Thanks Drue, was glad to see you out up a version of this song. 🙌

Great voice and a wonderful lesson.

Thank you you played it in the right key. Awesome

Thank you for making good clip vdo. The way u teach is very clear. ^^ new guitar student.

Very nice one. Super helpful thanks

what can make you f this way hahaha

*A Sublime Guitar Riff & Its Sad Story :* Catchy tunes start sounding corny soon, but there is one from Motown that feels like magic and maintains its classy register no matter how many times you hear it and hum it. You probably remember it. Is there anyone who doesn’t? It’s the guitar riff that is the intro to “My Girl.” In the original version (December 1964, sung by the Temptations) this six-note riff is played during the finger-snaps, after the bass intro has simulated a heartbeat's throb, right before David Ruffin will croon “I’ve got sunshi-hi-hine on a.…” The riff is repeated continuously, without pause, during the stanzas but not the chorus, in the background, while the lyrics are sung to a different tune. Here is that original Temptations version of the song: kzfaq.info/get/bejne/m8ugf7xpr5qpZpc.html When humming the riff, if you want to let it glide as smoothly as Motown’s guitar did, slow it down to half the tempo of that guitar. Then try a third of the guitar’s tempo or slower. Instead of humming it as a six-note cycle, hum it as a ten-note cycle by adding a repeat of its first four notes to the end of it (making them its 7th, 8th, 9th and 10th notes). When you come to the 10th note, stretch it out so that it lasts around eight times longer than in the Motown guitarist’s version. That's how I’ve hummed it, usually to myself, a million times. I doubt any two-week period has gone by in the last 58 years during which I haven’t hummed it. If I do it around twelve times in a row without pausing, I get warmed up to a state in which I can keep it going for another 15 minutes (around 70 repetitions) without trying or even intending to and sometimes without noticing that I’m humming until I stop. When I stop, the unexpected silence makes me realize what I must have been doing. Links to videos that teach how to play this guitar riff or all the guitar parts of “My Girl”: kzfaq.info/get/bejne/m8x9gM2KrpOolYk.html&lc=Ugyu6sjbndEMb66yx1F4AaABAg To see the links to those lesson videos, click “Show more” or click “… more” in the description below the video screen and above the “Comments” section at that KZfaq page. The riff’s six notes didn’t come from the song’s composers, Smokey Robinson and Ronald White. Motown’s system was that when its in-house musicians arrived in the studio, they were handed the chord charts of the basic tune of that session’s three or four songs (with or without the lyrics) and then they (the musicians) composed the intros, harmonies and other arrangements and recorded the song, usually without knowing who the singer(s) would be. For “My Girl,” one of Motown’s three house guitarists composed and played the intro riff, after reading the song’s basic tune, at the recording session of the Temptations’ 45-rpm record. Composing the riff took him a half hour. In the documentary film “Hitsville: The Making of Motown” Smokey Robinson, the record’s co-producer, says that the guitarist “was just kidding around” when he played the riff before the band started to record the song and that he, Robinson, insisted that the riff be included despite the guitarist’s dismissal of it. Robinson, in an interview in the book _Anatomy of a Song: The Oral History of 45 Iconic Hits That Changed Rock, R&B and Pop,_ said the session that produced the core of “My Girl” (piano, guitar, bass and drums) was in September 1964. After that session, the only thing that remained to do was adorn it with sweet lyrics, luxurious warbling and some horns and stringed instruments. As was customary at Motown, the singers’ contribution to the record was performed on a separate day, while they listened to the already-recorded instruments through headphones (which Robinson, in that interview, said was in November 1964). Detroit Symphony Orchestra players added strings on a third day and horns on a fourth. You probably remember all the stars (the singers): the Miracles, the Marvelettes, the Supremes, the Temptations, the Contours, the Four Tops, the Spinners, Junior Walker and the All Stars, the Jackson 5, Michael Jackson, Stevie Wonder, Jimmy Ruffin, Marvin Gaye, Mary Wells, Martha and the Vandellas, Gladys Knight and the Pips, Diana Ross, and other idols from Detroit or via Detroit. On all of Motown’s records, no matter who did the singing, the instrumentalists were the same; more precisely, they were some permutation of the same 13 instrumentalists, varying on each record according to which instrumentalists were available on any given day. Those 13 called themselves “the Funk Brothers,” but this name never appeared in the texts that accompanied the records nor in any other publicity, such as announcements of concerts. www.wikipedia.org/wiki/The_Funk_Brothers By night they played jazz, to make music. By day they played Motown, to make a living. www.jazztimes.com/archives/the-funk-brothers-and-motown-jazz/ From Motown's founding (in 1959) until 1971, the instrumentalists on Motown records were never credited in the texts that accompanied the records. Someone could lemmingly allege and even suspect racism, but the owner of Motown, Berry Gordy, Jr., was black and three of the Funk Brothers were white. Gordy didn’t want anyone to know the names of his instrumentalists because he didn’t want other record companies’ owners to recruit them. So, the guitarist who composed and played the intro of “My Girl” (a riff that has been known and loved by a billion people since 1964) wasn’t famous during his lifetime. He lived until 1994. His name was Robert White. You can see his face and guitar at Google Images. Here is a 2021 article about him: www.adampwhite.com/westgrandblog/golden-guitar The documentary film “Standing in the Shadows of Motown” says that the Funk Brothers played on more Billboard Number One records than Elvis Presley, the Beatles, the Rolling Stones and the Beach Boys, combined, did. This claim seems wildly exaggerated, unless you keep in mind that the Funk Brothers played on the records of 60 different Motown singing groups. In many countries, radio stations play more American pop music than the music of their own country and language. So, it is likely that those 13 musicians have been heard and enjoyed by more people than any other musicians (or, possibly, than any other people) since there started being people on Earth. But the names of the 13 Funk Brothers weren’t known to the public until 2002, when the film “Standing in the Shadows of Motown” was released. They were highly paid by Motown. They weren’t sad. The story that the subject-line of this message calls sad is the following one. Allan Slutsky is a Philadelphia Jew who graduated from Berklee College of Music and has played at twenty thousand weddings and bar mitzvahs. So, he probably isn’t sad, either. He is the author or editor of ten books of guitar instruction under the pen name “Dr. Licks.” He spent eleven years trying to raise enough money to produce “Standing in the Shadows of Motown” because he wanted the public to become aware of the 13 Funk Brothers and their names while most of them were still alive. My memory of the quotes in the following story (a story about the guitar riff in “My Girl”) isn’t reliable because twenty years after hearing the story, I might unawares be filling out some of its dialog rather than actually remembering it and I heard it second-hand, from someone who heard it from Slutsky. During the eleven years that Slutsky was hoping to make the documentary film, he was sometimes tempted to abandon the project because of his failure to find the funding for it. Some of the 13 Funk Brothers, including Robert White, died during those eleven years. Some of them became too old to be interviewed on camera. Because of what happened in the following story, he decided to never abandon the project while any of the Funk Brothers was still alive and alert enough to be interviewed. In the 1990’s, Slutsky was in a diner in L.A. with Robert White. Someone else put a quarter in the jukebox in order to hear “My Girl.” The sound came out from around twenty loudspeakers in the ceiling that were spaced throughout the diner, above each table or one or two tables away. The audio quality and volume were, presumably, much higher than they were when the people who were eating and working in the diner had heard the song on portable transistor radios and scratchy 45-rpm records in 1965. Some people recognized the song as soon as the bass intro began. When the finger-snaps and guitar intro began, all the other sounds in the diner (conversation, the cash register, stools swiveling, the clattering of forks and knives on dishes, etc.) ended. This stillness and silence and people’s posture indicated that everyone who was there recognized the song and wanted to hear it in good audio quality. Just after the singing began, a waitress asked Robert White what he wanted to order. Instead of naming a food, he replied, excitedly, “I’m the one, I’m the one who, I’m, I, I’d like to have your barbecued chicken and a side of fries. Thanks.” After Slutsky ordered and the waitress walked away, he said, “Why didn’t you tell her?! Why didn’t you say it? This whole place was filled by that classic riff. Everyone remembered it! You should have told her that you were the one!” He replied: “I wanted to and was going to, but then I realized that if I said it, she would look at me and think, ‘Here is some old geezer who is half senile’ and then she would say something such as ‘Yeah, of course! And aren’t you the guy who designed the rocketship that went to the moon?’ If I had told her my name or shown her my driver’s license, what would that have proven to her? Who ever heard of Robert White, anyway?”

Muito bom obrigado

nooooooiiiiiiice....I liiiiiiiike iiiiiit....

Thanks mate you explained that really well. Much appreciated 🙏

Perfect!

Hey man I'd really appreciate if you'd do a tutorial on Tenenbaum by The Paper Kites. It's a fantastic song and you do great tutorials haha.

awesome lesson drue , i can already play the song , do counting stars of one republic plis

5:50 " What can make you F this way" hehehehe

@Drue James , Could you please play the the guitar solo only? to listen to that. Just guitar without singing from the beginning to the end. I love the guitar sound of My Girl. Thanks in advance.

And there you have it, folks... the "frat boy with an acoustic" version of "My Girl."

It's realy very good

could you do a lesson on Wonderwall by oasis?

Thanks

Thank you so much

U should teach sugar how you get so fly

Could you possibly do a lesson on Don't look back in anger by Oasis? My favourite song as a kid and would love to learn it on guitar!

talking bout my girlll

Hey, is there any chance you could do a tutorial of see the world by Gomez?

Any chance of doing a lesson on Sufjan Stevens Should have known better?

Enrique Iglesias - Escape .. Please :)

Reckon you could throw some songs by The Tallest Man on Earth onto your list? :)

I came to this video to ask my girl to prom lol

?One question? Can You Play This On Eletric?

Any chance you could try all right now by free?

dream within a dream by the yardbirds please :)

I can make you "F" THIS WAY ROFL

Tough song to perform as a solo arrangement, id say on 1 - 10 dru hit 5 barely , but its hard Motown tracks are always jam packed with talent serving the song...the sum of its parts....how can one guy do all that It modulates up n down lol thats y he dont like it , its hard im tellin ya thanks dru i hit like honestly if ur looking for acoustic songs to play at partys skip this one

acords

Madre. Mía guily 666 likes

not G ?

Thought it was madness my bad

I see you staying up in that little box playing some easy open chords

Another different way to play intro..

Tf is this