Van Halen and AC/DC are two of the most popular rock bands of all time. Brad is here to teach you how to play a song from each of these legendary bands.
Taught by Brad Henecke in Rock Guitar with Brad Henecke seriesLength: 27:32Difficulty: 2.5 of 5
The intro kicks off with an arpeggiation of the open Am chord. Brad gives a quick review of the left-hand fingering for this chord. An arpeggiation occurs when the notes of a chord are picked individually rather than strummed.Right Hand Technique
Note: Open the “Supplemental Content” tab for fretboard diagrams of all the chords discussed in this lesson.
Pay careful attention to the picking of this arpeggio. It may help to print the tablature to the riff and indicate the pick direction of each note on the page.
As soon as you have successfully fretted the Am chord, access the tablature to this song under the “Supplemental Content” tab. Notice how the arpeggio pattern initially skips the G string. Arpeggio patterns frequently skip strings one or more times. To ensure accuracy and maximum comfortability while playing string-skipping patterns, certain right hand adjustments must be made.
A. Right Hand FingersPlaying the RiffWhen playing any arpeggio pattern, it is best not to rest the right hand fingers on the pickguard. Rather, they should loosely curl into the palm of the hand. Resting your fingers on the pickguard limits your range of movement. As a result, arpeggio patterns are difficult to play with this technique.B. The WristMost players prefer to rest their wrist on the bridge of the guitar. Others find they play with better control if they lift the wrist from the bridge, and rest the forearm on the body. However, this riff is played with a technique known as “palm muting.” To perform this technique, lightly rest your wrist on the strings slightly off the bridge. The pitch should still be clearly audible when a string is played. The sound is now slightly muffled or muted. You may need to experiment with the position of your wrist for awhile to achieve the right sound. Let your ears serve as your guide. Listen carefully to Brad’s sound when he palm- mutes. Try to emulate this sound when practicing the intro section.
Play the first four notes of the arpeggio pattern together. Each note receives the value of an eighth note. After the Am arpeggio pattern, a few quick chord changes occur. Once again, break up the riff into the next four eighth notes. Play the open E string, then quickly roll the first finger down. Now it is barring the E and B strings. The next chord in the riff is G. This chord shape is the basic F chord moved up two frets. The riff ends with a quick lick on the A string. Notice how C (3rd fret) is played as a quarter note. Fret this note with the third finger.Intro Riff No. 2
Note: The intro riff is repeated four times before the remainder of the song kicks in.
After the arpeggio patterns, the same progression is played. However, this time the chords are strummed. The progression begins with the same Am shape. Then the open G chord is strummed. (Brad provides a quick review of this chord if you need one.)Rhythm of the Riff
The rhythm to this riff is kind of tricky. Some strums are palm-muted and others are not. The first and fourth strums in the pattern are not palm-muted. Rather, these notes receive a sharp accent. Also, notice how Brad plays this entire riff using only downstrokes. Downstrokes give the guitar a much heavier sound when palm-muting is applied.Playing Octaves
This riff ends with the same lick that concludes the intro riff. However, a pick up note on the open A string is picked before the lick occurs.
Note: The following information comes from Lesson 9 of Matt’s Phase 2 rock lessons.Chapter 3: (13:46) â€œYou Shook Me All Night Longâ€ â€“ AC/DC Intro Riff
On the guitar, a note’s higher octave can be found two strings away. The higher of the two notes is two frets up the neck. There are two exceptions to this rule. In the case of the fourth and second string, as well as the third and first string, the higher note is three frets up. Simply play the two strings simultaneously while muting the string between them.
Playing any melody line in octaves has many great advantages. Playing octaves can fatten up the sound by giving it a simultaneous rhythmic/melodic feel. Octaves have a contrasting texture to single note lines. As a result, switching from a single note line to octaves can take a solo in a totally new, fresh direction.
This technique was originally exploited to great effect by jazz great Wes Montgomery. Listen to any of his recordings for countless examples of stellar octave use. Notice how he applies this technique when playing the melody, soloing, and occasionally while accompanying.
Instead of ending the second riff with the lick, an octave figure is often played. Begin with the C octave shape. The first finger frets the A string at the third fret. The octaves then ascend the C major scale to the notes D, E, and G.
Note: Octaves are covered in greater detail in later Phase 2 Classic Rock lesson.
Brad begins teaching you the song by walking you through all the chord shapes involved.Verse Riff
The intro riff begins with an inversion of the G5 power chord. Here’s a quick breakdown of this chord4th string: openThe next chord is a D5 power chord. Keep the same shape from the previous chord. Now, fret the 10th fret of the B string with your pinky. The D string is still played open. By changing the highest note in the power chord, an interesting melody line is created on the second string. This melody line ends with a big strum of the open D chord. A lick from the D minor pentatonic scale functions as a transition back to the beginning of the riff.
3rd string: 1st finger frets the 7th fret.
2nd string: 2nd finger frets the 8th fret.
The verse riff to “You Shook Me...” consists of a basic I IV V progression in the key of G. This riff consists of four measures. It is easiest to learn it by separating the first two measures from the last two. The progression begins on the I chord, G. The second measure features some rapid changes between G and the IV chord Cadd9. You may remember this chord shape from “Sweet Home Alabama.” It may help you to sing the names of the chords when you are playing them. This will help cement the chord changes and where they occur in your brain.Chorus Riff
The second half of the riff features some rapid changes between the open G and D chords. Once again, sing the chord changes out loud or in your head to memorize where they occur.
The Dsus4 chord is played with some palm-muting to transition into the chorus riff.
Note: Open the “Supplemental Content” tab for a fretboard diagram of this chord. The fourth finger is added to the first string to form the suspension.
The chorus riff consists of an open chord progression. A few passing tones are added between chords to give the riff more forward motion. Once again, the chorus consists of a basic I IV V progression in the key of G.
The second measure features a chord many of you may be unfamiliar with. Lift up the second and third fingers from the C chord. Then, fret the 2nd fret of the A string with the second finger. Play the D string open. This forms a G/Bsus4 chord. This means that the chord is Gsus4 with B played as the lowest note in the chord.
In this Phase 2 series Brad Henecke will school you in the art of rock guitar. You will not only learn how to play some of your favorite songs in this series, but you will also learn how to create your own.
This lesson covers the absolute basics of rock guitar. Learn about the electric guitar, pickups, amplifiers, changing strings, and more.Length: 52:09 Difficulty: 0.5 Members Only
The first step of your rock guitar experience is learning some of the more popular chords and that is what this lesson is all about.Length: 42:30 Difficulty: 1.0 Members Only
Brad Henecke introduces common strumming patterns and barre chords.Length: 42:23 Difficulty: 2.5 Members Only
In this lesson Brad covers some of the more advanced barre chord shapes. He applies these shapes to the song "Hotel California."Length: 41:31 Difficulty: 2.0 Members Only
Rock has its roots in the blues. Brad helps you explore the wonderful world of blues in this lesson. He also covers some chord theory.Length: 48:14 Difficulty: 2.0 Members Only
This lesson is all about specific techniques used by lead guitarists.Length: 52:02 Difficulty: 2.5 Members Only
This lesson details how to improvise with the blues scale.Length: 27:27 Difficulty: 2.5 Members Only
In this fun lesson, Brad Henecke teaches you riffs from 3 classic rock songs.Length: 28:28 Difficulty: 2.5 Members Only
Power chords help give rock music that "punch you in the face" feel. Learn basic power chords in this lesson.Length: 13:22 Difficulty: 2.5 Members Only
Are you ready to learn "Ain't Talking About Love" by Van Halen and "You Shook Me All Night Long" by AC/DC? That's what this lesson is all about.Length: 27:32 Difficulty: 2.5 Members Only
Brad teaches the first pattern of the minor pentatonic scale and explains how it relates to the blues scale.Length: 14:30 Difficulty: 2.5 Members Only
Brad covers the second pattern for both the minor blues and minor pentatonic scales.Length: 9:07 Difficulty: 2.5 Members Only
Learn the classic rock song "Message in a Bottle."Length: 10:22 Difficulty: 3.0 Members Only
This great lesson covers the 3rd fretboard pattern of the minor pentatonic and minor blues scales.Length: 7:19 Difficulty: 2.5 Members Only
Brad demonstrates how open strings can be added to chord shapes you are already familiar with.Length: 9:09 Difficulty: 2.5 Members Only
Brad covers the fourth pattern of the minor pentatonic and minor blues scales.Length: 8:28 Difficulty: 2.5 Members Only
In this lesson Brad demonstrates how to play the Beatles song "Daytripper."Length: 15:21 Difficulty: 3.0 Members Only
Brad demonstrates the 5th pattern of the minor pentatonic and minor blues scales. He also discusses practicing and memorizing them.Length: 13:05 Difficulty: 2.5 Members Only
Learn the classic rock song "Brown Eyed Girl" in this episode of Rock Guitar.Length: 11:23 Difficulty: 3.0 Members Only
Brad introduces you to the importance of phrasing. Quality phrasing is essential when performing any melodic line.Length: 14:19 Difficulty: 3.0 Members Only
Tapping is an idiomatic guitar technique that offers a unique sound.Length: 14:34 Difficulty: 3.0 Members Only
Learning the modes is essential to the development of your scale vocabulary.Length: 31:04 Difficulty: 3.0 Members Only
Brad further explains what chord shapes are and how they relate to barre chords.Length: 10:15 Difficulty: 2.0 Members Only
Learn the right and left hand mechanics involved in playing harmonics.Length: 13:16 Difficulty: 3.0 Members Only
Brad covers more advanced harmonic techniques such as harp harmonics, pinch harmonics and tap harmonics.Length: 16:10 Difficulty: 3.0 Members Only
Brad moves on in his modal lesson series to explain the Dorian mode. This lesson includes 2 backing tracks.Length: 22:00 Difficulty: 3.0 Members Only
Brad explains and demonstrates the Phrygian mode.Length: 13:33 Difficulty: 3.0 Members Only
Brad continues his discussion of the modes. You will learn the Lydian mode in this lesson.Length: 9:27 Difficulty: 3.0 Members Only
Brad explains the Mixolydian mode and its practical applications.Length: 10:00 Difficulty: 3.0 Members Only
Continuing with his modal lessons, Brad Henecke teaches the Aeolian mode.Length: 9:09 Difficulty: 3.0 Members Only
The final lesson in our modal series covers the Locrian mode.Length: 9:00 Difficulty: 3.0 Members Only
Brad teaches some licks inspired by Ace Frehley of KISS. Incorporate these licks into your own solos.Length: 7:18 Difficulty: 3.0 Members Only
In this lesson Brad Henecke teaches you some fun licks that can be used in your own guitar solos.Length: 10:00 Difficulty: 3.0 Members Only
Brad Henecke demonstrates some cool blues licks.Length: 17:00 Difficulty: 3.0 Members Only
Brad Henecke provides an alternate way of comparing modes and scales.Length: 8:00 Difficulty: 3.0 Members Only
In the last lesson, Brad Henecke compared some scales that are major or dominant in quality. Now, he repeats this process with minor scales.Length: 7:00 Difficulty: 3.0 Members Only
This lesson is all about 1 string scales. Learning scales on 1 string is essential to your knowledge of the fretboard.Length: 8:34 Difficulty: 3.0 Members Only
Brad demonstrates a one string version of the Ionian mode. This lesson demonstrates the importance of horizontal scales.Length: 7:27 Difficulty: 3.0 Members Only
Brad continues his discussion of single string scales. He explains how to play the Aeolian mode across a single string.Length: 4:11 Difficulty: 3.0 Members Only
Brad explains how to locate octaves within scale patterns. He demonstrates a cool lick that involves playing simultaneous octaves.Length: 7:07 Difficulty: 3.0 Members Only
Brad explains how to use octaves in the context of an exercise. Octaves can also be used to build effective licks.Length: 5:18 Difficulty: 3.0 Members Only
Brad introduces the harmonic minor scale. He explains how it can be applied to the solo break in "Sweet Child O' Mine."Length: 7:00 Difficulty: 3.0 Members Only
Brad Henecke provides valuable tips regarding the process of learning songs by ear.Length: 23:00 Difficulty: 3.5 Members Only
Improve your ear training by playing "The Tone Is Right" with Brad Henecke.Length: 29:00 Difficulty: 3.0 Members Only
Brad Henecke explains diminished chords and provides a fun diminished arpeggio exercise.Length: 19:00 Difficulty: 3.0 Members Only
Brad Henecke addresses time signatures.Length: 10:00 Difficulty: 2.5 Members Only
Brad Henecke explains the construction of diminished seventh chords. He also provides a diminished chord exercise.Length: 10:30 Difficulty: 2.5 Members Only
Brad Henecke introduces open G tuning in this lesson.Length: 23:50 Difficulty: 2.5 Members Only
Brad Henecke introduces drop D tuning in this lesson. He explains many advantages of this tuning.Length: 12:57 Difficulty: 2.0 Members Only
Brad Henecke teaches the G major pentatonic scale. He demonstrates all 5 patterns and explains how they can be transposed to any key.Length: 22:50 Difficulty: 2.0 Members Only
In this lesson Brad Henecke talks about changing the pentatonic/blues scales with each chord in a chord progression.Length: 11:08 Difficulty: 3.0 Members Only
Brad will show how to use the Mixolydian scale with a blues chord progression.Length: 6:56 Difficulty: 3.0 Members Only
This lesson is all about gear and effects. Brad begins his discussion with power conditioning and removing hiss from your amplifier. He progresses to discuss a plethora of effects pedals. Brad explores...Length: 52:48 Difficulty: 2.5 Members Only
In this lesson, Brad Henecke introduces the wah pedal and demonstrates its many applications.Length: 15:53 Difficulty: 1.5 Members Only
About Brad Henecke
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Brad Henecke was born in Cedar Rapids, Iowa on May 5th of 1963. He has been a fan of music for as long as he & his family can remember. You could always find him running around the farm wailing on his cardboard guitar, pretending to be a member of the rock band KISS. Additional inspiration came during his first concert when he got the chance to see Boston & Sammy Hagar in the early 1970's.
This opened up a whole new world of rock and roll music for him; his parents noticed his growing interest in music and enrolled him into guitar lessons when he was 13.
From there he jumped into two years of lessons at a local music store in Cedar Rapids. After discovering Eddie Van Halen, Brad knew that the guitar would always be a part of his life. He took his love throughout the city as he played as a pit musician & jammed at parties for friends.
This made him thirsty for more. He enrolled classes at Kirkwood Community College & also took lessons from the one & only Craig-Erickson (www.craig-erickson.com).
His love for music landed him a gig opening for Molly Hatchet in Cedar Rapids with a band called "Slap & Tickle". He has also played in the Greeley Stampede show for quite a few years with "True North".
Brad is currently playing in Greeley, Colorado with a rock band titled "Ragged Doll". They play a wide variety of music with an emphasis on classic rock from the 60's to present, with Brad playing electric guitar in the five piece lineup.
He currently jams on his all-time favorite guitar: a Paul Reed Smith Custom 24. Beyond guitar, he plays also plays drums & bass guitar. He has also been known to thrash a banjo from time to time. He is still actively playing & passing his 31 years of playing experience on to others (you!).
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