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Sea to Sea Pt. 1 (Guitar Lesson)


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Matt Brown

Sea to Sea Pt. 1

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

Taught by Matt Brown in Reading Music and Rhythm seriesLength: 20:36Difficulty: 2.5 of 5
Chapter 1: (03:42) Introduction Lesson 25 begins a two part lesson detailing a guitar duet entitled "Sea to Sea." In this lesson, Matt will explain how to play the first part of the duet. He will also explain the pertinent music theory involved in the first part. Once you have successfully mastered this part, you will have an opportunity to play it along with Matt. As a final test of lesson comprehension, you will perform the first part of the duet while Matt plays the second part.

"Sea to Sea" is published in A Modern Method for Guitar Volume 1 by William G. Leavitt. The publication information for this book is listed below.

Leavitt, William G. A Modern Method For Guitar. Berklee Press: Boston, MA. 1966.

Publisher: Berklee Press; Paper/DVD edition (November 1, 2005)
Language: English
ISBN-10: 0876390696
ISBN-13: 978-0876390696

There are three volumes in the Modern Method For Guitar series. These books are dedicated to the fundamental aspects of guitar playing. They include reading studies, rhythm studies, scales, chords, accompaniment styles, duets, solo guitar arrangements, and much more.

Demonstration

Watch and listen several times as Matt demonstrates the first part of the duet at 02:12 in the lesson video. Remember that it is always easier to learn something that you have heard several times.
Chapter 2: (11:02) Sea to Sea Position

This entire duet is played in first position. Most of the chord voicings used cannot be played in second position.

Reading Chords in Standard Notation

When first reading chords in standard notation, you must determine the fretboard location of each individual note contained in each chord. As you become a more experienced reader, you will gradually develop the ability to recognize a certain chord voicing by sight. This skill can only be gained through regular practice.

Chord Progression

"Sea to Sea" is played in the key C major. The I, Isus4, IV, and V(7) chords are the only chords use. Respectively, these chords are C, Csus4, F, and G(7). Several different voicings are used for each chord throughout the piece.

Suspended 4 Chords

In a suspended 4 chord (sus4) the third of the chord is replaced with the note located a perfect fourth above the root. For example, C major is spelled C, E, G. A Csus4 chord is spelled C, F, G. The inclusion of the fourth degree creates definite harmonic tension. A suspended chord leaves a listener "hanging," hence the label "suspended."

Chord Inversions

Several inverted chord voicings appear in the first part of "Sea to Sea." A chord is inverted when a note other than the root is played as the lowest note. When the third of the chord is played as the lowest note, the chord is said to be played in first inversion. Second inversion chords feature the fifth in the bass. Third inversion chords feature the seventh of the chord in the bass. When writing out inverted chords, a backslash is used. The chord name is written to the left of the backslash. The bass note is written to the right. For example, a C major chord in first inversion is labeled C/E.

Omitting Notes

The fifth or the root of a chord is frequently omitted from a voicing. Within every chord, there is a hierarchy of chord tones. Chord tones are listed in order from most important to least important below.

1. Third (The third determines whether the quality of the chord is major or minor.)

2. Seventh (The seventh determines whether the chord is a dominant seventh, minor seventh, major seventh, half diminished seventh, or a fully diminished seventh.)

3. Any extensions used in the chord (9th, 11th, 13th)

4. Fifth (The fifth becomes more important within diminished and augmented chords since it is altered.)

5. Root (The root is most often left out when playing with a bass player.)

Role Reversal

Towards the latter half of the duet, the first guitar part ceases to play chords and takes over the melody. Play with a slightly more aggressive attack during this section. Remember that the melody line is sacred in all pieces of music. Consequently, it must be brought to the foreground of the arrangement.

Double Stops / Implied Chords

Two note double stops occur in measures 21-24. Remember that it takes three notes to form a chord. The overall harmony is implied by the combination of both guitar parts during these measures. For example, an F chord is implied in 21. Em is implied in the next measure. F major is implied by measure 23. A G chord is implied during the first two beats of measure 24. G7 is implied on beats 3 and 4.

Technique

A. Left Hand


Play with strict classical technique as you work through the piece.

1. Keep the left hand in a natural, relaxed position at all times. Do not squeeze the neck!

2. Keep the thumb perpendicular to the neck. Do not curl the thumb or bring it up over the top of the neck. Also, Do not turn the thumb so that it runs parallel to the back of the neck. This greatly limits the range of motion of each finger.

3. Keep all left hand joints slightly bent. Do not flatten any of the knuckles.

4. Keep the left hand fingernails as short as possible.

5. Fret the strings with the very tips of the fingers. Arching the wrist outwards will help accomplish this goal. Utilizing this technique will prevent you from bumping any of the adjacent strings. Making contact with adjacent strings will prevent them from ringing clearly.

6. Keep the wrist slightly bent.

7. Keep the palm parallel to the bottom of the neck. Do not tilt the wrist from side to side. This will limit the range of motion for each of the fingers.

Right Hand

A mini melody line is implied by the top voice of each chord. This note must sound slightly louder than the other notes in the chord. This can be accomplished by performing a rest stroke. Or, gradually squeeze the pick harder when strumming through a chord.

Rest Stroke VS Free Stroke

Rest stroke and free stroke are terms that are usually used to describe classical fingerstyle techniques. However, they can be used in reference to playing with a pick. When the pick strikes a single note and continues to travel over the top of a higher, adjacent string, a free stroke is produced. To perform a rest stroke, the angle of the wrist must be tilted downwards at a slight angle. The pick travels through the string and comes to rest on the next adjacent string. The rest stroke creates a stronger, more accented attack. Watch Matt in the lesson video for a clear demonstration of both techniques.

Additional Right Hand Info

1. When playing a chord and melody simultaneously, curl the fingers not holding the pick into the palm. However, make sure that you are not clenching them into a fist. Keep the entire hand as relaxed as possible at all times.

2. Do not roll the chords! All of the notes in each chord must sound simultaneously.

Practice Time

Practice the first part of the duet along with a metronome. Once you can play it comfortably at 95 beats per minute, return to the lesson video.
Chapter 3: (02:36) Playing Along Play the first part along with Matt. If you make a mistake, simply keep going. Address any errors after the conclusion of the performance.
Chapter 4: (03:16) Duet Play part one while Matt plays the second part of the arrangement.

Make sure that the chordal accompaniment is quieter than the melody. When part one switches over to playing the melody, bring part one to the foreground.

Extra Practice

Matt has included an additional duet to practice in the "Supplemental Content" section. "One, Two, Three, Four" was published in an earlier edition of A Modern Method for Guitar.

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.


telboytelboy replied on October 19th, 2012

Matt...does this set of lessons get to finger picking style where one plays both melody and bass notes or is that for another occasion?

mattbrownmattbrown replied on October 20th, 2012

Unfortunately, it doesn't. If you're looking to work on your fingerstyle chops while reading standard notation, I recommend you check out some of the lessons from the other teachers like Pamela Goldsmith, Jim Deeming, etc. For most of their newer lessons, you can download the guitar pro files. If you want to eliminate the standard notation for these lessons for practice, double click on the track name in the lower left hand corner. A pop-up menu will appear that allows you to eliminate the tablature component...That's what I would do for practice anyway ;) Hope this is helpful!

mattbrownmattbrown replied on September 7th, 2012

Glad you found this helpful! Check out http://www.metronomeonline.com/ They're metronome goes down to 40 BPM. Unfortunately, the JamPlay metronome doesn't work...It freezes up and doesn't maintain a consistent pulse.

telboytelboy replied on September 6th, 2012

Where is everybody? I'm plucking alone!....on an old battered broad-necked Spanish guitar. The inversion stuff is helping me feel out the interaction of notes within a chord. It's like a wee light has switched on....but on a dimmer switch. Slowly, slowly I'm beginning to see things and make connections. All I need is a metronome that ticks below 60 BPM !!

mattbrownmattbrown replied on September 14th, 2012

oops! I think I accidentally deleted your comment instead of responding to it. Sorry about that! Anyway, thanks for the feedback. That kind of info is always very helpful as a teacher.

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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