Chords for LESSON #9. Black Mattie made Easy ~ A Beginner's Guide. The Timing & Delivery of the Lyrics.
Tempo:
131.1 bpm
Chords used:
G
D
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, that's pretty good!
We'll start as usual with the open G [D] reference.
[G] [D] [G]
[N] As I said at the end of the last lesson, in this lesson I'm going to look at how the timing of the delivery of the lyrics slots in with that verse lick that I've shown you, where the raised bass note lands on the 7th beat.
And I guess the easiest way to do that, maybe to start with, is to try and count it through with the lyrics delivered.
And I'll try and count and deliver the lyrics at the same time.
All black manning in.
Change clubs.
Girl garage.
Close that door.
Black jeans.
Close the door.
Sleep.
Sleep.
Well, comes the first line.
The first line again differs to the rest of the verse in terms of the timing of delivery.
The first line starts on the first beat, so the first syllable of the first line is on 1, 2, 3, 4.
For every other line in the verse, with the exception as I've already said of the last line, the delivery is on beat 3.
The first syllable of the line is on beat 3.
If you take note of the 6, 7, 8, I'll just run through that again.
All black manning in.
6, 7, 8.
Change clubs.
6, 7, 8.
The 6, 7, 8, the 7 is where that raised bass note is.
So, it's kind of like a punctuation mark at the end of each line.
Every single line, right bang on the nose, there's a comma, or a full stop.
There's a kind of a, as I say, a punctuation mark.
So, I'll just count through that again just to ram home the point.
6, 7, 8.
All black manning in.
I can punctuate.
Change clubs.
I punctuate.
Bill guns.
I punctuate.
Those that don't punctuate.
The lyrics, the delivery of the lyrics is framed perfectly by the guitar part.
And at the far end, at the very last line, there's a couple of different ways we can deal with it.
The very last line is all black manning in.
Change clubs.
And you'll notice that in the delivery of the last line, the last couple of syllables actually cover up the 6, 7, 8, and even the first beat of the next bar.
So, there's no way to put that punctuation mark in at the end of the last line.
Well, I say there's no way to do it, there is a way to do it.
And you can add an extra two beats to the bar.
So, instead of finishing on beat 8, it actually goes 7, 8, 9, 10.
1, 2, 3, 4, 5, 6, 7, 8.
As I said, there are a couple of ways we can deal with it.
We can just miss out that punctuation mark altogether, which is something that you can hear RL doing.
I favour using both in the same performance.
It kind of adds to the snaking effect of the way that the beat flows around in and out of the [G] verse as it comes in and out.
I'll try and demonstrate.
I'll do it at pace because I find it easier to play at a normal pace.
I'll jump in halfway through, but listen to the last [C] line.
[G]
You got drums, so good, oh, oh, like that, so good, yeah.
Now there I added extra beats at the end of the verse so that I can incorporate that punctuation mark at the end of the line.
This time I'll play it where I just slide straight back into the signature lick without any punctuation at the end of the last line.
You got drums, so good, oh.
[N] I'm afraid I've had to pick up the pace in this lesson because I find it very, very difficult to deliver the timing of the lyrics at such a slow kind of tempo as we've been working with so far.
So if any of you are struggling with this tempo, you just need to go back and practice those finger patterns until you can get the tempo higher.
And then you can start to concentrate on getting a funky sound.
In fact, the next lesson is going to be called Let's Get Funky.
In the next lesson, I'm going to start looking at the dampening techniques that help make RL style what it is.
We'll start as usual with the open G [D] reference.
[G] [D] [G]
[N] As I said at the end of the last lesson, in this lesson I'm going to look at how the timing of the delivery of the lyrics slots in with that verse lick that I've shown you, where the raised bass note lands on the 7th beat.
And I guess the easiest way to do that, maybe to start with, is to try and count it through with the lyrics delivered.
And I'll try and count and deliver the lyrics at the same time.
All black manning in.
Change clubs.
Girl garage.
Close that door.
Black jeans.
Close the door.
Sleep.
Sleep.
Well, comes the first line.
The first line again differs to the rest of the verse in terms of the timing of delivery.
The first line starts on the first beat, so the first syllable of the first line is on 1, 2, 3, 4.
For every other line in the verse, with the exception as I've already said of the last line, the delivery is on beat 3.
The first syllable of the line is on beat 3.
If you take note of the 6, 7, 8, I'll just run through that again.
All black manning in.
6, 7, 8.
Change clubs.
6, 7, 8.
The 6, 7, 8, the 7 is where that raised bass note is.
So, it's kind of like a punctuation mark at the end of each line.
Every single line, right bang on the nose, there's a comma, or a full stop.
There's a kind of a, as I say, a punctuation mark.
So, I'll just count through that again just to ram home the point.
6, 7, 8.
All black manning in.
I can punctuate.
Change clubs.
I punctuate.
Bill guns.
I punctuate.
Those that don't punctuate.
The lyrics, the delivery of the lyrics is framed perfectly by the guitar part.
And at the far end, at the very last line, there's a couple of different ways we can deal with it.
The very last line is all black manning in.
Change clubs.
And you'll notice that in the delivery of the last line, the last couple of syllables actually cover up the 6, 7, 8, and even the first beat of the next bar.
So, there's no way to put that punctuation mark in at the end of the last line.
Well, I say there's no way to do it, there is a way to do it.
And you can add an extra two beats to the bar.
So, instead of finishing on beat 8, it actually goes 7, 8, 9, 10.
1, 2, 3, 4, 5, 6, 7, 8.
As I said, there are a couple of ways we can deal with it.
We can just miss out that punctuation mark altogether, which is something that you can hear RL doing.
I favour using both in the same performance.
It kind of adds to the snaking effect of the way that the beat flows around in and out of the [G] verse as it comes in and out.
I'll try and demonstrate.
I'll do it at pace because I find it easier to play at a normal pace.
I'll jump in halfway through, but listen to the last [C] line.
[G]
You got drums, so good, oh, oh, like that, so good, yeah.
Now there I added extra beats at the end of the verse so that I can incorporate that punctuation mark at the end of the line.
This time I'll play it where I just slide straight back into the signature lick without any punctuation at the end of the last line.
You got drums, so good, oh.
[N] I'm afraid I've had to pick up the pace in this lesson because I find it very, very difficult to deliver the timing of the lyrics at such a slow kind of tempo as we've been working with so far.
So if any of you are struggling with this tempo, you just need to go back and practice those finger patterns until you can get the tempo higher.
And then you can start to concentrate on getting a funky sound.
In fact, the next lesson is going to be called Let's Get Funky.
In the next lesson, I'm going to start looking at the dampening techniques that help make RL style what it is.
Key:
G
D
C
G
D
C
G
D
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Well, that's pretty good! _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
We'll start as usual with the open G [D] reference. _ _
[G] _ _ _ [D] _ _ _ [G] _ _
_ _ _ _ _ _ _ _
_ _ _ [N] As I said at the end of the last lesson, in this lesson I'm going to look at how the _ timing of the delivery of the lyrics slots in with that _ verse lick that I've shown you, where the raised bass note lands on the 7th beat.
And _ I guess the easiest way to do that, maybe to start with, is to try and count it through with the lyrics delivered.
And I'll try and count and deliver the lyrics at the same time.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
All black manning in. _ _
_ Change clubs. _ _ _
Girl garage.
_ _ _ Close that door.
_ _ _ _ _ _ _ _
_ _ _ _ Black jeans.
Close the door.
_ _ Sleep. _ _ _
_ Sleep. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Well, comes the first line.
The first line again differs to the rest of the verse in terms of the timing of delivery.
The first line starts on the first beat, so the first syllable of the first line is on 1, 2, 3, 4. _ _ _
For every other line in the verse, with the exception as I've already said of the last line, the delivery is on beat 3.
The first syllable of the line is on beat 3.
_ _ _ _ _ _ _
If you take note of the 6, 7, 8, _ I'll just run through that again.
All black manning in.
6, 7, 8.
_ Change clubs.
6, 7, 8. _
_ _ The 6, 7, 8, the 7 is where that raised bass note is.
So, it's kind of like a punctuation mark at the end of each line.
Every single line, right bang on the nose, there's a comma, _ or a full stop.
There's a kind of a, _ _ as I say, a punctuation mark.
So, I'll just count through that again just to _ _ _ ram _ home the point.
_ _ _ _ 6, 7, 8.
All black manning in.
I can punctuate.
Change clubs.
I punctuate.
Bill guns.
I punctuate.
_ _ Those that don't punctuate. _ _ _ _ _ _
The lyrics, the delivery of the lyrics is framed perfectly by the guitar part.
And _ _ _ at the far end, _ _ _ at the very last line, there's a couple of different ways we can deal with it.
_ _ The very last line _ _ is _ _ all black manning in.
_ _ _ _ _ Change clubs.
_ _ _ _ _ And you'll notice that in the delivery of the last line, the last couple of syllables actually cover up the 6, 7, 8, and even the first beat of the next bar.
So, there's no way to put that punctuation mark in at the end of the last line.
Well, I say there's no way to do it, there is a way to do it.
And you can add an extra two beats to the bar.
So, instead of finishing on beat 8, it actually goes 7, 8, 9, 10.
1, 2, 3, 4, 5, 6, 7, 8. _ _
As I said, there are a couple of ways we can deal with it.
We can just miss out that punctuation mark _ _ altogether, which is something that you can hear RL doing.
I favour using both in the same performance.
It kind of adds to the _ snaking effect of the way that _ _ the beat flows around in and out of the [G] verse as it comes in and out.
I'll try and demonstrate.
I'll do it at pace because I find it easier to play at a normal pace. _
_ _ _ _ I'll jump in halfway through, but listen to the last [C] line.
_ [G] _ _
_ _ _ _ _ _ _ _
_ You got drums, _ _ so good, oh, _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ oh, like that, _ _ so good, yeah. _
_ _ _ _ _ _ _ _
_ _ _ _ _ Now there I added extra beats at the end of the verse so that I can incorporate that punctuation mark at the end of the line.
This time I'll play it where I just slide straight back into the signature lick without any punctuation at the end of the last line. _
_ _ _ _ _ _ _ _
_ _ _ You got drums, _ _ _ so good, oh. _ _
_ _ _ _ _ _ _ _
[N] _ _ I'm afraid I've had to pick up the pace in this lesson because I find it very, very difficult to deliver the timing of the lyrics _ _ at such a slow kind of tempo as we've been working with so far.
So if any of you are struggling with this tempo, you just need to go back and practice those finger patterns until you can get the tempo _ higher.
And _ _ then _ _ you can start to concentrate on getting a funky sound.
_ _ In fact, the next lesson is going to be called Let's Get Funky.
In the next lesson, I'm going to start looking at the dampening techniques that help make RL style what it is. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Well, that's pretty good! _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
We'll start as usual with the open G [D] reference. _ _
[G] _ _ _ [D] _ _ _ [G] _ _
_ _ _ _ _ _ _ _
_ _ _ [N] As I said at the end of the last lesson, in this lesson I'm going to look at how the _ timing of the delivery of the lyrics slots in with that _ verse lick that I've shown you, where the raised bass note lands on the 7th beat.
And _ I guess the easiest way to do that, maybe to start with, is to try and count it through with the lyrics delivered.
And I'll try and count and deliver the lyrics at the same time.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
All black manning in. _ _
_ Change clubs. _ _ _
Girl garage.
_ _ _ Close that door.
_ _ _ _ _ _ _ _
_ _ _ _ Black jeans.
Close the door.
_ _ Sleep. _ _ _
_ Sleep. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Well, comes the first line.
The first line again differs to the rest of the verse in terms of the timing of delivery.
The first line starts on the first beat, so the first syllable of the first line is on 1, 2, 3, 4. _ _ _
For every other line in the verse, with the exception as I've already said of the last line, the delivery is on beat 3.
The first syllable of the line is on beat 3.
_ _ _ _ _ _ _
If you take note of the 6, 7, 8, _ I'll just run through that again.
All black manning in.
6, 7, 8.
_ Change clubs.
6, 7, 8. _
_ _ The 6, 7, 8, the 7 is where that raised bass note is.
So, it's kind of like a punctuation mark at the end of each line.
Every single line, right bang on the nose, there's a comma, _ or a full stop.
There's a kind of a, _ _ as I say, a punctuation mark.
So, I'll just count through that again just to _ _ _ ram _ home the point.
_ _ _ _ 6, 7, 8.
All black manning in.
I can punctuate.
Change clubs.
I punctuate.
Bill guns.
I punctuate.
_ _ Those that don't punctuate. _ _ _ _ _ _
The lyrics, the delivery of the lyrics is framed perfectly by the guitar part.
And _ _ _ at the far end, _ _ _ at the very last line, there's a couple of different ways we can deal with it.
_ _ The very last line _ _ is _ _ all black manning in.
_ _ _ _ _ Change clubs.
_ _ _ _ _ And you'll notice that in the delivery of the last line, the last couple of syllables actually cover up the 6, 7, 8, and even the first beat of the next bar.
So, there's no way to put that punctuation mark in at the end of the last line.
Well, I say there's no way to do it, there is a way to do it.
And you can add an extra two beats to the bar.
So, instead of finishing on beat 8, it actually goes 7, 8, 9, 10.
1, 2, 3, 4, 5, 6, 7, 8. _ _
As I said, there are a couple of ways we can deal with it.
We can just miss out that punctuation mark _ _ altogether, which is something that you can hear RL doing.
I favour using both in the same performance.
It kind of adds to the _ snaking effect of the way that _ _ the beat flows around in and out of the [G] verse as it comes in and out.
I'll try and demonstrate.
I'll do it at pace because I find it easier to play at a normal pace. _
_ _ _ _ I'll jump in halfway through, but listen to the last [C] line.
_ [G] _ _
_ _ _ _ _ _ _ _
_ You got drums, _ _ so good, oh, _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ oh, like that, _ _ so good, yeah. _
_ _ _ _ _ _ _ _
_ _ _ _ _ Now there I added extra beats at the end of the verse so that I can incorporate that punctuation mark at the end of the line.
This time I'll play it where I just slide straight back into the signature lick without any punctuation at the end of the last line. _
_ _ _ _ _ _ _ _
_ _ _ You got drums, _ _ _ so good, oh. _ _
_ _ _ _ _ _ _ _
[N] _ _ I'm afraid I've had to pick up the pace in this lesson because I find it very, very difficult to deliver the timing of the lyrics _ _ at such a slow kind of tempo as we've been working with so far.
So if any of you are struggling with this tempo, you just need to go back and practice those finger patterns until you can get the tempo _ higher.
And _ _ then _ _ you can start to concentrate on getting a funky sound.
_ _ In fact, the next lesson is going to be called Let's Get Funky.
In the next lesson, I'm going to start looking at the dampening techniques that help make RL style what it is. _ _ _ _
_ _ _ _ _ _ _ _