Chords for Carl Verheyen Free Guitar Lesson - TrueFire
Tempo:
118.1 bpm
Chords used:
A
F
Em
Bb
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey everybody, it's Carl Verheyen here,
and I'm excited about a new course I've just done
for True Fire called SWAT Rhythm,
Special Weapons and Tactics for the Modern Rhythm Guitarist.
And this course really encompasses a lot of the rhythm
guitar schools of thought that I've used
and developed over the years.
And included for a limited time,
there's going to be a download that you'll be able to get
of my song off my new CD called Mustang Run.
The song is called Fourth Door on the Right,
and features Bill Evans on the saxophone,
Chad Wackerman on drums, and Jimmy Johnson on bass.
And the reason I picked this song is
because my rhythm guitar parts encompass three
of the techniques that I talk about in SWAT Rhythm.
One of them is the tight voicings, you know,
in other words, this is an F ninth chord,
[F] this is an F seventh chord,
but it's a tight, closed [Bb] voicing.
I use a C, an [F] E flat, and an F.
Then I use a C minor [Bb] ninth,
B flat, D, and E flat, very tightly voiced,
and [A] then G minor [Gm] ninth with the A
with the ninth on the bottom.
[D] So those voicings are tight, you see.
The opposite of that would be open,
more like keyboard style voicings.
And I talk about that too in SWAT Rhythm.
And what I'm doing is I'm taking a [G] triad,
like an A [A] triad, just A major.
But I take the middle note and I put it up an octave.
So I've developed many voicings
that sound almost like keyboards.
And you can [B] go through the entire scale lines
of the A [E] major triads.
Like for instance, there's [A] this one, which becomes this.
There's this one, which becomes this.
There's this triad, which becomes this.
I'm just doing inversions here.
There's this triad, which sounds like this.
This one turns into here, and this one turns into here.
So that's just all A major.
So what I did, I took the song's bridge,
and the chords are very simple.
Just goes A, [G] B, you know, just, [A] sorry, A to G.
Just easy triads, and I made them sound like this.
A, G, F [Gbm] sharp minor, C [Eb] diminished,
B [Bm] minor, [D] D, [E] G2, back to [F] F, up [G] to G,
and then a [C] C, to an E, [E] to an [F] F,
to a [Bm] B minor, to an E [Eb] flat, B [Bb] flat,
[Ab] A flat, [Cm] G sus, [G] G, and [Cm] then C.
So those [Ab] voicings are all open,
and they make the song sound a lot more interesting
than if [A] you were to strum.
A, [Gm] G, [Gbm] F sharp [Bm] minor, B minor.
Those voicings you've heard a million [A] times,
so it's nice to [B] [Em] use those kind of voicings.
The only other technique that I use on there
is something I call chord licks.
We all know that you can play an A13
[Gbm] [Em] to an A9 like that for the blues, [A] right?
Well, if you take [Em] that lower voicing,
and you use your first three fingers,
one, two, and three, you can hammer on
from the major second to the major third,
and get a little inner [A] voice to move.
[Em] So in my song, Fourth Door on the Right,
I put my thumb on an E [Bbm] flat,
and that's the little rhythm lick I use.
And the melody comes off that,
[F] [A]
[Bbm] [Bbm]
[F] [Eb] [D]
[Em] and then back to [A] the F ninth chord.
And I did the whole track using a vibratone cabinet,
which sounds like a Leslie.
It's basically a rotating speaker,
type of a cabinet.
To be quite honest, the speaker stays still,
and this like salad bowl rotates around it.
You heard it on Cold Shot by Stevie Ray Vaughan,
and Black Hole Sun probably by Soundgarden.
It's a great little cabinet.
They made them in the 60s, I believe, the late 60s.
So it sounds like this.
[Bb] [A]
And people have asked me who played [B] keyboards on that song,
and I said, nobody.
There's just guitar.
There's no keyboard.
So I didn't use a B3 player instead I played all the voicings myself and you may ask
Why didn't you just hire a B3 player because B3 players can't do this
[Bbm]
[Db] [Cm] Anyway, I hope you enjoy it.
Enjoy the song enjoy the SWAT [B] course and we'll catch you next time
and I'm excited about a new course I've just done
for True Fire called SWAT Rhythm,
Special Weapons and Tactics for the Modern Rhythm Guitarist.
And this course really encompasses a lot of the rhythm
guitar schools of thought that I've used
and developed over the years.
And included for a limited time,
there's going to be a download that you'll be able to get
of my song off my new CD called Mustang Run.
The song is called Fourth Door on the Right,
and features Bill Evans on the saxophone,
Chad Wackerman on drums, and Jimmy Johnson on bass.
And the reason I picked this song is
because my rhythm guitar parts encompass three
of the techniques that I talk about in SWAT Rhythm.
One of them is the tight voicings, you know,
in other words, this is an F ninth chord,
[F] this is an F seventh chord,
but it's a tight, closed [Bb] voicing.
I use a C, an [F] E flat, and an F.
Then I use a C minor [Bb] ninth,
B flat, D, and E flat, very tightly voiced,
and [A] then G minor [Gm] ninth with the A
with the ninth on the bottom.
[D] So those voicings are tight, you see.
The opposite of that would be open,
more like keyboard style voicings.
And I talk about that too in SWAT Rhythm.
And what I'm doing is I'm taking a [G] triad,
like an A [A] triad, just A major.
But I take the middle note and I put it up an octave.
So I've developed many voicings
that sound almost like keyboards.
And you can [B] go through the entire scale lines
of the A [E] major triads.
Like for instance, there's [A] this one, which becomes this.
There's this one, which becomes this.
There's this triad, which becomes this.
I'm just doing inversions here.
There's this triad, which sounds like this.
This one turns into here, and this one turns into here.
So that's just all A major.
So what I did, I took the song's bridge,
and the chords are very simple.
Just goes A, [G] B, you know, just, [A] sorry, A to G.
Just easy triads, and I made them sound like this.
A, G, F [Gbm] sharp minor, C [Eb] diminished,
B [Bm] minor, [D] D, [E] G2, back to [F] F, up [G] to G,
and then a [C] C, to an E, [E] to an [F] F,
to a [Bm] B minor, to an E [Eb] flat, B [Bb] flat,
[Ab] A flat, [Cm] G sus, [G] G, and [Cm] then C.
So those [Ab] voicings are all open,
and they make the song sound a lot more interesting
than if [A] you were to strum.
A, [Gm] G, [Gbm] F sharp [Bm] minor, B minor.
Those voicings you've heard a million [A] times,
so it's nice to [B] [Em] use those kind of voicings.
The only other technique that I use on there
is something I call chord licks.
We all know that you can play an A13
[Gbm] [Em] to an A9 like that for the blues, [A] right?
Well, if you take [Em] that lower voicing,
and you use your first three fingers,
one, two, and three, you can hammer on
from the major second to the major third,
and get a little inner [A] voice to move.
[Em] So in my song, Fourth Door on the Right,
I put my thumb on an E [Bbm] flat,
and that's the little rhythm lick I use.
And the melody comes off that,
[F] [A]
[Bbm] [Bbm]
[F] [Eb] [D]
[Em] and then back to [A] the F ninth chord.
And I did the whole track using a vibratone cabinet,
which sounds like a Leslie.
It's basically a rotating speaker,
type of a cabinet.
To be quite honest, the speaker stays still,
and this like salad bowl rotates around it.
You heard it on Cold Shot by Stevie Ray Vaughan,
and Black Hole Sun probably by Soundgarden.
It's a great little cabinet.
They made them in the 60s, I believe, the late 60s.
So it sounds like this.
[Bb] [A]
And people have asked me who played [B] keyboards on that song,
and I said, nobody.
There's just guitar.
There's no keyboard.
So I didn't use a B3 player instead I played all the voicings myself and you may ask
Why didn't you just hire a B3 player because B3 players can't do this
[Bbm]
[Db] [Cm] Anyway, I hope you enjoy it.
Enjoy the song enjoy the SWAT [B] course and we'll catch you next time
Key:
A
F
Em
Bb
G
A
F
Em
Hey everybody, it's Carl Verheyen here,
and I'm excited about a new course I've just done
for True Fire called SWAT Rhythm,
Special Weapons and Tactics for the Modern Rhythm Guitarist.
And this course really encompasses a lot of the rhythm
guitar schools of thought that I've used
and developed over the years.
And included for a limited time,
there's going to be a download that you'll be able to get
of my _ song off my new CD called Mustang Run.
The song is called Fourth Door on the Right,
and features Bill Evans on the saxophone,
Chad Wackerman on drums, and Jimmy Johnson on bass.
And the reason I picked this song is
because my rhythm guitar parts encompass three
of the techniques that I talk about in SWAT Rhythm.
One of them is the tight voicings, you know,
in other words, _ this is an F ninth chord,
[F] this is an F seventh chord,
but it's a tight, closed [Bb] voicing.
I use a C, an [F] E flat, and an F.
Then I use a C minor [Bb] ninth,
_ B flat, D, and E flat, very tightly voiced,
and [A] then G minor [Gm] ninth with the A
with the ninth on the bottom.
[D] So those voicings are tight, you see.
_ _ The opposite of that would be open,
more like keyboard style voicings.
And I talk about that too in SWAT Rhythm.
And what I'm doing is I'm taking a [G] triad,
like an A [A] triad, just A major.
But I take the middle note and I put it up an octave.
So I've developed many voicings
_ that sound almost like keyboards.
And you can [B] go through the entire scale lines
of the A [E] major triads.
Like for instance, there's [A] this one, _ which becomes this.
There's this one, _ which becomes this. _
There's this triad, _ which becomes this.
I'm just doing inversions here.
There's this triad, _ which sounds like this.
_ This one turns into here, and this one turns into here. _ _ _ _ _
_ _ _ _ _ So that's just all A major.
So what I did, I took the song's bridge,
and the chords are very simple.
Just goes A, [G] B, you know, just, [A] sorry, A to G.
Just easy triads, and I made them sound like this.
A, _ G, F [Gbm] sharp minor, C [Eb] diminished,
B [Bm] minor, _ _ [D] D, _ [E] _ G2, back to [F] F, up [G] to G,
_ and then a [C] C, to an E, [E] _ to an [F] F,
to a [Bm] B minor, _ to an E [Eb] flat, B [Bb] flat,
_ _ [Ab] A flat, [Cm] G sus, [G] _ G, and [Cm] then C. _
_ So those [Ab] voicings are all open,
and they make the song sound a lot more interesting
than if [A] you were to strum.
A, [Gm] G, [Gbm] F sharp [Bm] minor, B minor.
Those voicings you've heard a million [A] times,
so it's nice to [B] _ _ [Em] use those kind of voicings.
The only other technique that I use on there
is something I call chord licks.
We all know that you can play an A13
[Gbm] _ _ [Em] _ to an A9 like that for the blues, _ _ [A] right?
Well, if you take [Em] that lower voicing,
and you use your first three fingers,
one, two, and three, you can hammer on
from the major second to the major third, _
_ _ _ and get a little inner [A] voice to move.
_ [Em] _ _ So in my song, Fourth Door on the Right,
I put my thumb on an E [Bbm] flat,
_ _ and that's the little rhythm lick I use.
_ _ _ And the melody comes off that,
_ _ [F] _ _ [A] _ _
[Bbm] _ _ [Bbm] _ _ _ _ _ _
_ [F] _ _ [Eb] _ _ _ [D] _ _
_ _ [Em] _ and then back to [A] the F ninth chord.
And I did the whole track using a vibratone cabinet,
which sounds like a Leslie.
It's basically a rotating speaker,
_ _ type of a cabinet.
To be quite honest, the speaker stays still,
and this like salad bowl rotates around it.
You heard it on Cold Shot by Stevie Ray Vaughan,
and Black Hole Sun probably by Soundgarden.
It's a great little cabinet.
They made them in the 60s, I believe, the late 60s.
So it sounds like this. _ _
_ _ _ [Bb] _ _ _ [A] _ _
_ And people have asked me who played [B] keyboards on that song,
and I said, nobody.
There's just guitar.
There's no keyboard.
So I didn't use a B3 player instead I played all the voicings myself and you may ask _
Why didn't you just hire a B3 player because B3 players can't do this
[Bbm] _ _ _ _ _ _ _
[Db] _ [Cm] _ _ _ Anyway, I hope you enjoy it.
Enjoy the song enjoy the SWAT [B] course and we'll catch you next time
_ _ _ _ _ _ _ _
and I'm excited about a new course I've just done
for True Fire called SWAT Rhythm,
Special Weapons and Tactics for the Modern Rhythm Guitarist.
And this course really encompasses a lot of the rhythm
guitar schools of thought that I've used
and developed over the years.
And included for a limited time,
there's going to be a download that you'll be able to get
of my _ song off my new CD called Mustang Run.
The song is called Fourth Door on the Right,
and features Bill Evans on the saxophone,
Chad Wackerman on drums, and Jimmy Johnson on bass.
And the reason I picked this song is
because my rhythm guitar parts encompass three
of the techniques that I talk about in SWAT Rhythm.
One of them is the tight voicings, you know,
in other words, _ this is an F ninth chord,
[F] this is an F seventh chord,
but it's a tight, closed [Bb] voicing.
I use a C, an [F] E flat, and an F.
Then I use a C minor [Bb] ninth,
_ B flat, D, and E flat, very tightly voiced,
and [A] then G minor [Gm] ninth with the A
with the ninth on the bottom.
[D] So those voicings are tight, you see.
_ _ The opposite of that would be open,
more like keyboard style voicings.
And I talk about that too in SWAT Rhythm.
And what I'm doing is I'm taking a [G] triad,
like an A [A] triad, just A major.
But I take the middle note and I put it up an octave.
So I've developed many voicings
_ that sound almost like keyboards.
And you can [B] go through the entire scale lines
of the A [E] major triads.
Like for instance, there's [A] this one, _ which becomes this.
There's this one, _ which becomes this. _
There's this triad, _ which becomes this.
I'm just doing inversions here.
There's this triad, _ which sounds like this.
_ This one turns into here, and this one turns into here. _ _ _ _ _
_ _ _ _ _ So that's just all A major.
So what I did, I took the song's bridge,
and the chords are very simple.
Just goes A, [G] B, you know, just, [A] sorry, A to G.
Just easy triads, and I made them sound like this.
A, _ G, F [Gbm] sharp minor, C [Eb] diminished,
B [Bm] minor, _ _ [D] D, _ [E] _ G2, back to [F] F, up [G] to G,
_ and then a [C] C, to an E, [E] _ to an [F] F,
to a [Bm] B minor, _ to an E [Eb] flat, B [Bb] flat,
_ _ [Ab] A flat, [Cm] G sus, [G] _ G, and [Cm] then C. _
_ So those [Ab] voicings are all open,
and they make the song sound a lot more interesting
than if [A] you were to strum.
A, [Gm] G, [Gbm] F sharp [Bm] minor, B minor.
Those voicings you've heard a million [A] times,
so it's nice to [B] _ _ [Em] use those kind of voicings.
The only other technique that I use on there
is something I call chord licks.
We all know that you can play an A13
[Gbm] _ _ [Em] _ to an A9 like that for the blues, _ _ [A] right?
Well, if you take [Em] that lower voicing,
and you use your first three fingers,
one, two, and three, you can hammer on
from the major second to the major third, _
_ _ _ and get a little inner [A] voice to move.
_ [Em] _ _ So in my song, Fourth Door on the Right,
I put my thumb on an E [Bbm] flat,
_ _ and that's the little rhythm lick I use.
_ _ _ And the melody comes off that,
_ _ [F] _ _ [A] _ _
[Bbm] _ _ [Bbm] _ _ _ _ _ _
_ [F] _ _ [Eb] _ _ _ [D] _ _
_ _ [Em] _ and then back to [A] the F ninth chord.
And I did the whole track using a vibratone cabinet,
which sounds like a Leslie.
It's basically a rotating speaker,
_ _ type of a cabinet.
To be quite honest, the speaker stays still,
and this like salad bowl rotates around it.
You heard it on Cold Shot by Stevie Ray Vaughan,
and Black Hole Sun probably by Soundgarden.
It's a great little cabinet.
They made them in the 60s, I believe, the late 60s.
So it sounds like this. _ _
_ _ _ [Bb] _ _ _ [A] _ _
_ And people have asked me who played [B] keyboards on that song,
and I said, nobody.
There's just guitar.
There's no keyboard.
So I didn't use a B3 player instead I played all the voicings myself and you may ask _
Why didn't you just hire a B3 player because B3 players can't do this
[Bbm] _ _ _ _ _ _ _
[Db] _ [Cm] _ _ _ Anyway, I hope you enjoy it.
Enjoy the song enjoy the SWAT [B] course and we'll catch you next time
_ _ _ _ _ _ _ _