Raising the Barre (Guitar Lesson)


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Mark Lincoln

Raising the Barre

Mark builds further on barre chord techniques and liquid chords.

Taught by Mark Lincoln in Basic Guitar with Mark Lincoln seriesLength: 17:24Difficulty: 2.5 of 5
Chapter 1: (00:54) Introduction and Review
Review
- Warm up the hands.
- Stretch the wrists.
- Play the major and minor open chords.
- Warm up your strumming muscles by relaxing the wrists and letting the pick flow over the strings.
- Play the E major chord in the "new" way and play the type 1 barre chords.
- Play the A major chord in the "new" way and play the type 2 barre chords.
- Practice the "slanting A" technique.
- Practice the type 1 minor barre chords.
- Practice the type 2 minor barre chords.
- Play all of the type 1 mini-barre chords.
- Play all of the type 2 mini-barre chords.
- Practice quantitative and qualitative techniques
- Review last week's exercises.
- Practice "wrist warming."
- Enjoy!
Ready?

Hopefully you'll notice that I added the wrist warming exercise to your daily review in hopes that you'll do the exercise on a regular basis. It really can be very helpful to warm your wrist thoroughly, so please add this to your warm-up routine.

Today's lesson will be a continuation from last week, so please make sure and review the material thoroughly. We were discussing the process of forming the "slanting A," and applying the technique to the formation of type 2 barre chords. We then turned type 2 barre chords into sus4 chords by adding the pinky finger on to the B-string. Let's pick up where we left off last week, shall we?
Chapter 2: (05:17) Bb Barre Chord Let's start with another type 2 barre chord. How about Bb? The Bb chord is possibly one of the more difficult type 2 barres mainly due to the fact that it takes a little more hand strength to form barre chords in the first few frets. Let's see what we can do with it.

Bb
E_1_
B_3_
G_3_
D_3_
A_1_
E_x_

Get nice and comfortable with this chord if you're not already comfortable with it. Make sure that you're making good contact with the fretboard and that your chord sounds good without any buzzing or muting. If you need to go back and review some helpful hints about the slanting A technique, then now might be a good time to do so. Let's just use a simple "down, down" strum pattern for these next exercises. The next chord in the series is the Bbsus4 and should look like a chord we used in last week's lesson, only one fret down:

Bbsus4
E_x_
B_4_
G_3_
D_3_
A_1_
E_x_

Exercise 1
Play theses two chords in the same fashion as last week. Maintain the same positioning in both chords and simply add your pinky finger onto the fourth fret to form the Bbsus4. Try to avoid touching the high E string with your pinky. Strum using the "down, down" strum pattern. Plau one strum pattern on each chord and then change chords. You may notice that this resembles a simple blues progression. However, this simple change can be used in a myriad of different types of music. Play slowly at first and then speed up as you get comfortable with the progression. What do you feel in your chord hand? Can you feel the tendons stretch to make the second chord? Are you feeling any pain? Stop and stretch your hand and wrist out and let the hand relax before you continue.

Exercise 2
Play through Exercise 1 using the remaining type 2 barre chords and their sus4 counterparts. Once again, go for a quality sound and make sure that you're preventing buzzes and string muting.
Chapter 3: (04:17) Exercise 3 Exercise 3
Repeat the exercise above. This time, utilize the concept of finger glue. Play the type 2 barre chords and then pull your hand off of the neck. Get a clear picture in your head and on your chord hand of what these chords feel like. Then, repeat Exercise 2 with your eyes closed. Try to get a good impression for what adding your pinky on to the B-string feels like and looks like in your mind. Becoming familiar with the distance that your pinky needs to stretch (without using your eyes) can be very helpful in the long run.

I’m sure you've all noticed patterns in my lessons concerning the exercises. I'm hoping that you also recognize the importance and reasons for these patterns. Becoming intimately familiar with how chords feel in your chord hand and "look" in your head can help you make the language of chord formation second nature. This close familiarity will, in the long run, allow you to focus on other important facets of playing like strumming, picking, and even perhaps, singing!
Chapter 4: (06:57) Liquid Chords Liquid Chords
As we've discussed in previous lessons, "liquidating" chords is a way of adding, subtracting, or otherwise modifying chords to make our playing more interesting and enjoyable.
The next set of exercises will utilize 7th chords played in the type 1 barre position:

A7
E_5_
B_5_
G_6_
D_5_
A_7_
E_5_

This chord is played by barring all six strings across the fretboard with your first finger, placing your middle finger on the G string, 6th fret and your third finger on the A string, 7th fret. This formation again leaves your pinky available for any changes you might want to make (hint, hint!).

G7 (3rd fret)
E_3_
B_3_
G_4_
D_3_
A_5_
E_3_

This chord is played in the same fashion described above, but two frets lower. Become familiar with these two chords as we’re going to use them in depth in the next few exercises.

Exercise 4
In these next few exercises we're going to use the strum or "down, down-up-down." Play the A7 using our new strum. Remember to relax your wrist and allow the pick to flow gently over the strings. Get a good feel for this chord and the rhythm. We're going to make some changes to it as we go.

Place your pinky on the B-string on the 8th fret as you strum. The new chord should look like this:

A7
E_5_
B_8_
G_6_
D_5_
A_7_
E_5_

Despite the change, this chord is still called A7 and has a cool and different sound to it. Play this new chord a few times and get familiar with it. Also, practice adding and subtracting the pinky finger from the voicing.

Exercise 5
Now, playing with the same rhythm, let your pinky slide down one more fret to the seventh fret. Your new chord should look like this:

A13th
E_5_
B_7_
G_6_
D_5_
A_7_
E_5_

Strum the new chord and get a feel for the new placement of your pinky. How does this new chord feel to you? Are you able to stay in position with your pinky moving to different spots or are you having trouble keeping your hand steady? Many people have weak pinky fingers and need to work it out for a while before it becomes stronger and able to move effectively. Play all three chords starting with the A7 from Exercise 4, the A13 chord, then the original A7 in succession. Use the strum. Remember to keep your pinky nearby (don't let it stray too far from the fret board) so that it is available when you're ready to use it.

Exercise 6
Now, go through the same process described above with the G7 chord. All of the changes within the exercise remain the same, just two frets down. Continue to use these changes with various type 1 dominant 7th chords and see what you discover on your own.

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Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.


YucatanEdYucatanEd replied on January 23rd, 2010

Hey Mark. Finally getting that Sloping A technique. Higher on the fretboard is much easier of course, but I'm getting it. Thanks.

alshyalshy replied on December 2nd, 2009

another great lesson mark, my little pinky wants to play 7th and 13ths ha ha great stuff

Mark.LincolnMark.Lincoln replied on December 2nd, 2009

Thanks again Alshy you're the best! See ya soon, Mark

gone workingone workin replied on June 28th, 2009

Raising the barre indeed. Covering lots of ground. Great stuff. I think the blind playing is very useful because I can't yet. I m relying overmuch on looking. Very pleased you aren't expecting us to also, with a blindfold on, break down, clean and re-assemble our guitars like boot camp, lol.But I'm confident I will know the guitar by the end of this. I can see your guitar experience that is crafting strategies to anticipate real world pitfalls even without you looking at how we're playing..

Mark.LincolnMark.Lincoln replied on June 28th, 2009

Hey GW...um...I would like you to disassemble and reassemble the guitar with a blind fold on please...and restring it! All kidding aside it can be very helpful to develop a "sixth" sense, if you will, about the neck of the guitar and how to find chords without looking. As usual though, thanks for the great feedback my friend! Mark

jboothjbooth replied on June 8th, 2009

Please note : supplemental content for this lesson will not be available until roughly June 13th. We apologize for the delay!

mattbrownmattbrown replied on June 13th, 2009

It's done now. Thanks for your patience!

Basic Guitar with Mark Lincoln

Found in our Beginner Lesson Sets

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.



Lesson 1

Guitar 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
Lesson 2

Tuning, Gear, and Chords

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
Lesson 3

Chords and Strumming

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
Lesson 4

Minor Chords and More

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
Lesson 5

Expanding Chords

Mark introduces a few more minor chords. He also provides a monster chord exercise.

Length: 16:36 Difficulty: 1.5 Members Only
Lesson 6

Strumming Exercises

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
Lesson 7

Music Theory and Barre Chords

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
Lesson 8

E Shape Barre Chords

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
Lesson 9

A Shape Barre Chords

Mark covers the A Shape / Type 2 barre chords in greater depth.

Length: 17:12 Difficulty: 2.0 Members Only
Lesson 10

Minor Barre Chords

Mark introduces minor barre chords that utilize the shape of the "open" Em chord.

Length: 13:10 Difficulty: 2.0 Members Only
Lesson 11

A Minor Shape Barre Chords

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
Lesson 12

Mini Barre Chord

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
Lesson 13

A Shape Mini Barre

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
Lesson 14

Minor Mini Barre Chords

Mark Lincoln applies mini-barre chord concepts to minor chords.

Length: 12:28 Difficulty: 2.0 Members Only
Lesson 15

Guitar Technique

Mark Lincoln explains essential components of guitar technique.

Length: 15:59 Difficulty: 2.0 Members Only
Lesson 16

Guitar Dynamics

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
Lesson 17

Transistion Strums

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
Lesson 18

Harmonic Technique

Mark Lincoln explains what harmonics are and how they are played.

Length: 15:31 Difficulty: 2.5 Members Only
Lesson 19

Expanding Liquid Chords

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
Lesson 20

Spicing up Chords

Mark demonstrates how chord progressions can be spiced up by adding hammer-ons and pull-offs.

Length: 12:21 Difficulty: 2.5 Members Only
Lesson 21

Chord Fingering

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
Lesson 22

Precision Strumming

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
Lesson 23

D to D in Six Steps

Mark provides a chord progression that shifts from one D chord to another in six steps.

Length: 15:20 Difficulty: 2.0 Members Only
Lesson 24

Chord Voicings and Construction

Mark delves deeper into chord construction and alternate chord voicings.

Length: 13:36 Difficulty: 2.0 Members Only
Lesson 25

Quantitative and Qualitative Changes

Mark tests your guitar knowledge with a pop quiz. Then, he discusses quantitative and qualitative changes.

Length: 22:54 Difficulty: 2.5 Members Only
Lesson 26

Quantitative and Qualitative Review

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
Lesson 27

Rhythm and Guitar

Mark provides exercises designed to make you a better rhythm player.

Length: 0:00 Difficulty: 2.0 Members Only
Lesson 28

Expanded Rhythm Exercise

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
Lesson 29

Hand Structure

Mark discusses proper playing technique. He provides a few exercises that facilitate right hand mechanics.

Length: 17:02 Difficulty: 2.5 Members Only
Lesson 30

Cadd9 and Dsus2

Mark provides an exercise that features two new chords - Cadd9 and Dsus2.

Length: 0:00 Difficulty: 2.0 Members Only
Lesson 31

Finger Glue and Flexibility

In the 31st lesson, Mark discusses his "finger glue" technique. This technique improves speed and accuracy.

Length: 21:31 Difficulty: 2.0 Members Only
Lesson 32

Reviewing Chord Changes

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
Lesson 33

Sliding

Mark explains how to use the slide technique between chords.

Length: 19:24 Difficulty: 2.0 Members Only
Lesson 34

Keeping Time While Playing

Mark reviews qualitative and quantitative changes. He explains how to keep time while performing these changes.

Length: 21:17 Difficulty: 2.0 Members Only
Lesson 35

A Minor Progression

Mark discusses qualitative and quantitative changes within an A minor progression.

Length: 19:56 Difficulty: 0.5 Members Only
Lesson 36

Chord Transistions

Mark Lincoln discusses several techniques that can be used when transitioning between chords.

Length: 21:43 Difficulty: 2.0 Members Only
Lesson 37

Chord Transistions Revisited

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
Lesson 38

Playing Individual Notes

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

Rocking Out

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

Slash Chords

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
Lesson 41

Strumming from the Wrist

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
Lesson 42

Raising the Barre

Mark builds further on barre chord techniques and liquid chords.

Length: 17:24 Difficulty: 2.5 Members Only
Lesson 43

Building on Your Chord Knowledge

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

Experiment With Playing

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
Lesson 45

Diversifying

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
Lesson 46

Shaping the Hands

In lesson 46, Mark explains how to maximize your options by maintaining chord shapes while playing.

Length: 21:44 Difficulty: 1.5 Members Only
Lesson 47

Precision Strumming

Today, Mark takes in depth look at strumming.

Length: 23:57 Difficulty: 1.0 Members Only
Lesson 48

Shine Like the Sun

Mark Lincoln teaches an original song entitled "Shine Like the Sun."

Length: 18:59 Difficulty: 2.0 Members Only
Lesson 49

Changing Chords : Accuracy and Speed

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
Lesson 50

Play Along with Mulitple Chord Voicings

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
Lesson 51

Understanding Liquified Chords

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 View Full Biography 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.

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