 1,3,5 / 2,4,6, / 3,5,7 / 4,6,8. Understanding the spacing of chords tones in major, minor, diminished, augmented, and suspended triads (basic three note chords). After that 4 part chords (R,3,5,7) can have the spacing of each one measured and understood. It's not much more complicated than learning arithmetic (add, subtract, multiply, & devide). It wouldn't compare with the complexity of calculus or trigonometry!

I think you're referencing when he's showing inversions? the "Normal" Open D chord starts on the 4th string so: X-X-open(D note)-2(A)-3(D)-2(F#), the "lowest octave" note here is the original D note on the 4th string. It looks quite confusing in context to his "C-Shape" barre chord in the 2nd, as most people are taught this "C" chord starts on the 5th string, so you would naturally look at this as: x-5(D)-4(F#)-2(A)-3(D)-2(F#) and again in this context it is NOT an inversion, BUT he is in-fact including the 6th string in the 2nd (F#) which NOW we have F# as our lowest octave, aka, inversion or "slash" cord D/F#.

​@@seaneverett7576 I understand the first paragraph, thank you. But not that advanced to understand the paras below, thanks anyways

​ @mehakyp really the only "advanced" thing to understand is the relationship of your tuning (Standard: EADGBe), the 3 unique notes of a major chord, and how each fret is 1/2 step increments. Beyond that, if you can count (remembering no sharps/flats between B/C and E/F), you can figure it out :) So if you were told 4th string 4th fret, you know in standard tuning open 4th string starts at D (E,A,D,G,B,e), half step increments: 0(D),1(D#/Eb),2(E),3(F),4(F#/Gb) nice! the note is F#! (or Gb) Take standard C-shape: x-3-2-open-1-open, we can replace the "opens" with the strings we know, and count to solve the rest and get: x-3(C)-2(E)-G-1(C)-E, We know this is C major because there's only 3 UNIQUE notes, C-E-G, all the rest are repeats at various octaves. We know it's NOT an inversion because the lowest frequency note here (think deepest bass note) is a C the same as our chord. IF we accidentally (or intentially) included the 6th string (the X) this open string is an E, it fits within C-E-G, sounds ok, BUT now the lowest frequency note here is that E, not the C, so it's an inversion or slash cord: C/E. So now given my original example in the second paragraph: It's a C-shape, so lets start with that including EVERY string: o-3-2-o-1-o, It doesn't matter if we barre or use a capo, it starts in the 2nd fret so every one of those "values" got a +2: (2-5-3-2-3-2) We do the "count" per string starting at it's value and find: 2(F#)-5(D)-3(F#)-2(A)-3(D)-2(F#), There's 3 UNIQUE notes here, D, F# and A, we know these make up a D Major. IF we play from the 5th string onwards (A-string, D note) it still IS a D Major because the lowest note here is the D note itself. If we include the 6th string (E-string, F# note) it's an inversion or slash cord, D/F# as the lowest note starts on the E-string (F#). Even though we know and love this "shape" and associate it with "C-Major" moving this "shape" be it via slapping on a capo, or using a finger as a barre and the rest to re-make the "shape" you've actually transposed this "shape" into another chord, and in this instance: is D Major. Just like the relationship of single notes, this applies to chords you know already, guess what, +2 every one of those frets again from here (+4 in total from open) and you now "transposed" your "C-shape" into an E-Major! You can prove it to yourself with a capo if you have one, play a D major, slap a capo in the 2nd play a C major, sounds the same! (both D) capo off, play a E Major, capo on in the 4th C Major, sounds the same! (both E) I know it's a lengthly read, but I promise it's worth it, and the more you do it, the less you have to count as just like how playing them shapes becomes muscle memory the fretboard notes will become a mental memory.

​@@seaneverett7576 this was difficult for my brain but after reading it a couple of times I think I understand all and it's pretty fascinating. And I tried that with capo, and you're right. This was a wonderful explanation, thank you so much. Are you a teacher or something?

@@mehakyp hah! nope just a noob seeking knowledge just like you :) I'm glad it really helped you out too :) Love to share the knowledge! The key take-away from all this I hope you caught is the relationship. (counting single string for "note" works the same as moving the whole "chord", if im holding a C-shape, I move it up 1 my chord actually is: C#, up 1 more D, +1 D#, +1 E, +1 F, etc..) Sounds like you haven't gotten into barre chords too much but if you have, that F-Major is nothing more than the "E-shape" in the 1st (E+1=F), that dreaded B-Major is the "A-Shape" barred in the 2nd(A+1=A#/Bb,+1=B). If you've learned a B-minor, it's a barred Aminor-shape in the 2nd (Am+2=Bm).... You now know and have the "mathematical proof" should you need to, doesn't mean it's necessary to "use" as you can see if you can count you can figure it out, chord or single note ;)

So, in the same way that if I were to just tell you to play a “G” you would assume it to be a G MAJOR chord, if someone says to play a 7 chord, you assume it to be a kind of 7th chord called a dominant. So if I said “play a G7 chord” you would play a G 7 dominant chord. The difference is that a “7th” chord with the “th” after the “7” refers to a whole category of chords. We have major 7th chords, minor 7th chords, dominant 7th chords, etc but they’re all “7th” chords. Again, a straight up “7” chord is assumed to be dominant, but a “7th” can be anything. The difference that the “th” makes us subtle but important

Kevin's right but might've overexplained. In a nutshell: Major 7 (aka "Maj7") = adding the note 1 step below the root Dominant 7 (aka "7") = adding the note 2 steps below the root Both are "7th chords" For example: Cmaj7 consists of C, E, G, B C7 consists of C, E, G, Bb

Just follow the finger placement layed out on the chart!

@@kevinnickens I understand, but my problem is that you shouldn't hit the A and e strings but you need to hit the rest. Is there a special kind of tactic to only hit the right strings?

@@kevinnickens and I accidentally said chords instead of string. So excuse me for that

Those are super important for understanding the harmonization of the major scale and functional harmony. But that’s another video for another day….

​@@kevinnickenslooking forward to that

mee too! im learning eletric guitar. I pray that we both become better and consistently practice to get better. Amen

That’s a great way to think about it

What’s up!

Great question! Power chords are partial chords because they’re just a root and a 5th, not a full triad

What you’re describing is a dominant 7th chord. There are many different kinds of 7th chords, and yes dominant 7th is one of them, but major 7th and minor 7th are as well. I was just discussing major 7th and minor 7th chords in this video, but they’re all “7th chords” Hope this helps!

@@kevinnickens yes but that was my point. When we say 7th, we mean dominant seventh, not major 7th or any other 7th. Much the same as when we talk about, say, a C chord, we mean C major (not a minor or any other C chord). So, if we see C7, we know it’s a dominant 7th. Any other 7th, including a major 7th, would have to be specified.

@@richardslater677 I think I was confused by your phrasing. Yes, when someone says “C7” we assume it to be a dominant 7th chord. When you said “a 7th chord is assumed to be a dominant” I was confused because you added the “th” after the “7” so I thought you were referring to the scale degree number instead of the chord, which is why I was making the point that we can add a 7th scale degree to many different tonalities of chords. The difference between a “7” chord and a “7th” chord is subtle but important

there was a time when i believed them to be impossible as well (then i started playing electric lol). but all jokes aside, they are 100% attainable, just don't be too harsh on yourself. technique is far more important than genetics. just the other day, i saw a guy on here with HALF an index finger playing barre chords, so of course you can. there's plenty of video tutorials on this platform that will teach you proper technique as well. just keep coming back every day, even when you feel like you're making no progress, and you'll eventually get it. good luck!

@@jarre_naidoo Thanks for the encouragement, i will struggle on, I am just dealing with my "soft fingers" now.

Thanks! This assures me that this is a worthwhile format

Yes

I have to disagree. Open chord *shapes* aren’t moveable. If you break them down to a triad shape, then it’s not an open chord shape any more.