Mark introduces a few more minor chords. He also provides a monster chord exercise.
Taught by Mark Lincoln in Basic Guitar with Mark Lincoln seriesLength: 16:36Difficulty: 1.5 of 5
Review the names of the stringsChapter 2: (03:25) More Minor Chords
Review the major chords (A-B-C-D-E-F-G).
Review the minor chords (Am-Bm-Cm-Dm).
Let's continue with the remainder of the open minor chords.Em
This chord is played by placing the first finger on the A-string second fret, and the second or middle finger on the D-string second fret. Or, the second and third fingers can be used instead. Remember to leave the strings with "0's" open. Hold down the strings hard enough to produce a a clean sound when you strum. Assuming that your guitar is set up properly, you should hear no buzzing notes or muted notes when strumming an Em chord. If you are not getting a clean sound, then you may be touching the fret (the metal piece in between the frets), not holding the string down hard enough, or your guitar may need to be adjusted. Don't use the latter as an excuse for not playing well. The player is often the problem! Try the pattern when you strum this chord.F5
Please note, this is not a true F minor chord. A "true" F minor chord is very difficult to finger since it requires a barre. For now, an F5 "power" chord is substituted. A power chord can be used in place of a major or minor chord since it is harmonically ambiguous. Play F5 by placing the first finger on the low E-string first fret, the third finger on the A-string third fret, and the pinky finger directly beneath the third finger on the D-string third fret. Try to strum only the strings you are holding down! This may be challenging at first, but developing right hand accuracy early on will definitely pay off in the future. Develop an awareness of which strings you are strumming and realize that not all of the strings are strummed in most chords.G5
Like F5, G5 is not a "true" G major or minor chord. Generally, the G minor chord is played as a barre chord. In future lessons you will see G5 reappear as part of the Gm barre chord, which is why Mark is teaching this chord shape now. This chord is played in the same positioning as the F5, only two frets up. (Try the finger glue technique here to move your hand in place, rather than lifting all of your fingers and re-placing them on the fretboard.) Again, play only the strings that you are holding down. Listen to your strum and try to detect if you are playing more strings than you should be. The sound of the guitar will usually tell you if you are playing the right strings or not.Chapter 3: (01:30) Chord Limitations It is very important to realize that most chords do not use all six strings on the guitar. You must remain aware of this when strumming any chord. Strumming all 6 strings when not necessary is a bad habit that will harm your playing in the future. Chapter 4: (02:56) Strumming
Now that we've gone through the major and minor open chords, let's talk a little more about strumming them Here's a new strum pattern to get acquainted with: or down up down up down up.
Rubber band technique: think about the downstrum and upstrum as one fluid motion rather than two separate actions. Close your eyes (yes again!) and think of a huge rubber band attached to your strum hand. As you strum down, the rubber band brings it back up in one smooth motion. Try it!!!Chapter 5: (04:46) Exercises
Use the strum with A, A minor, and A-Bm then C to Em. Don't be afraid to mix up the chords you know and develop your own chord progressions. Vary the combinations to train your fingers to switch between all of the open chords. Don't forget to review this info from the last lesson:
1)Breathe! Make sure that you are relaxed and in a comfortable position before practicing. Remember that playing guitar should be a fun activity.*Important-I can't emphasize enough the importance of creativity and self-discovery. Don't ever be afraid to try new chord progression because you may not be sure if they are "right" or not. Jimmy Hendrix, whether you like his music or not, played the guitar upside down because he was left-handed. Great things come from experimentation. Trying different ideas on the fretboard is extremely beneficial to the learning process.
2) Relax your fingers and wrist. Let the pick flow over the strings and listen to the sound of it. It should sound pleasing to the ear.
3) Strum from the wrist - keep using the wrist-between-the-knees technique to strum from the wrist and not from the elbow.
Learning the basics of the guitar, the building blocks if you will, is an extremely important step in learning and mastering the guitar. This series is all about the basics.
This lesson is all about the basics. Mark explains guitar parts, holding the guitar, and more.Length: 13:12 Difficulty: 0.5 Members Only
Mark begins by discussing equipment every guitarist should own. Then, he introduces chords and proper tuning methods.Length: 17:28 Difficulty: 0.5 Members Only
Mark finishes his discussion of the "open" chords. He applies these chords to basic rhythm and strumming concepts.Length: 17:33 Difficulty: 1.0 Members Only
Mark reviews the major chords and introduces the minor chords. He also covers strumming techniques in greater depth.Length: 25:48 Difficulty: 1.0 Members Only
Mark introduces a few more minor chords. He also provides a monster chord exercise.Length: 16:36 Difficulty: 1.5 Members Only
Mark Lincoln continues his discussion of chords and strumming. He introduces several new exercises in this lesson.Length: 19:30 Difficulty: 1.5 Members Only
Mark covers several topics in this lesson. He explains scales and barre chords. He also demonstrates how to find notes on the fretboard.Length: 21:45 Difficulty: 1.5 Members Only
Mark Lincoln covers E shaped barre chords in greater depth. Mark refers to these chords as "Type 1" barre chords.Length: 15:12 Difficulty: 2.0 Members Only
Mark covers the A Shape / Type 2 barre chords in greater depth.Length: 17:12 Difficulty: 2.0 Members Only
Mark introduces minor barre chords that utilize the shape of the "open" Em chord.Length: 13:10 Difficulty: 2.0 Members Only
Mark introduces minor barre chords based on the shape of the "open" Am chord. He refers to these chords as "Type 2 Minor" barre chords.Length: 12:36 Difficulty: 2.0 Members Only
Mark demonstrates abbreviated versions of the "Type 1" and "Type 2" barre chords. He calls these "mini barre" chords.Length: 17:43 Difficulty: 2.0 Members Only
Mark teaches the "mini barre" version of the A major shaped barre chord. He also explains dissonance.Length: 20:29 Difficulty: 2.0 Members Only
Mark Lincoln applies mini-barre chord concepts to minor chords.Length: 12:28 Difficulty: 2.0 Members Only
Mark Lincoln explains essential components of guitar technique.Length: 15:59 Difficulty: 2.0 Members Only
Mark Lincoln explains how dynamics can enhance your playing. He covers topics such as volume, tempo, rests, and more.Length: 27:48 Difficulty: 0.5 Members Only
Mark Lincoln explains more about guitar technique. This time around he introduces "transition strums" and continues his discussion of liquid chords.Length: 26:12 Difficulty: 2.0 Members Only
Mark Lincoln explains what harmonics are and how they are played.Length: 15:31 Difficulty: 2.5 Members Only
Mark Lincoln expands on the concept of liquid chords. He explains new chord variations and how they can be changed in mid-strum.Length: 16:21 Difficulty: 2.0 Members Only
Mark demonstrates how chord progressions can be spiced up by adding hammer-ons and pull-offs.Length: 12:21 Difficulty: 2.5 Members Only
Mark explains how chord fingerings must be altered when applying "liquid chord" concepts. He also provides a few new "liquid chord" exercises.Length: 11:10 Difficulty: 2.0 Members Only
Mark returns to the land of chords. This time around, he provides an exercise that contains four variations on the A chord.Length: 14:28 Difficulty: 2.5 Members Only
Mark provides a chord progression that shifts from one D chord to another in six steps.Length: 15:20 Difficulty: 2.0 Members Only
Mark delves deeper into chord construction and alternate chord voicings.Length: 13:36 Difficulty: 2.0 Members Only
Mark tests your guitar knowledge with a pop quiz. Then, he discusses quantitative and qualitative changes.Length: 22:54 Difficulty: 2.5 Members Only
In the 26th installment of his basic guitar series, Mark reviews the quantitative and qualitative changes he presented in lesson 25.Length: 17:34 Difficulty: 2.5 Members Only
Mark provides exercises designed to make you a better rhythm player.Length: 0:00 Difficulty: 2.0 Members Only
Mark Lincoln expands on the rhythm exercise from lesson 27. This time around he incorporates several C based chords.Length: 14:31 Difficulty: 2.5 Members Only
Mark discusses proper playing technique. He provides a few exercises that facilitate right hand mechanics.Length: 17:02 Difficulty: 2.5 Members Only
Mark provides an exercise that features two new chords - Cadd9 and Dsus2.Length: 0:00 Difficulty: 2.0 Members Only
In the 31st lesson, Mark discusses his "finger glue" technique. This technique improves speed and accuracy.Length: 21:31 Difficulty: 2.0 Members Only
Mark takes a step back in lesson 32 to explain how to make quick and accurate chord changes.Length: 22:14 Difficulty: 1.5 Members Only
Mark explains how to use the slide technique between chords.Length: 19:24 Difficulty: 2.0 Members Only
Mark reviews qualitative and quantitative changes. He explains how to keep time while performing these changes.Length: 21:17 Difficulty: 2.0 Members Only
Mark discusses qualitative and quantitative changes within an A minor progression.Length: 19:56 Difficulty: 0.5 Members Only
Mark Lincoln discusses several techniques that can be used when transitioning between chords.Length: 21:43 Difficulty: 2.0 Members Only
In this lesson, Mark once again covers the subject of chord transitions. This time around, he focuses on barre chords and includes several helpful exercises.Length: 23:25 Difficulty: 2.5 Members Only
In lesson 38, Mark discusses how playing single notes rather than chords can spice up your playing.Length: 22:56 Difficulty: 2.0 Members Only
Lesson 39 is all about rocking out. Mark discusses some tips to take your playing to the next level.Length: 18:08 Difficulty: 2.0 Members Only
Lesson 40 takes a deeper look at slash chords. Mark discusses why they're called slash chords, and how they are formed.Length: 14:42 Difficulty: 2.0 FREE
In lesson 41, Mark reviews the warm-up section and provides new tips on playing adequately from the wrist.Length: 22:09 Difficulty: 2.0 Members Only
Mark builds further on barre chord techniques and liquid chords.Length: 17:24 Difficulty: 2.5 Members Only
In lesson 43, Mark discusses additional skills related to learning and playing chords, specifically "liquification" of chords.Length: 20:42 Difficulty: 2.0 Members Only
Lesson 44 is all about trying new things. Mark discusses experimenting with your playing in order to take it to the next level.Length: 17:20 Difficulty: 2.0 Members Only
In this lesson, Mark once again talks about changing up chord derivatives to create a more unique sound.Length: 20:56 Difficulty: 1.5 Members Only
In lesson 46, Mark explains how to maximize your options by maintaining chord shapes while playing.Length: 21:44 Difficulty: 1.5 Members Only
Today, Mark takes in depth look at strumming.Length: 23:57 Difficulty: 1.0 Members Only
Mark Lincoln teaches an original song entitled "Shine Like the Sun."Length: 18:59 Difficulty: 2.0 Members Only
Mark teaches some useful information on how to mix postures, "finger glue," and techniques to make your chord changes speedy and more effective.Length: 30:56 Difficulty: 2.5 Members Only
In this lesson, Mark guides you through the world of alternate chord voicings. He teaches several shapes and shows how they can be used to enhance your playing.Length: 23:06 Difficulty: 2.0 Members Only
Mark brings us a very appealing aspect to better understand the guitar. With his explanation of "liquified" chords, mark will explain how to move up and down the guitar to create different chord voicing.Length: 25:32 Difficulty: 2.0 Members Only
About Mark Lincoln
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Mark Lincoln was born in S. California but was raised near Portland Oregon in a town called Beaverton. When he was twelve years old, he began his journey into the realm of the creative by composing poetry and was later published in a journal called "In Dappled Sunlight." He wrote for four years until his older sister blessed him with his first guitar, an old beat-up nylon stringed classical guitar. Mark played that guitar for five years, continuing to compose his own lyrics and starting the process of matching his own words with chords that he was learning on the guitar. He learned to play chords from his friends and from music books that he both bought and borrowed. Mark cited his four biggest influences, at that point at least, as The Who, Led Zeppelin, Jethro Tull, The Rolling Stones.
Mark cites his most current influences as Radiohead, U2, older music by REM, and Peter Gabriel amongst others. He performs with two acoustic guitars, one being a six-string M-36 Martin with a three-pieced back for increased bass response, and a Guild Twelve-string which is his most recent acquisition. Mark is fond of saying that the twelve-string guitar is better because you get two guitars for the price of one, but he still plays his Martin equally as much and with the same passion.
Mark ended up in Fort Collins Colorado where he currently lives, works as a Marriage and Family Therapist, and continues to write, teach and perform music. He currently performs with a group called "Black Nelson" as well as with a number of other seasoned professional musicians including his cousin David, a virtuoso lead-guitar player. Mark has performed in many of the smaller venues in Denver and Boulder, as well as some of the larger ones including the Fox Theatre, The Boulder Theatre, Herman's Hideaway, and also at The Soiled Dove where he opened for Jefferson Starship as a soloist. Some of Mark's originals are also available for your listening pleasure on MySpace.
Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.
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