Chords for Andrew York - Improvisation for Solo Guitar Pt 1 - Strings By Mail Lesson Series
Tempo:
145.1 bpm
Chords used:
Am
E
C
Em
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
a lesson for you, a short lesson, through Strings by Mail.
So I thought I'd start part one here with improvisation.
It's something I'm asked about a lot.
Classical players typically are not prepared to improvise because they haven't studied
fingerboard knowledge in an adequate way to allow them to improvise.
Also the ear, being able to understand harmony and what chord you might be imagining and
how to play it.
So let me start by mentioning that the first thing you have to do, essentially, is to be
able to play chords on the guitar.
Now the problem is many people might think, if I said play me an A minor, they might have
this one and this one and think they got it covered.
But those are [N] pretty useless for improvisation because they tie up your hands.
So what you need to do is do triads and the guitar sounds really nice if you do open voice triads.
That just means you skip every other voice.
So [E] in A minor, the lowest note we have is an E.
That could be the fifth of an A minor chord.
So we're going to skip the A, which would [F] be the root, go up to the [E] third.
So we have [C] the fifth, the root, [E] no, sorry, the fifth, [C] the third, and [Am] the root.
And then that's an open [F] voicing as opposed to a closed [Am] voicing where we just stack the [Em] notes, right?
So this is an open [Am] voicing, second inversion.
The next one [A] we can reach is putting the root in the [Am] bass, fifth, and now the third.
Now you'll notice it's also a very good idea to be able to finger them different ways.
That's four [Em] different ways right [F#] there to finger it, right?
You can do, [Em] that way you can, wherever you are in the neck, you've got a chord [Am] available to you.
Again, that was sort of like this and then close the bass, which [Em] makes it move [Am] a little
more to the bar here.
So the next [C] one would be with the third in the [Am] bass.
[C] Again, skipping every other voice, we have [Am] third, root, and fifth.
[E] Then it begins to repeat itself again with [Am] the fifth in the bass, which is an octave
up from here.
And again, we can figure these in different ways, right?
[C] So by having that ability, suddenly you're able [Am] to play these nice chords that [E] each have
a different note on top and bottom, [Am] allowing you to connect.
[B] [Am]
[E] [Em] [G]
[Am]
[C] I'll talk about that in part two.
[N]
So I thought I'd start part one here with improvisation.
It's something I'm asked about a lot.
Classical players typically are not prepared to improvise because they haven't studied
fingerboard knowledge in an adequate way to allow them to improvise.
Also the ear, being able to understand harmony and what chord you might be imagining and
how to play it.
So let me start by mentioning that the first thing you have to do, essentially, is to be
able to play chords on the guitar.
Now the problem is many people might think, if I said play me an A minor, they might have
this one and this one and think they got it covered.
But those are [N] pretty useless for improvisation because they tie up your hands.
So what you need to do is do triads and the guitar sounds really nice if you do open voice triads.
That just means you skip every other voice.
So [E] in A minor, the lowest note we have is an E.
That could be the fifth of an A minor chord.
So we're going to skip the A, which would [F] be the root, go up to the [E] third.
So we have [C] the fifth, the root, [E] no, sorry, the fifth, [C] the third, and [Am] the root.
And then that's an open [F] voicing as opposed to a closed [Am] voicing where we just stack the [Em] notes, right?
So this is an open [Am] voicing, second inversion.
The next one [A] we can reach is putting the root in the [Am] bass, fifth, and now the third.
Now you'll notice it's also a very good idea to be able to finger them different ways.
That's four [Em] different ways right [F#] there to finger it, right?
You can do, [Em] that way you can, wherever you are in the neck, you've got a chord [Am] available to you.
Again, that was sort of like this and then close the bass, which [Em] makes it move [Am] a little
more to the bar here.
So the next [C] one would be with the third in the [Am] bass.
[C] Again, skipping every other voice, we have [Am] third, root, and fifth.
[E] Then it begins to repeat itself again with [Am] the fifth in the bass, which is an octave
up from here.
And again, we can figure these in different ways, right?
[C] So by having that ability, suddenly you're able [Am] to play these nice chords that [E] each have
a different note on top and bottom, [Am] allowing you to connect.
[B] [Am]
[E] [Em] [G]
[Am]
[C] I'll talk about that in part two.
[N]
Key:
Am
E
C
Em
F
Am
E
C
_ _ a lesson for you, a short lesson, through Strings by Mail.
So I thought I'd start part one here _ with improvisation.
It's something I'm asked about a lot.
Classical players typically are not prepared to improvise because they haven't studied
fingerboard knowledge in an adequate way to allow them to improvise.
Also the ear, being able to understand _ harmony and what chord you might be imagining and
how to play it.
So let me start by mentioning that the first thing you have to do, _ _ essentially, is to be
able to play chords on the guitar.
Now the problem is many people might think, if I said play me an A minor, they might have
this one and this one and think they got it covered.
But those are [N] pretty useless for improvisation because they tie up your hands.
So what you need to do is do triads and the guitar sounds really nice if you do open voice triads.
That just means you skip every other voice.
So [E] in A minor, _ the lowest note we have is an E.
That could be the fifth of an A minor chord.
So we're going to skip the A, which would [F] be the root, go up to the [E] third.
So we have [C] the fifth, the root, _ [E] no, sorry, _ the fifth, [C] the third, and [Am] the root.
_ And then that's an open [F] voicing as opposed to a closed [Am] voicing where we just stack the [Em] notes, right?
So this is an open [Am] voicing, second inversion.
The next one [A] we can reach is putting the root in the [Am] bass, fifth, and now the third.
Now you'll notice it's also a very good idea to be able to finger them different ways.
That's four [Em] different ways right [F#] there to finger it, right?
You can do, _ _ [Em] that way you can, wherever you are in the neck, you've got a chord [Am] available to you.
Again, that was sort of like this and then close the bass, which [Em] makes it move [Am] a little
more to the bar here.
_ _ _ _ So the next [C] one would be with the third in the [Am] bass.
[C] Again, skipping every other voice, we have [Am] third, root, and fifth.
[E] Then it begins to repeat itself again with [Am] the fifth in the bass, which is an octave
up from here.
And again, we can figure these in different ways, right?
[C] So by having that ability, suddenly you're able [Am] to play these _ _ _ nice _ chords that [E] each have
a different note on top and bottom, [Am] allowing you to connect.
[B] _ [Am] _ _ _ _
_ _ [E] _ _ [Em] _ _ [G] _ _
[Am] _ _ _ _ _ _ _ _
[C] _ I'll talk about that in part two. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [N] _ _ _ _ _ _
_ _ _ _ _ _ _ _
So I thought I'd start part one here _ with improvisation.
It's something I'm asked about a lot.
Classical players typically are not prepared to improvise because they haven't studied
fingerboard knowledge in an adequate way to allow them to improvise.
Also the ear, being able to understand _ harmony and what chord you might be imagining and
how to play it.
So let me start by mentioning that the first thing you have to do, _ _ essentially, is to be
able to play chords on the guitar.
Now the problem is many people might think, if I said play me an A minor, they might have
this one and this one and think they got it covered.
But those are [N] pretty useless for improvisation because they tie up your hands.
So what you need to do is do triads and the guitar sounds really nice if you do open voice triads.
That just means you skip every other voice.
So [E] in A minor, _ the lowest note we have is an E.
That could be the fifth of an A minor chord.
So we're going to skip the A, which would [F] be the root, go up to the [E] third.
So we have [C] the fifth, the root, _ [E] no, sorry, _ the fifth, [C] the third, and [Am] the root.
_ And then that's an open [F] voicing as opposed to a closed [Am] voicing where we just stack the [Em] notes, right?
So this is an open [Am] voicing, second inversion.
The next one [A] we can reach is putting the root in the [Am] bass, fifth, and now the third.
Now you'll notice it's also a very good idea to be able to finger them different ways.
That's four [Em] different ways right [F#] there to finger it, right?
You can do, _ _ [Em] that way you can, wherever you are in the neck, you've got a chord [Am] available to you.
Again, that was sort of like this and then close the bass, which [Em] makes it move [Am] a little
more to the bar here.
_ _ _ _ So the next [C] one would be with the third in the [Am] bass.
[C] Again, skipping every other voice, we have [Am] third, root, and fifth.
[E] Then it begins to repeat itself again with [Am] the fifth in the bass, which is an octave
up from here.
And again, we can figure these in different ways, right?
[C] So by having that ability, suddenly you're able [Am] to play these _ _ _ nice _ chords that [E] each have
a different note on top and bottom, [Am] allowing you to connect.
[B] _ [Am] _ _ _ _
_ _ [E] _ _ [Em] _ _ [G] _ _
[Am] _ _ _ _ _ _ _ _
[C] _ I'll talk about that in part two. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [N] _ _ _ _ _ _
_ _ _ _ _ _ _ _