Thanks man. I want to dedicate this song to my girlfriend; and thanks to you, now i can!

Thank yoou

❤❤❤❤❤❤❤❤❤

you missed Gorillaz song 5/4

Can you do a video about A Little Opus by little comets

thats the hole thing

Thank you !!

Dude you look 100% like johnny depp in 'the secret window'- which is a compliment

Yeah im a pianist i dont think guitar is made for me, i been trying for four whole weeks i cant pinch and i cant even get my fingers on the right note. Yeah im going back to my piano😢

I love guster

Thank you for this. Could you please do tutorials for the songs ‘You Can Come to Me’ and ‘Don’t Look Down’, also from Austin and Ally?

2:06

3:12

2:50

Why use the Spanish form of Louisiana (Luisiana) for the Purchase?

another 2 months later comment this is amazing

Not quite ready for busking 🎸😂

I have learnt this quite quickly and I'm so happy with me.... Made it so easy to follow I'm self teaching 👍 great tutor

Are you still alive at this point? 😆

Thanks!

Sir,,may be we can write notations,but sounds same,if you have doubt write the same notations in 7.4 and 7.8 ,and play it in same bpm,you cannot identify both

💛

💙💙💙💙💙💙💙💙💙

👍🤩🎹🎵

Amazing 🙌🏾

amazing teacher

this is great as is but would have been greater if the chords and strings had been left in, especially on those transitions

Pretty is major, and beautiful is minor personally works better for me.

A couple years late but I was wondering what tune the guitar is set in if it’s set to D or E or whatever

Minor keys are the salt in the soup...

where i can get this midi for synthesia?

Sound distortion 😢

that shit is beatiful man, probably you'll never see that coment, like 2 years later, but this video give me motivation to stil play piano and one day play that shit like you :)

"Jazz harmony at its structural and aesthetic level is based predominantly on African matrices,..." (Gerhard Kubik, The African Matrix in Jazz Harmonic Practices) Black Music Research Journal Vol. 25, No. 1/2 (Spring - Fall, 2005), pp. 167-222 (56 pages) Published By: Center for Black Music Research *“A pentatonic scale is a five-note scale, while heptatonic is seven notes. That specific scale originates from Africa, particularly West Africa. It is not found in the classical Western tradition or other musical traditions around the world, which have their own unique musical systems.”* (Adam Hudson, The African roots of blues music, the blues scale) That African scale system is the fundamental root of blues music. Nketia also explains the various melodies, rhythms, scale patterns, and notations of indigenous African music. In the chapter on vocal melodies in The Music of Africa, Nketia shows the pentatonic system, which includes a flatted fifth, in an African vocal melody: C-D-E-G-B♭ [pg. 150]. Nketia explains: “…instead of a major sixth, a minor seventh is used. That is, instead of C-D-E-G-A, we have C-D-E-G-B♭… this gives a distinctive character to the music. An important feature of melodic organization associated with pentatonic structures is that of transposition, whereby the melody is shifted from one position of a trichord to another. The shift may be a whole step, or as much as two or three steps, up or down. That is, there could be a shift from a G-A-B or E-G-A-B sequence to an F-G-A or D-F-G-A sequence within the same song, or from A-G-F to D’-C-B♭ in the same song” [pg. 150]. African-American musician and musicologist Samuel Floyd, Jr. also explained that the pentatonic scale enslaved Africans were playing was from Africa. In his book The Power of Black Music, Floyd writes: “Whatever their African source, early blues melodies were based on a pentatonic arrangement that included blue notes - or the potential for blue notes - on the third and fifth degrees of its scale. As the same neutral intervals are found in the music of some African societies, the blues intonation was not new to African Americans; it was new and strange only to those who were not in tune with the culture. Early blues was as free as the other African-American genres, only later becoming tamed and forced into the eight-, twelve-, and sixteen-bar frameworks that became somewhat common” [pg. 76;]. [“Across the West African savanna you often find a characteristic pentatonic system. We discovered that it is generated from the use of harmonics up to the 9th, sometimes the 10th partial. That is this kind of the scale, from top to bottom: D C Bb G E C It is a so-called natural scale. It is slightly different from the notes found on European instruments with their tuning temperament. If you can construct the natural harmonic series over a fundamental you call see, the 5th partial will be a somewhat flat major third which we call E-386, and the 7th partial is indeed flat by 31 cents, we call it B-flat-969. It’s not nuclear physics, of course. Now B-flat-969 is the higher blue note. Next, if you transpose this West African savanna scale from the level of C to the level of F, the fifth down, or a fourth up (it doesn’t matter), you get this scale: G F Eb C A F Once again with two slightly flat intervals as compared with the notes of the Western tempered total system. And now comes the trick. If you integrate these two pentatonic columns, the basic form and the transposition, you get the common blues tonal scale, showing an interference pattern between the pitches of E-386 over C and E-flat-969 over F. That explains the fluctuating quality of the lower blue note. [...] The African pentatonic system, with its natural blue notes, is not the only African music tradition brought to the United States by enslaved Africans. As mentioned earlier, enslaved Africans brought their string instruments, such as the banjo, with them from Africa to North America. Writer and recording artist Ken Hymes explains, “These were “monophonic” instruments, on which only one note was played at a time. The melodies were mostly pentatonic, based on a five note scale (play the black keys on a piano and you’re playing a version of that scale).” It was through these string instruments that the African pentatonic system was preserved in the United States on plantations during slavery. “The so-called ‘Spanish tinge’ with its ‘additive’ rhythms, characteristic of New Orleans, testifies to the proximity of the Caribbean. It is much less ‘Spanish’ than it is a conglomerate of Guinea Coast and west Central African rhythm patterns retained in the Spanish-speaking areas of the Caribbean. Influences upon the Deep South from Louisiana, whose musical cultures were much closer to those of the Caribbean in the nineteenth century and had a large share of Congo/Angola and Guinea Coast west African elements, can also be felt in some idiosyncrasies within the blues tradition of the twentieth century” [pgs. 100-101]. Congo Square is crucial to understanding this. Again, while drumming was banned in North America, Congo Square in New Orleans was a place where enslaved Africans were able to play their traditional African music. (Source: Adam Hudson)

The best one i find ✨

Helpful thank you

So good thank you for sharing this great information!❤

Thank you 💖

Trickier than it looks as you need to avoid/mute some lower and higher strings to get it sounding right.

What G7 chord are you playing? Am I playing it wrong?

Thank you brother!!! One question, since you are "dragging" the file into to session and not "importing", do you need to commit the audio track in the session so the session doesn´t lose the file one day OR it will never lose the file? Not sure if I explained well :) thank you!

Espectacular la forma de explicar ... fanatico de Roy .... and now of you.... thanks

Omg dude, thank you so much! Been looking for this for over an hour.. or two! Your video was so simple, so great. Thank you!😃

Wait, can we get a refund for florida??

Thank you❤

a few other examples: Animals by Muse 15 Step by Radiohead Morning Bell by Radiohead tolerate it by Taylor Swift Four Sticks by Led Zeppelin

u got really cool tattoo，also nice content❤

Your first Version of the Song is so helpfull for me I lost the tip of my middlefinger and i only can play with 3 Fingers what makes it a bit more difficulty But the first Version of the tutorial is perfect for my problem Thanks a lot! And sorry for the Bad english!

KZfaq needs more Guster guitar lessons.

Do you happen to know what the original tuning of the song is