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Rhythm and Time Signatures (Guitar Lesson)


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Matt Brown

Rhythm and Time Signatures

Learn the basics of notation and time signatures. Practice these concepts with a few timing exercises.

Taught by Matt Brown in Reading Music and Rhythm seriesLength: 22:01Difficulty: 1.5 of 5
Chapter 1: (03:04) Lesson Overview & Rhythm This lesson marks the beginning of several lessons within this series that focus solely on rhythm. In the current lesson as well as many lessons to follow, Matt will present several exercises designed to help your rhythmic and counting abilities. This lesson starts with the absolute basics. The exercises presented here feature very simple rhythms in 4/4 time. Eventually, as the series progresses, these exercises will become much more difficult. For example, Eastern rhythm concepts, polyrhythms, and music written by the band Meshuggah will be discussed in future lessons.

Remember, solid rhythm begins with a firm understanding of the basics. If you do not understand a certain rhythmic concept presented in these lessons, make sure you email Matt directly on the JamPlay site. Do not proceed to the next rhythm lesson until you clear up any confusion.
Chapter 2: (05:25) Basics of Notation and Time Signatures Clef Signs

Every piece of music begins with a clef symbol and key signature. Guitarists almost always play in treble or "G" clef. The loop of the treble clef symbol indicates where the note G is located on the staff. On a few rare occasions, you may see a 7-string or baritone guitar part written in bass clef.

Time Signatures

The clef and key signature are followed by the time signature. Almost all time signatures consist of two numbers. Most often there is one top number and one bottom number written in ration or fraction form. Occasionally you may see a few numbers on top. For example, you may see something like this: 3+2+3 all over 8. This specifies how groups of notes should be divided within the measure. Advanced time signatures such as this will be discussed in later lessons.

Top Number

The top number in a time signature indicates how many beats are in a measure.

Bottom Number

The bottom number indicates which note is counted as the beat. Memorize the following examples listed below.

2 on bottom = Half note gets the beat.

Common signatures: 2/2, 3/2.


4 on bottom = Quarter note gets the beat

Common signatures: 4/4, 3/4, 6/4, 5/4, 7/4.

8 on bottom = Eighth note gets the beat

Common signatures: 6/8, 12/8, 8/8, 7/8, 9/8, 3/8, 15/8.

16 on bottom = Sixteenth note gets the beat.

It is fairly rare for a sixteenth note or smaller value to be counted as the primary unit of the beat.

Introduction to Counting Syllables

When counting out a rhythm, specific counting syllables are applied to make things more manageable for the musician reading them.

A. Numerals

The note value that receives the beat is counted /written as a numeral. For example, in 4/4 time the quarter note receives the beat. As a result, the first beat is designated with the number "1." For a measure consisting of four quarter notes, you would count, "1, 2, 3, 4."

B. The "+" Sign

A "+" sign is used to denote eighth notes that occur on the upbeats. For example, look at rhythm exercise no. 4 in the "Supplemental Content" section. This exercise is comprised solely of eighth notes. Numerals can be applied to the notes that occur on downbeats (the 1st, 3rd, 5th, and 7th eighth notes in the measure). A "+" symbol can be used to label the remaining eighth notes that occur on weak beats. This measure should be counted, "1+2+3+4+."
Chapter 3: (12:32) Notes and Timing Exercises Scales

All examples in this scene are applied to a C major scale in open position. Before you begin these exercises, you must learn, and memorize this scale. Watch Jim Deeming's 13th phase 1 lesson for a review of how to play this scale. Also open up the "Supplemental Content" tab for tablature corresponding to the C major scale. Other scales will be applied to rhythm exercises in future lessons.

Picking

For exercises containing note values no smaller than a quarter no note, use strict downstrokes for every note. Eighth notes occurring on weak beats are picked with an upstroke.

Practice Directions

1. ALWAYS practice these exercises with a metronome. Do not play them without one!

2. Strive for accuracy, and rhythmic clarity at all times. Speed is not important at this phase in your development.

3. Play each rhythmic example on the same note in the scale for a full measure. Then, move to the next note in the scale and repeat the same exercise. Remember to ascend as well as descend the scale.

Exercise 1

This exercise consists solely of whole notes. Although this exercise is quite easy, Do not neglect it! It will give you a solid internal feel for the metronome which will carry through the rest of the exercises.

Count "1, (2), (3), (4)" for each measure. Notes in parenthesis are counted, however no note is struck on these beats.

Exercise 2

This exercise consists of two half notes. Count "1, (2), 3, (4)" for each measure.

Exercise 3

This exercise consists solely of quarter notes. Count "1, 2, 3, 4" for each measure.

Exercise 4

This exercise consists solely of eighth notes. Count "1+2+3+4+" for each measure.

Exercise 5

This exercise consists of six eighth notes followed by a quarter note.

Count "1+2+3+4" for each measure.

Exercise 6

This one is a little bit tricky! Watch and listen to Matt several times. This exercise consists of five eighth notes, one quarter, then one eighth note. Count "1+2+3+(4)+" for each measure.

Exercise 7

This exercise consists of four eighth notes, one quarter, then two eighth notes. Count "1+2+3 4+" for each measure.

Exercise 8

This exercise features a tie. A tie adds the rhythmic value of the second note to the first note. The second note is not picked. For example, an eighth note tied to another eighth note receives the value of a quarter note. Watch and listen to Matt closely as he plays through this example. Count "1+2+(3)+4+" for each measure.

Exercise 9

You may find this one a little difficult as well. If so, spend more time practicing it. Count "1+(2)+3+4+" for each measure.

Make sure you can play all of these exercises before proceeding to the next lesson. Email if you have questions.

Video Subtitles / Captions


Member Comments about this Lesson

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


lehmanlehman replied on January 30th, 2017

i have a question.....so when there is a ty of 2 notes do you strike the second note as well as the first note ?

Ty15951Ty15951 replied on February 21st, 2014

My God... I never want to hear " X note gets the beat again"! Hahaha. I thought I would post my thoughts on this in case it helps anyone else!? When I am looking at the time signatures I find it easiest to think of them as a mathematical fraction. That is: 4/4 = 1/4 + 1/4 + 1/4 +1/4 (four 1/4 notes per measure) 3/4 = 1/4 + 1/4 + 1/4 (three 1/4 notes per measure) 2/4 = 1/4 + 1/4 (two 1/4 notes per measure) 2/2 = 1/2 + 1/2 (two 1/2 notes per measure) 6/8 = 1/8 + 1/8 + 1/8 + 1/8 + 1/8 + 1/8 (six 1/8 notes per measure) I like to think of it this way because I find it WAAAY easier to say to myself " 4/4... oh that means four 1/4 notes per measure". And then when you are talking about all these notes: whole note, half note, quarter note, eighth note and sixteenth note... well, I became confused again. A very musical co-worker commented that the different descriptions of the notes are there to show us how the notes relate to one another in time. That is: 1 whole note = 1/2 + 1/2 (two half notes) 1 whole note = 1/4 + 1/4 + 1/4 + 1/4 (four quarter notes) 1 quarter note = 1/8 + 1/8 (two eighth notes) Essentially, a sixteenth note is played one-half as long (in time) as an eighth note, and an eighth note is played one-half as long as a quarter note, and a quarter note is played one-half as long as a half-note, and a half-note is played one-half as long as a whole note. Basically... if I think of it in mathematical terms... and I hope that my thoughts are correct here :)... it all starts to make a bit more sense. This musical co-worker of mine also helped me to understand tempo as more of a feeling the music gets from how fast it is being played. How the notes relate to one-another remains the same regardless of how fast/slow the piece is played. Just some thoughts... I know it has been a while since anyone has commented on here. BUT, I hope this helped somewhat. From one beginner to another. xoxo Ty

fretmanfretman replied on August 4th, 2012

In example 6, I am counting, 1 and 2 and 3 and 4. Do I still need to include the "and" after the 4 even though there is not a note associated with this "and"? For example, in example 4, there is a note associated with each beat, 1 and 2 and 3 and 4 and.

mattbrownmattbrown replied on August 5th, 2012

In example 6 there is a note that occurs on the "and" of 4, so I definitely would count it. A note is NOT struck right on 4. Instead, the remainder of the quarter note carries over from the "and" of 3.

jimbeam48jimbeam48 replied on April 16th, 2012

you need a black board to show how this works bro lol would be much easier to under stand im just startin to learn how to read music lol can play but can t read music lol thk you

mattbrownmattbrown replied on April 17th, 2012

haha! Yeah...we realized that as soon as we posted this lesson live on the site...Oh well...you live, you learn. This lesson is 5 yrs. old at this point.

xiaobozhuxiaobozhu replied on April 16th, 2012

2 on bottom = Half note gets the beat. 4 on bottom = Quarter note gets the beat. i'm not sure what they mean, can you explain to me?

mattbrownmattbrown replied on April 16th, 2012

In 4/4, the quarter note is counted as the beat. So, if you're looking at measures of nothing but quarter notes in 4/4 time, you count "1, 2, 3, 4." If you see a number other than a "4" in the bottom of a time signature, a rhythmic value other than a quarter note is counted as the beat. In 2/2 for example, the half note is counted as the beat, and there are only 2 beats in each measure. So, if you see measures of 2/2 with nothing but half notes, you count "1, 2" for each measure...Basically, it's almost like the half note now functions like the quarter note used to in 4/4...The same concepts apply to signatures like 6/8, 12/8, etc...In these signatures, the eighth note receives the the beat. So, if you see a measures of nothing but eighth notes in 6/8, count "1, 2, 3, 4, 5, 6." You don't count "1 and 2 and 3 and etc.," because the eighth note now receives one whole beat instead of just half a beat. Hope this helps!

alnrhondaalnrhonda replied on November 19th, 2011

I really like the way you explain how to count each different note. I did, however, get lost on which exercise you were talking about. It took watching the lesson over and over to finally get it. Could you possibly mention the exercise you're covering as you talk about it? It would really help speed things up and make it easier for you perhaps.

xiaobozhuxiaobozhu replied on April 16th, 2012

i watch the lesson for a couple times too

alnrhondaalnrhonda replied on November 19th, 2011

I really like the way you explain how to count each different note. I did, however, get lost on which exercise you were talking about. It took watching the lesson over and over to finally get it. Could you possibly mention the exercise you're covering as you talk about it? It would really help speed things up and make it easier for you perhaps.

charlie636charlie636 replied on September 9th, 2011

Matt, I have been on Jam Play now for6 months 7? not sure. I wish I had found this: reading music section on day one. I can read music and used to play the trumpet, but my rythem was poor. I never learned it correctly. This is great and I'll finish the entire section before moving on. Thanks.

mattbrownmattbrown replied on September 16th, 2011

Charlie - glad you're finding these lessons helpful! Hopefully these lessons will build up your fundamental skills like playing in time, playing with other people, etc. I think that reading notes is just the surface of what I'm trying to cover here.

jasonconfusedjasonconfused replied on July 19th, 2011

God knows why when counting 8th notes every time I say "and" I feel like I need to play the string open. :/

hilaryhilary replied on June 4th, 2011

Matt, it would be easier to understand your explanation of "ties" if you would include examples in your supplemental content, and then demonstrate these in your video. I'm finding even these basic lessons difficult as my mind has trouble wrapping itself around time signatures besides 4/4 and 3/4 time where a half note always gets 2 beats, a half note always gets 4 beats, etc. Or maybe it's just my age showing: :)

mattbrownmattbrown replied on June 6th, 2011

Hey Hilary! Thanks for the feedback...I agree with ya. I'll keep that in mind for future lessons.

jarls1jarls1 replied on May 12th, 2011

Scene 2 would be a good place to add some pictures of a whole note, quarter note, eighth and sixteenth notes. In 4/4 time, every quarter note gets one beat and there are 4 beats in a measure. In 3/4 time, every quarter note gets one beat and there are 3 beats in a measure... etc.

mattbrownmattbrown replied on May 16th, 2011

Thanks for the advice! I'll keep that in mind for the future.

ms turryms turry replied on August 12th, 2010

I had to stop here to let the info sink in...but I'm determined to keep plugging. This intro stuff is always the hardest to get through.

mattbrownmattbrown replied on August 18th, 2010

Yeah...That's definitely not a bad idea. Make sure that you understand this lesson before moving on. I also highly recommend that you check out Jim Deeming's Phase 2 Music Reading lessons as well. Also, the Progressive Guitar Method Book 1 with the CD and DVD. If you ever have any questions at all, don't hesitate to ask. I usually check my comments once a week. Good luck!!!

tictactoetictactoe replied on May 13th, 2010

I'm a little confused about the time signatures. On your supplemental content, 3/2 time signature was represented with 3 half notes. You used 3 half notes because of the top number which is 3 and you used half notes because of the bottom number which is 2. I was wondering if i could use 6 quarter notes instead of 3 half notes to represent 3/2 in a staff . If that is correct then it means that i could also use 3 eight notes, 1 quarter note and 1 sixteenth note to represent 11/16. I know that 4/4 can also be represented with different notes like 2 eight notes and 1 half note and I was wondering if you could do the same with different time signatures.

mattbrownmattbrown replied on August 18th, 2010

You're right! In 3/2 time, you could use any variety of rhythms as long as the sum of those rhythms adds up to a total of 3 half notes. The same concept also applies to other time signatures.

larryswopelarryswope replied on March 1st, 2010

It would be really helpful if there were a visual representation as to the notes and how they appear in a scale when yo start talking about the beats, ties, add-on, etc.. It is not clear to he as to how you detail the beats with the ties with the timing because in some cases, they all sound the same

mattbrownmattbrown replied on March 2nd, 2010

That's a really good point. I'll try to incorporate more visually oriented material in future lessons. Thanks for the suggestion!

18imca18imca replied on January 10th, 2010

nother nice guitar

buckeru101buckeru101 replied on January 16th, 2010

I think if you counted while your playing would help tons especially on the tie notes section.

mattbrownmattbrown replied on January 18th, 2010

Thanks for the comments and suggestions, guys! I'll definitely start counting the rhythm out loud when I play. I think that will really help a lot of people.

hoovsterhoovster replied on December 22nd, 2009

The lessons are wordy but good... I think that showing by example more than explanation would work better for me...

valsun12valsun12 replied on November 20th, 2008

This is great preliminary material for someone just getting her hands on the guitar and understanding the bond between reading and playing!! Thanks MATT

ronin808ronin808 replied on November 17th, 2008

Matt, I just started out on your reading lessons(i'm glad you guys did these). While talking to a friend of my father-in law( who happens to be a music teacher,go figure, He had strongly suggested I start reading music. Your lessons are just what the Dr. ordered. Thanks and I look forward to putting the tablature down and reading music. Rock on and keep em comin!!!

pnestegardpnestegard replied on April 27th, 2008

This is a great section. It is a nice review for some of us older players. I was in band during high school. This a nice review of some basics. By reviewing some of the basics, it has helped me to read music instead of try and wing it for lack of a better term. I look forward to learning more in this lesson set. Keep up the good work.

rblgeniusrblgenius replied on April 26th, 2008

This is a great section. Sight reading is one of the most important things a guitarist can learn if they want to be successful.......... I'm delving into music theory over the summer since I will be taking AP music theory at my high school next year. I learned a little bit of sight reading with my music teacher but I want to take it to the next level

mattbrownmattbrown replied on April 25th, 2008

supp. content will be posted in the next few days. thanks!

Reading Music and Rhythm

Found in our Beginner Lesson Sets

Matt brings all of his years of education right to you with this fantastic series on how to read music. You will start with the very basics and work up to some very advanced concepts.



Lesson 1

Intro to Reading Music

This introductory lesson will walk you through the basics of reading music and reading rhythm.

Length: 15:07 Difficulty: 1.5 Members Only
Lesson 2

Reading Music

Learn how to identify notes, the key signature, and the staff. Implement your reading skills by playing a few simple tunes.

Length: 43:32 Difficulty: 1.5 FREE
Lesson 3

Rhythm and Time Signatures

Learn the basics of notation and time signatures. Practice these concepts with a few timing exercises.

Length: 22:01 Difficulty: 1.5 Members Only
Lesson 4

3/4 Time Signatures

Now that you've learned a bit about 4/4 time, it's on to 3/4 time.

Length: 22:20 Difficulty: 2.0 Members Only
Lesson 5

Reading Music Practice

Now that you know the basics of reading music, it's time to put that knowledge to work with some exercises.

Length: 25:43 Difficulty: 2.0 Members Only
Lesson 6

On Top of Old Smokey

Get some more practice reading music and rhythms during your rock fest rendition of "On Top of Old Smokey".

Length: 15:54 Difficulty: 2.0 Members Only
Lesson 7

He's Got the Whole World

Matt Brown reviews the G major scale and teaches "He's Got the Whole World".

Length: 13:18 Difficulty: 2.0 Members Only
Lesson 8

Amazing Grace

Matt Brown explains how to read music in the key of F major. He uses the song "Amazing Grace" as an example.

Length: 15:22 Difficulty: 2.0 Members Only
Lesson 9

Shoo, Fly

Matt Brown teaches the song "Shoo, Fly" as another excellent rhythm and reading example. This song is in the key of G.

Length: 14:46 Difficulty: 2.0 Members Only
Lesson 10

Scales and Key Signatures

Matt Brown returns with the 10th installment in his Reading and Rhythm series. In this lesson, Matt discusses key signatures.

Length: 14:09 Difficulty: 1.5 Members Only
Lesson 11

Minor Key and Aura Lee

In this lesson Matt Brown covers the first minor key song in this series, "Aura Lee".

Length: 12:11 Difficulty: 2.0 Members Only
Lesson 12

Scarborough Fair

In this lesson, Matt introduces the A Dorian mode. He applies it to the song "Scarborough Fair".

Length: 16:29 Difficulty: 2.5 Members Only
Lesson 13

Second Position

In lesson 13, Matt Brown discusses and demonstrates second position.

Length: 29:52 Difficulty: 1.5 Members Only
Lesson 14

Rhythm

Lesson 14 is all about rhythm. Matt Brown discusses its importance and provides several exercises.

Length: 20:17 Difficulty: 2.0 Members Only
Lesson 15

On Top of Old Smokey Review

Matt Brown reviews "On Top of Old Smokey". This time around, the melody is played in second position.

Length: 7:56 Difficulty: 2.0 Members Only
Lesson 16

Reviewing Angels We Have Heard On High

For lesson 14, Matt Brown reviews "Angels We Have Heard On High". The melody is now played in second position.

Length: 12:02 Difficulty: 2.0 Members Only
Lesson 17

Shoo, Fly Review

Matt Brown reviews the song "Shoo, Fly" in second position.

Length: 8:56 Difficulty: 2.0 Members Only
Lesson 18

Rhythm Strumming

This lesson covers right hand rhythm technique. Matt introduces syncopated strumming patterns.

Length: 25:38 Difficulty: 2.5 Members Only
Lesson 19

Down by the Riverside

Matt teaches the melody to "Down by the Riverside". This tune is used as preparation for learning accompaniment techniques.

Length: 15:02 Difficulty: 1.5 Members Only
Lesson 20

Accompaniment

Matt uses the song "Down by the Riverside" to teach accompaniment techniques for rhythm backing.

Length: 12:31 Difficulty: 1.5 Members Only
Lesson 21

Fur Elise Pt. 1

Matt teaches the classic tune "Fur Elise" in a two part series. For Part 1, Matt demonstrates the melody section.

Length: 24:03 Difficulty: 2.5 Members Only
Lesson 22

Fur Elise Pt. 2

In lesson 22, Matt teaches the accompaniment sections to Beethoven's "Fur Elise".

Length: 13:12 Difficulty: 1.5 Members Only
Lesson 23

The Entertainer Pt. 1

Lesson 23 starts a 2 part series on the classic tune "The Entertainer".

Length: 16:30 Difficulty: 2.0 Members Only
Lesson 24

The Entertainer Pt. 2

Lesson 24 completes the two part series on "The Entertainer". You will learn the accompaniment in this lesson.

Length: 14:06 Difficulty: 2.0 Members Only
Lesson 25

Sea to Sea Pt. 1

Matt starts another 2 part lesson, this time on the tune "Sea to Sea" by William G. Leavitt.

Length: 20:36 Difficulty: 2.5 Members Only
Lesson 26

Sea to Sea Pt. 2

Lesson 26 completes Matt's 2 part series on "Sea to Sea".

Length: 10:17 Difficulty: 2.5 Members Only
Lesson 27

Stars and Stripes Forever Pt. 1

Matt introduces the B flat major scale and teaches the song "Stars and Stripes Forever".

Length: 21:31 Difficulty: 2.5 Members Only
Lesson 28

Stars and Stripes Forever Pt. 2

Matt completes his two part series on "Stars and Stripes Forever" by teaching the accompaniment.

Length: 7:39 Difficulty: 2.0 Members Only
Lesson 29

D Major in First and Second Position

Matt Brown teaches the D Major scale in both first and second positions.

Length: 17:55 Difficulty: 1.5 Members Only
Lesson 30

Danny Boy Pt. 1

Matt Brown demonstrates "Danny Boy" in both first and second positions.

Length: 16:28 Difficulty: 2.5 Members Only
Lesson 31

Danny Boy Pt. 2

Matt Brown teaches the accompaniment to the "Danny Boy" melody.

Length: 12:03 Difficulty: 2.5 Members Only
Lesson 32

Silent Night Pt. 1

Matt teaches the Christmas classic "Silent Night."

Length: 18:17 Difficulty: 2.5 Members Only
Lesson 33

Silent Night Pt. 2

Matt teaches the accompaniment to the "Silent Night" melody.

Length: 4:55 Difficulty: 1.5 Members Only
Lesson 34

Funiculi Funicula Pt. 1

Matt Brown teaches "Funiculi Funicula" as an exercise in reading and playing in 6/8 time.

Length: 14:39 Difficulty: 2.5 Members Only
Lesson 35

Funiculi Funicula Pt. 2

Matt Brown teaches the accompaniment to "Funiculi Funicula".

Length: 16:40 Difficulty: 1.5 Members Only
Lesson 36

Strumming Triplets

In lesson 36, Matt provides exercises to help you strum triplet patterns.

Length: 23:30 Difficulty: 2.0 Members Only
Lesson 37

Strumming Sixteenth Note Rhythms

In lesson 37, Matt Brown demonstrates how to strum sixteenth note rhythms.

Length: 17:28 Difficulty: 2.0 Members Only
Lesson 38

Song of the Volga Boatmen

Matt Brown demonstrates the melody and tips for playing the Russian folk tune "Song of the Volga Boatmen".

Length: 11:33 Difficulty: 0.5 Members Only
Lesson 39

Song of the Volga Boatmen Pt. 2

In lesson 39, Matt teaches the accompaniment to "Song of the Volga Boatmen".

Length: 8:35 Difficulty: 1.5 Members Only
Lesson 40

Dance of the Ukraine

Matt Brown teaches and demonstrates "Dance of the Ukraine."

Length: 15:37 Difficulty: 2.0 Members Only
Lesson 41

Dance of the Ukraine Pt. 2

Matt demonstrates the accompaniment to the "Dance of the Ukraine" melody.

Length: 13:36 Difficulty: 2.5 Members Only
Lesson 42

Etude by Ferdinando Carulli

Matt Brown teaches an etude for classical guitar by Ferdinando Carulli.

Length: 21:20 Difficulty: 2.5 Members Only
Lesson 43

Morning Pt. 1

Matt Brown teaches the melody section to "Morning" by Edvard Grieg.

Length: 18:44 Difficulty: 2.0 Members Only
Lesson 44

Morning Pt. 2

Matt teaches the accompaniment for Edvard Grieg's "Morning."

Length: 8:08 Difficulty: 2.5 Members Only
Lesson 45

Bach's Minuet Pt. 1

Matt Brown teaches Bach's classic Minuet.

Length: 14:55 Difficulty: 2.0 Members Only
Lesson 46

Bach's Minuet Pt. 2

In lesson 46, Matt Brown covers the accompaniment section to Bach's Minuet.

Length: 5:53 Difficulty: 2.0 Members Only
Lesson 47

Little Prelude in C Pt. 1

Matt Brown teaches Bach's "Little Prelude in C."

Length: 16:23 Difficulty: 2.0 Members Only
Lesson 48

Little Prelude in C Pt. 2

Matt Brown teaches the accompaniment to "Little Prelude in C" by Bach.

Length: 7:49 Difficulty: 2.0 Members Only
Lesson 49

Clementi's Sonatina

Matt Brown teaches the 2nd guitar part to Muzio Clementi's famous "Sonatina."

Length: 23:46 Difficulty: 2.5 Members Only
Lesson 50

Bach's Invention #1

Matt Brown teaches Invention #1 composed by J.S. Bach.

Length: 21:42 Difficulty: 2.5 Members Only
Lesson 51

Third Position

Matt takes a look at playing in third position. This lesson will set up future reading lessons that require the third position.

Length: 7:16 Difficulty: 0.0 Members Only
Lesson 52

Third Position Practice

Matt Brown has you working through Jean Philippe Rameau's Minuet for third position playing in lesson 52. He provides a play along and accompaniment to help your sight reading and playing.

Length: 15:11 Difficulty: 0.0 Members Only

About Matt Brown View Full Biography Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."

Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.

Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."

Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.

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Lesson 6 is all about the major mode. As with the other lessons you'll be taking a look at the individual notes on the strings...

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Brendan Burns Brendan Burns

Brendan demonstrates the tiny triad shapes derived from the form 1 barre chord.

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Bryan Beller Bryan Beller

Bryan Beller of the Aristocrats, Dethklok, and Steve Vai takes you inside his six step method to learning any song by ear....

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Chris Liepe Chris Liepe

Chris brings his ingenuity to this lesson on the American folk song called "Where Did You Sleep Last Night?" Also known as...

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James Malone James Malone

James explains how to tap arpeggios for extended musical reach.

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Eric Madis Eric Madis

In this lesson Eric talks about playing basic lead in the Memphis Blues style.

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Mike H.

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I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg


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