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Chris Liepe demonstrates how to take a key signature (the set notes within a key) and stack 3rds on top of a root note to form chords. With the help of a modulating backing track, this should be a fun and interactive lesson that will further your music theory training.
Taught by Chris Liepe in Basic Electric Guitar with Chris seriesLength: 30:02Difficulty: 2.5 of 5
1.I have purposely NOT provided the chord names or TAB for this backing track. Since you know the keys that are being played in, and you know the number progression, you should not need any. Practice playing along with the chord progressions in the different keys throughout the track. You may have to use some barre chords, but for the most part, you should be able to use standard chords...nothing we haven’t worked on yet! It may take you a few times, but you’ll figure out the chords. When you do, this track becomes a great, musical chord workout. You can choose to play with the full track, or just do drums and bass so that you can provide all of the rhythm.Have fun with this one, and let me know if you have any questions!
2. Again, since you know the keys and the progressions, practice playing your basic one-string scales over the track. Maybe use the version without any lead on it so your guitar becomes the "lead." Over the "G" section, play a G major scale. Practice playing the notes in different orders and develop simple melody lines using those scales.
3. When you listen to the full track, you’ll hear a "lead" guitar in your right ear. This lead stuff has been created using the material that was taught in my "Triads" lesson earlier in this series. This was played as an example of how to use those triads over this chord progression in various keys. Go back and review the "Triads" lesson and see if you can play each progression with only triads. You'll get a similar sound to my lead.
Chris will guide you through the world of electric guitar in this series.
Lesson 1
Chris Liepe talks about the absolute basics of the guitar, including tuning, the guitar parts, and proper technique.
Length: 23:21 Difficulty: 0.5 Members Only
Chris Liepe introduces you to your very first 2 chords, E and A. Since this is your first chord lesson, Chris also introduces a backing track for you to slowly play along with. Practicing in this manner...
Length: 28:54 Difficulty: 0.5 Members Only
Here in lesson 3, Chris teaches the C, G, and D chords. Once you have mastered the chords taught in this lesson and the previous lesson, you will have learned the CAGED method of remembering open chord...
Length: 12:22 Difficulty: 0.5 Members Only
Chris is back with his most information packed lesson to date. In this lesson, you will learn how to read tablature, chord charts and musical notation. All of these tools will drastically help you in your...
Length: 25:38 Difficulty: 1.0 Members Only
Chris Liepe is back in lesson 5 with an introduction to scales. In this lesson, you will learn how to play up and down simple scale patterns.
Length: 13:55 Difficulty: 1.0 Members Only
In this lesson, Chris introduces minor chords and barre chords.
Length: 25:23 Difficulty: 1.0 Members Only
Chris Liepe lays down some grooves in this lesson! He provides instruction on rhythmic strumming patterns and time signatures such as 4/4, 3/4, and 6/8.
Length: 21:12 Difficulty: 2.0 Members Only
Intervals, Intervals, Intervals! Chris Liepe explains what they are, where they are found, and how to play them in this lesson.
Length: 14:07 Difficulty: 2.5 Members Only
Sharpen your pencils and grab your guitar. It's pop quiz time. Chris Liepe adds to his beginner lesson series with a quiz on intervals. This is a hands-on lesson that will undoubtedly improve your ears....
Length: 15:39 Difficulty: 2.5 Members Only
Chris Liepe breaks through his 10th lesson with a detailed discussion of triads. Dig in and take these triads for a ride!
Length: 24:14 Difficulty: 2.5 Members Only
This lesson begins a mini-series on effects pedals. Chris breaks down routing and how effects work with each other.
Length: 8:20 Difficulty: 1.5 Members Only
The compression effect pedal is one of the most misunderstood pedals around. Chris Liepe finally sheds some light on the subject. By explaining all the different options and sounds this pedal can create,...
Length: 14:12 Difficulty: 1.0 Members Only
Chris Liepe is back with the 3rd installment in his Effects Pedal mini-series. He explains the concept of "gain stacking" by combining an Ibanez Tube Screamer and a Boss DS-1 Distortion pedal.
Length: 7:54 Difficulty: 1.5 Members Only
Chris Liepe adds yet another lesson to his effect pedal-mini series. Here he covers the delay pedal. This effect that operates on the principles of time and rhythm. Use this pedal to add depth to your...
Length: 19:52 Difficulty: 1.5 Members Only
Chris Liepe quickly demonstrates the chorus pedal with some 80's style licks. This pedal can create a deep and rich addition to solos or add the illusion of multiple guitars.
Length: 3:28 Difficulty: 1.5 Members Only
Key Signatures! How do they relate to one another? Chris Liepe explains them in lesson 16 of his beginner series. Getting familiar with your key signatures will help pull everything together that has been...
Length: 15:21 Difficulty: 2.0 Members Only
Chris Liepe demonstrates how to take a key signature (the set notes within a key) and stack 3rds on top of a root note to form chords. With the help of a modulating backing track, this should be a fun...
Length: 30:02 Difficulty: 2.5 Members Only
Chris explains and demonstrates the very basics of alternate picking. He also provides simple exercises to develop the technique in your own playing.
Length: 16:03 Difficulty: 2.0 Members Only
Chris details and demonstrates the fundamental movements and suggested left hand position for legato playing -- specifically hammer-ons and pull-offs. He also provides exercises for developing the technique.
Length: 16:11 Difficulty: 2.0 Members OnlyLesson 20
Chris talks about proper palm muting and discusses potential snags when first attempting the technique. He offers a number of exercises and patterns to help palm muting become a part of your rhythm playing.
Length: 9:22 Difficulty: 1.0 FREE
Hybrid picking can add a fresh dimension to your chord and rhythm playing. In this lesson, Chris briefly covers how to get started with hybrid picking and offers two exercises that you can use to apply...
Length: 6:27 Difficulty: 1.5 Members Only
Chris talks about what it means to play in position and teaches three of the five "CAGED" major scale positions in the key of G.
Length: 12:44 Difficulty: 2.5 Members Only
Chris continues in his teaching of the five basic "CAGED" major scale positions in the key of G.
Length: 11:39 Difficulty: 2.5 Members Only
About Chris Liepe
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Chris Liepe was born on September 17th, 1981 in Portland OR. His first instrument was piano which he pursued until discovering his love for the electric guitar in high school. He became fans of such groups as Soundgarden, Collective Soul and U2 inspiring him to start singing, songwriting and helping others in their musical endeavors with teaching, co-writing and album production.
Having moved to Colorado with his family, he began gigging, recording and teaching in a number of music stores as well as out of his apartment until deciding to pursue music full time. He moved to Denver, CO to complete a Bachelors in Music Technology and was then hired on by Sweetwater Productions, a division of Sweetwater Sound and one of the largest, most successful recording studios in the Midwest.
Chris spent nearly 4 years at Sweetwater as a producer, recording engineer, studio musician and writer. During this time he had the privilege of working with many artists including Augustana, Landon Pigg, Jars of Clay, and Mercy Me. He also wrote for and played on numerous independent albums and hundreds of radio/TV commercials.
Wanting to get back to his favorite State in the world (Colorado) and feeling the urge to 'go freelance', Chris moved to Greeley, CO and opened his own recording and teaching studio. He continues to write and produce music for artists and agencies and is happy to be among the proud JamPlay.com instructors.
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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.Too much theory,I know it's needed but enough.Play it in context of a basic tune to make it interesting.I am starting to want to quit this.
FINALLY got through this lesson. Turns out I was making it harder than what it should have been. I had a lot of trouble seeing the 'new' triad shape (the 7dim) even afte stopping the video a number of times, but I was finally able to hear it as a b3 and b5. And learning the triads has been amazing. It's opened up the whole fretboard to me. Also, I'm now seeing the CAGED shapes, too.
It would be helpful to show the tab for each of these harmonized chords in the supplemental content so everyone could see each type of shape, especially the dim7.
Nashville link not working for me either. Guess its meant to point to this http://members.jamplay.com/articles/read/92-the-nashville-number-system
I updated the link in the writeup section.
The link to the Nashville Numbering System is broken and it doesn't seem possible to search articles.
Hi,Chris, I'm here on Lesson 17,important lesson learn chord formation.You said,"If you have two notes play simultaniously,Technically , it is called Harmonic Interval.In Power chords two notes are played and still it is called Power Chords.Is this a distorted mistake over time and no one correct it to call, Harmonic Interval. I'm repeatedly watching this lesson.
yeah, you nailed it. Technically speaking, a power chord isn't truly a chord, but everyone calls it that anyway. I guess a power chord still has three notes but only two unique notes.
Great lesson. Cleared up alot for me.
Hi Chris, Thanks for a great lesson. I have some question though. So in a key of C why we called the IV chord F (constructed with F,A,C) as a major chord even though C is a diminished 5th interval of F? I could have understood it wrongly but I thought that for a major chord all thirds should be major 3rds?
You're looking at the interval backwards. Intervals are based on the root, so the F is the perfect 4th of C (root). In a major chord progression, the IV and V are always major. In the key of C (which is the tonic or i), F and G are the IV and V, so they are both major.
This was superb. This answered so many questions. A very valuable instruction. Great job explaining that. Now I have a better understanding about different keys and how they relate to each other.. Thanks Chris.
This was superb. This answered so many questions. A very valuable instruction. Great job explaining that. Now I have a better understanding about different keys and how they relate to each other.. Thanks Chris.
Great lesson. Answered a number of questions that I was wrestling with.
Nicely explained.
Damn, I didn't think I was going to, but I think I get it..... Will probably have to watch the lesson a couple of times again, but thanks for making it understandable Chris. A lot of things make sense now from a theory point of view.
thxx chris
Question about the backing track. G, C, and D are all sharp keys but F is a flat key correct? Can you mix like that and have it still sound good or does it not matter?
it doesn't matter. it will sound just fine.
Another piece of the puzzle fell into place. Good lesson!
Thanks for this great vid! I've finally understood the chord progression! Keep on good work!