Brendan Burns breaks down the style of this iconic rock band.
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Brendan Burns breaks down the style of this iconic rock band.
Begin the CourseIt's time for another look at a legendary rock band! In this new lesson series from Brendan Burns, he'll be laying out how AC/DC makes their magic! Brendan will be guiding you step by step on how this iconic band creates it's famous sound!
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To get started with the teaching portion of this lesson series, Brendan discusses and demonstrates the basic harmonic principles used by AC/DC. He plays over a track to demonstrate the sounds created.
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In lesson three of his Style of AC/DC series, Brendan discusses and demonstrates the basic tenants of rhythm utilized by Malcom and Angus of AC/DC. To get you started you'll be working on clapping the rhythm before applying it to your guitar.
10:34 Runtime
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In part two of the rhythm section for AC/DC, Brendan is discussing the sue of anticipations on all beats in a measure. He discusses how AC/DC used this mechanism and contrasts against how a straight rhythm sounds.
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In the third part of his look at AC/DC's rhythm playing, Brendan discusses more uses of anticipations. Specifically you'll be looking at rhythmic variations that have no correlation to the strong beats.
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2.5 Difficulty
Now moving on to a new aspect of AC/DC's rhythm tendencies, Brendan discusses basic 3-3-2 groupings and provides an exercise to get familiar with this concept.
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In the last lesson, Brendan opened up the idea of a 3-3-2 rhythm and talked about doubling it. This lesson seven, Brendan is going to go further into this topic which includes rhythm formations that cross the barre.
4:40 Runtime
2.5 Difficulty
Brendan Burns is back with an expanding look on the use of 3-3-2 rhythmic divisions from within AC/DC's playing. In this lesson you're expanding the pattern further and taking a look at a famous style based lick.
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2.5 Difficulty
In the last several lessons Brendan has been discussing anticipations as part of AC/DC rhythmic tendencies. Starting with lesson nine, Brendan begins to discuss emphasis on the back beat as well.
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In lesson 10 of the Style of AC/DC series, Brendan talks about putting all the rhythmic elements you've learned together.
7:13 Runtime
2.5 Difficulty
Brendan is back and he's still delving in to the immense beast that is the rhythm tendencies of the AC/DC sound. Lesson 11 is all about the back-beat and playing along with it's groove.
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In lesson 12 of his look at AC/DC Brendan is covering the last aspect of rhythm playing for the series. He titles this "Knowing the One."
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Still working out exercises that involve no playing on the one, Brendan is now taking a look at multi-barre patterns that take advantage of this concept.
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Lesson 14 culminates the rhythm section of the AC/DC workshop. In this lesson Brendan provides one final example to work on knowing where the one is in it's absence of playing.
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2.5 Difficulty
Now that you've got a great understanding of the rhythmic foundation used in AC/DC's music, it's time to start applying that knowledge to lead aspects. In lesson 15 Brendan offers up his first exercise that is based around a pentatonic idea.
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2.5 Difficulty
Brendan Burns is back with another look at soloing and lead in the style of AC/DC. In lesson 16 you're going to take the concepts and techniques discussed in the previous lesson and build a solo of your own. Brendan discusses ways to get these ideas in to your own playing.
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3.0 Difficulty
Brendan returns with another style of solo based off an iconic AC/DC tune. As with the last solo, you'll start by learning this one, then move on to breaking down how you can internalize the concepts.
13:06 Runtime
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Moving along in the lead section of this series, Brendan uses the solo you learned in lesson 17 to discuss some concepts and provide exercises on how to get this in to your own playing.
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Once again, Brendan is back with another in the style solo inspired by Angus Young's playing. Just like the last several lessons, you'll learn this solo, then move on to putting the concepts and techniques in to your playing.
9:08 Runtime
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This lesson takes a look at the rhythmic concepts used in the previous lesson. You'll be using your fingers to count the rhythmic variations and start putting notes to it as well.
9:02 Runtime
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Over the past couple of lessons you have been looking at solo ideas that were short and concise in their phrasing. In lesson 21 you'll be looking at an in the style of solo that comprises longer, more melodic phrasing.
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Lesson 22 is all about getting the ideas and concepts from lesson 21 in your head and under your fingers. Brendan provides a few exercises to get you playing in the style instead of his written solo.
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Once again we are looking at a new solo in the style of Angus Young's playing. Not only are we working on longer phrasing, but Brendan introduces the sextuplet idea as well.
18:02 Runtime
3.5 Difficulty
It's once again time to take a look at how to get the concepts and techniques demonstrated by the solo in the previous lessons, under your fingers. In this lesson, Brendan will walk you through the rhythmic variations and talk about key and note selection.
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2.5 Difficulty
Lesson 25 marks the winding down of the Style of AC/DC lesson series. Over the past 10 previous lessons you've been learning in the style of solos and picking them apart to get the concepts in your head and on the fretboard. The final solo you'll be learning combines all of the melodic and rhythmic elements you've learned so far. This one is a full 16 measures in length and is split 8 barres in this lesson and 8 barres in the next.
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3.0 Difficulty
Lesson 26 in Brendan's Style of AC/DC lesson series covers the second half of the AC/DC mega solo. You'll be learning barres 9-16 in this one, then you'll follow it up next lesson with a look at getting all these concepts under your fingers.
10:16 Runtime
3.0 Difficulty
Here we are at the end. Like the previous lessons in the lead section of this series, lesson 27 is all about getting the past solo you learned in your head and under your fingers from a conceptual level.
17:49 Runtime
3.5 Difficulty
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