- Lesson 10
Beginner Guitar Lesson 10
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- Lesson 11
Beginner Guitar Lesson 11
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- Lesson 12
Beginner Guitar Lesson 12
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- Lesson 13
Beginner Guitar Lesson 13
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- Lesson 14
Beginner Guitar Lesson 14
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- Lesson 15
Beginner Guitar Lesson 15
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- Lesson 16
Beginner Guitar Lesson 16
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- Lesson 17
Beginner Guitar Lesson 17
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- Lesson 18
Beginner Guitar Lesson 18
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In this guitar lesson we look at how to play syncopated 16th note rhythms at a slow tempo.
To fully understand this, let’s have a look at what the rhythm looks like when written down.
Try playing both examples to see how the hammer on is more subtle and therefore gives us a lazier feel. This is necessary since Rewind is a ballad.
Practice syncopated rhythms
To play this song using the same strumming pattern I do, learn it by breaking up the bar.
Play the first beat, to a metronome, hold the last chord.
As you do this, try both examples as shown above, both with upstroke and without.
When you got this down, add the second beat, let the last strum ring out.
Carry on with beat three and four.
A good idea, in order to really nail this, is to also focus on beat 3 and 4 individually.
This means playing the first strum as an upstroke, in itself a great exercise!
Over beat 3 and 4 you get a series of three consecutive upstrokes, not easy to do this softly, laid back and accurately, but practice makes perfect!
The chords I use are a C shape for the major and add9, and the top part of an E shape for the F and Fadd9. To only play the top half of an E shape is something you would do a lot more of, should you start playing songs on the electric guitar.
The same hammer on technique is used for the F, this binds the two chords together and makes the progression feel complete. This is why a simple move from I to IV works. Another song that do this is Empire State Of Mind, Do compare.
However, a closer look reveal that the IIIx is a modified parallel minor to V and II the parallel minor of IV, so all Paolo has done here is switched the two chords around.
Experiment with parallel minors like this yourself when you write songs. It might be the oldest trick in the book, but it’s a good one!
Dan (your guitar guru)