Chords for Dream Guitars Lesson - "The Crossing" Lesson Pt 2 - Al Petteway
Tempo:
73.15 bpm
Chords used:
C
D
Em
G
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] Hi, I'm Al Pettaway, and I'm here at Dream Guitars, and I thought you guys might want
to learn how to play the tune that I play on most of the samples on the Dream Guitars website.
It's a tune that's on the Dream Guitars Volume 1 album called The Crossing, and a lot of
people have written to me and said, what tuning is that in?
So this is a strictly standard tuning piece.
So I'm going to play it all the way through for you, and then we'll break it down section
by section so that you can get an idea of what's happening.
What I wanted to teach you was sort of the whole thing behind this that makes it sound
like it's in an open [B] tuning, and that's the [N] way I play these chords.
They're chords that you'll be familiar with if you've ever played bar chords, but we're
leaving out a lot of the chord, and that's the essence of this whole tune.
So let me show you a couple of the shapes in this.
First shape that we play looks like a B minor chord that you would play as a bar chord,
but what I'm doing is I'm just playing the first, the third, and the second finger in
there, and when I put the E, open E in the bass, that makes it an E minor seventh, [F#] but
with an [E] added second in there.
It's like a suspended second chord.
Otherwise it's a straight E minor seventh, but listen to the sound it gets.
[Em]
You're getting a lot of different sort of dissonant tones, but they go well together,
especially in the [G] picking pattern.
The tones by themselves may sound horrible, but [E] it sounds [Em] great in that kind of setup.
Now that chord is used again as a straight E minor chord up the neck.
If we go up to the seventh fret, [B] right now this is second, and we're using [Em] the B here.
If I take that same shape and move it up to the seventh fret, we've got the exact same
chord shape, so I haven't had to move my hand at [A] all except [Em] for moving it up to this
fret, but the shape of the chord stays the same, and now it's a straight E minor.
So from going here to here, we get two versions of E minor.
One's an E minor seventh with a suspended seventh.
One's a straight E minor.
The other chord that I do here that's really cool, I think, I'll play the E minor like
this.
Now I hit the B [Bm] in the bass, [Em] and now I take it up to a C.
Now we've got a really [C] dissonant
[D] version of C, [C] but what I love about it, it's got a suspended second [D] here, but it also has
a suspended [F#] fourth here.
[C]
So C, G, and E are your C chord, [D] but then we're adding in, [G] and we're [C] playing them all together.
[D] [C]
If I have [Em] an E minor bar chord like this, I can open it up so it's just root, fifth,
and third, and then I've got an open sound.
If I go to a D, because we're in the key of E minor, I can use [D] the open strings.
[G]
This is just like what you [D] would see as a [B] D bar [D] chord, but again, D, and then the fifth,
and the major [Em] third.
So there's minor, [D] major, [Em]
C is a [C] major, [G] B minor, [Am]
and a couple of times in that tune I've walked
that [Bm] up, [E] and then [C] C, regular [D] C, and a regular D, and then I either resolve to [Em] E minor [G] or to G.
When I do a G and a C in this song, I'm using a technique that makes it sound more like
an open tuning by keeping the root and fifth all the time.
So when I play this G, and I go to the C, it has a different sound than it would if I went.
[C] [A#] It still kind of makes you think in terms of how it would sound if you had [A] drone notes
going [G] on in the background.
If I did an F from there, I could [Dm] just move it up to here.
[G] [Dm] [G] I like that sound in this tune because I've already set up this sort of open chord sound,
so when I get to the C and the G chords, I want to kind of make them fit.
[F] I'll show you how I [Em] put the melody on top of that, and it's kind of a trick.
[C]
[D] [G] [Am] [Bm] [C]
[Em] [D] [G] [Bm] So there, what [Em] I've done there is I've taken this picking pattern and made it sort of the
focus of the tune using those open chords and making the picking pattern create the interest.
[C] [D]
[C] [D] [C] [Em]
[D] [C]
[E] The point there is that you can take a pattern, take a simple melody, bring it out of the
chord, and it doesn't matter where it is in the chord.
It can be a low note, it can be a high note.
You just emphasize it a little bit more than the rest of the pattern.
So that's it, [A] and thank you very much.
to learn how to play the tune that I play on most of the samples on the Dream Guitars website.
It's a tune that's on the Dream Guitars Volume 1 album called The Crossing, and a lot of
people have written to me and said, what tuning is that in?
So this is a strictly standard tuning piece.
So I'm going to play it all the way through for you, and then we'll break it down section
by section so that you can get an idea of what's happening.
What I wanted to teach you was sort of the whole thing behind this that makes it sound
like it's in an open [B] tuning, and that's the [N] way I play these chords.
They're chords that you'll be familiar with if you've ever played bar chords, but we're
leaving out a lot of the chord, and that's the essence of this whole tune.
So let me show you a couple of the shapes in this.
First shape that we play looks like a B minor chord that you would play as a bar chord,
but what I'm doing is I'm just playing the first, the third, and the second finger in
there, and when I put the E, open E in the bass, that makes it an E minor seventh, [F#] but
with an [E] added second in there.
It's like a suspended second chord.
Otherwise it's a straight E minor seventh, but listen to the sound it gets.
[Em]
You're getting a lot of different sort of dissonant tones, but they go well together,
especially in the [G] picking pattern.
The tones by themselves may sound horrible, but [E] it sounds [Em] great in that kind of setup.
Now that chord is used again as a straight E minor chord up the neck.
If we go up to the seventh fret, [B] right now this is second, and we're using [Em] the B here.
If I take that same shape and move it up to the seventh fret, we've got the exact same
chord shape, so I haven't had to move my hand at [A] all except [Em] for moving it up to this
fret, but the shape of the chord stays the same, and now it's a straight E minor.
So from going here to here, we get two versions of E minor.
One's an E minor seventh with a suspended seventh.
One's a straight E minor.
The other chord that I do here that's really cool, I think, I'll play the E minor like
this.
Now I hit the B [Bm] in the bass, [Em] and now I take it up to a C.
Now we've got a really [C] dissonant
[D] version of C, [C] but what I love about it, it's got a suspended second [D] here, but it also has
a suspended [F#] fourth here.
[C]
So C, G, and E are your C chord, [D] but then we're adding in, [G] and we're [C] playing them all together.
[D] [C]
If I have [Em] an E minor bar chord like this, I can open it up so it's just root, fifth,
and third, and then I've got an open sound.
If I go to a D, because we're in the key of E minor, I can use [D] the open strings.
[G]
This is just like what you [D] would see as a [B] D bar [D] chord, but again, D, and then the fifth,
and the major [Em] third.
So there's minor, [D] major, [Em]
C is a [C] major, [G] B minor, [Am]
and a couple of times in that tune I've walked
that [Bm] up, [E] and then [C] C, regular [D] C, and a regular D, and then I either resolve to [Em] E minor [G] or to G.
When I do a G and a C in this song, I'm using a technique that makes it sound more like
an open tuning by keeping the root and fifth all the time.
So when I play this G, and I go to the C, it has a different sound than it would if I went.
[C] [A#] It still kind of makes you think in terms of how it would sound if you had [A] drone notes
going [G] on in the background.
If I did an F from there, I could [Dm] just move it up to here.
[G] [Dm] [G] I like that sound in this tune because I've already set up this sort of open chord sound,
so when I get to the C and the G chords, I want to kind of make them fit.
[F] I'll show you how I [Em] put the melody on top of that, and it's kind of a trick.
[C]
[D] [G] [Am] [Bm] [C]
[Em] [D] [G] [Bm] So there, what [Em] I've done there is I've taken this picking pattern and made it sort of the
focus of the tune using those open chords and making the picking pattern create the interest.
[C] [D]
[C] [D] [C] [Em]
[D] [C]
[E] The point there is that you can take a pattern, take a simple melody, bring it out of the
chord, and it doesn't matter where it is in the chord.
It can be a low note, it can be a high note.
You just emphasize it a little bit more than the rest of the pattern.
So that's it, [A] and thank you very much.
Key:
C
D
Em
G
E
C
D
Em
_ _ _ _ _ _ [G] Hi, I'm Al Pettaway, and I'm here at Dream Guitars, and I thought you guys might want
to learn how to play the tune that I play on most of the samples on the Dream Guitars website.
It's a tune that's on the Dream Guitars Volume 1 album called The Crossing, and a lot of
people have written to me and said, what tuning is that in?
So this is a strictly standard tuning piece.
So I'm going to play it all the way through for you, and then we'll break it down section
by section so that you can get an idea of what's happening.
What I wanted to teach you was sort of the whole thing behind this that makes it sound
like it's in an open [B] tuning, and that's the [N] way I play these chords.
They're chords that you'll be familiar with if you've ever played bar chords, but we're
leaving out a lot of the chord, and that's the essence of this whole tune.
So let me show you a couple of the shapes in this.
First shape that we play looks like a B minor chord that you would play as a bar chord,
but what I'm doing is I'm just playing the first, the third, and the second finger in
there, and when I put the E, open E in the bass, that makes it an E minor seventh, [F#] but
with an [E] _ added second in there.
It's like a suspended second chord.
Otherwise it's a straight E minor seventh, but listen to the sound it gets.
[Em] _ _
You're getting a lot of different sort of dissonant tones, but they go well together,
especially in the [G] picking pattern.
The tones by themselves may sound horrible, but [E] it sounds [Em] great in that kind of setup.
Now that chord is used again as a straight E minor chord up the neck.
If we go up to the seventh fret, [B] right now this is second, and we're using [Em] the B here.
If I take that same shape and move it up to the seventh fret, _ _ we've got the exact same
chord shape, so I haven't had to move my hand at [A] all except [Em] for moving it up to this
fret, but the shape of the chord stays the same, and now it's a straight E minor.
_ So from going here to here, we get two versions of E minor.
One's an E minor seventh with a suspended seventh.
One's a straight E minor.
_ The other chord that I do here that's really cool, I think, I'll play the E minor like
this.
Now I hit the B [Bm] in the bass, [Em] and now I take it up to a C.
Now we've got a really [C] dissonant
[D] version of C, [C] _ but what I love about it, it's got a suspended second [D] here, but it also has
a suspended [F#] fourth here.
[C]
So C, G, and E are your C chord, [D] but then we're adding in, [G] _ and we're [C] playing them all together.
[D] _ [C] _ _
If I have [Em] an E minor bar chord like this, I can open it up so it's just root, fifth,
and third, and then I've got an open sound.
If I go to a D, because we're in the key of E minor, I can use [D] the open strings.
_ [G]
This is just like what you [D] would see as a [B] D bar [D] chord, but again, D, and then the fifth,
and the major [Em] third.
So there's minor, [D] major, [Em]
C is a [C] major, [G] B minor, _ [Am] _ _
_ and a couple of times in that tune I've walked
that [Bm] up, [E] and then [C] C, regular [D] C, and a regular D, and then I either resolve to [Em] E minor [G] or to G.
When I do a G and a C in this song, I'm using a technique that makes it sound more like
an open tuning by keeping the root and fifth all the time.
So when I play this G, and I go to the C, it has a different sound than it would if I went.
[C] _ _ [A#] It still kind of makes you think in terms of how it would sound if you had [A] drone notes
going [G] on in the background.
If I did an F from there, I could [Dm] just move it up to here.
[G] _ _ [Dm] _ [G] I like that sound in this tune because I've already set up this sort of open chord sound,
so when I get to the C and the G chords, I want to kind of make them fit.
[F] I'll show you how I [Em] put the melody on top of that, and it's kind of a trick.
_ _ _ _ _ [C] _
_ _ [D] _ [G] _ [Am] _ [Bm] _ [C] _ _
[Em] _ _ _ _ [D] _ [G] _ [Bm] So there, what [Em] I've done there is I've taken this picking pattern and made it sort of the
focus of the tune using those open chords and making the picking pattern create the interest. _ _ _
_ _ _ _ _ _ [C] _ [D] _
[C] _ _ _ _ [D] _ [C] _ [Em] _ _
_ _ _ _ _ _ _ _
_ [D] _ _ _ [C] _ _ _ _
_ [E] The point there is that you can take a pattern, take a simple melody, bring it out of the
chord, and it doesn't matter where it is in the chord.
It can be a low note, it can be a high note.
You just emphasize it a little bit more than the rest of the pattern.
So that's it, [A] and thank you very much.
to learn how to play the tune that I play on most of the samples on the Dream Guitars website.
It's a tune that's on the Dream Guitars Volume 1 album called The Crossing, and a lot of
people have written to me and said, what tuning is that in?
So this is a strictly standard tuning piece.
So I'm going to play it all the way through for you, and then we'll break it down section
by section so that you can get an idea of what's happening.
What I wanted to teach you was sort of the whole thing behind this that makes it sound
like it's in an open [B] tuning, and that's the [N] way I play these chords.
They're chords that you'll be familiar with if you've ever played bar chords, but we're
leaving out a lot of the chord, and that's the essence of this whole tune.
So let me show you a couple of the shapes in this.
First shape that we play looks like a B minor chord that you would play as a bar chord,
but what I'm doing is I'm just playing the first, the third, and the second finger in
there, and when I put the E, open E in the bass, that makes it an E minor seventh, [F#] but
with an [E] _ added second in there.
It's like a suspended second chord.
Otherwise it's a straight E minor seventh, but listen to the sound it gets.
[Em] _ _
You're getting a lot of different sort of dissonant tones, but they go well together,
especially in the [G] picking pattern.
The tones by themselves may sound horrible, but [E] it sounds [Em] great in that kind of setup.
Now that chord is used again as a straight E minor chord up the neck.
If we go up to the seventh fret, [B] right now this is second, and we're using [Em] the B here.
If I take that same shape and move it up to the seventh fret, _ _ we've got the exact same
chord shape, so I haven't had to move my hand at [A] all except [Em] for moving it up to this
fret, but the shape of the chord stays the same, and now it's a straight E minor.
_ So from going here to here, we get two versions of E minor.
One's an E minor seventh with a suspended seventh.
One's a straight E minor.
_ The other chord that I do here that's really cool, I think, I'll play the E minor like
this.
Now I hit the B [Bm] in the bass, [Em] and now I take it up to a C.
Now we've got a really [C] dissonant
[D] version of C, [C] _ but what I love about it, it's got a suspended second [D] here, but it also has
a suspended [F#] fourth here.
[C]
So C, G, and E are your C chord, [D] but then we're adding in, [G] _ and we're [C] playing them all together.
[D] _ [C] _ _
If I have [Em] an E minor bar chord like this, I can open it up so it's just root, fifth,
and third, and then I've got an open sound.
If I go to a D, because we're in the key of E minor, I can use [D] the open strings.
_ [G]
This is just like what you [D] would see as a [B] D bar [D] chord, but again, D, and then the fifth,
and the major [Em] third.
So there's minor, [D] major, [Em]
C is a [C] major, [G] B minor, _ [Am] _ _
_ and a couple of times in that tune I've walked
that [Bm] up, [E] and then [C] C, regular [D] C, and a regular D, and then I either resolve to [Em] E minor [G] or to G.
When I do a G and a C in this song, I'm using a technique that makes it sound more like
an open tuning by keeping the root and fifth all the time.
So when I play this G, and I go to the C, it has a different sound than it would if I went.
[C] _ _ [A#] It still kind of makes you think in terms of how it would sound if you had [A] drone notes
going [G] on in the background.
If I did an F from there, I could [Dm] just move it up to here.
[G] _ _ [Dm] _ [G] I like that sound in this tune because I've already set up this sort of open chord sound,
so when I get to the C and the G chords, I want to kind of make them fit.
[F] I'll show you how I [Em] put the melody on top of that, and it's kind of a trick.
_ _ _ _ _ [C] _
_ _ [D] _ [G] _ [Am] _ [Bm] _ [C] _ _
[Em] _ _ _ _ [D] _ [G] _ [Bm] So there, what [Em] I've done there is I've taken this picking pattern and made it sort of the
focus of the tune using those open chords and making the picking pattern create the interest. _ _ _
_ _ _ _ _ _ [C] _ [D] _
[C] _ _ _ _ [D] _ [C] _ [Em] _ _
_ _ _ _ _ _ _ _
_ [D] _ _ _ [C] _ _ _ _
_ [E] The point there is that you can take a pattern, take a simple melody, bring it out of the
chord, and it doesn't matter where it is in the chord.
It can be a low note, it can be a high note.
You just emphasize it a little bit more than the rest of the pattern.
So that's it, [A] and thank you very much.