[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:08.63,0:00:12.46,Default,,0000,0000,0000,,Now you've got three different ways\Nof playing that sequence
Dialogue: 0,0:00:12.46,0:00:14.43,Default,,0000,0000,0000,,You can either use shape one and go:
Dialogue: 0,0:00:14.43,0:00:18.30,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:00:18.30,0:00:19.84,Default,,0000,0000,0000,,Shape two and go:
Dialogue: 0,0:00:19.84,0:00:24.12,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:00:24.12,0:00:25.77,Default,,0000,0000,0000,,or shape three and go:
Dialogue: 0,0:00:25.77,0:00:30.46,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:00:30.46,0:00:33.30,Default,,0000,0000,0000,,Now, all of those are cool. They all sound nice.
Dialogue: 0,0:00:33.30,0:00:35.24,Default,,0000,0000,0000,,And by experimenting a little bit,
Dialogue: 0,0:00:35.24,0:00:38.77,Default,,0000,0000,0000,,I'm sure you'll find some really cool ways \Nof using those chords.
Dialogue: 0,0:00:38.77,0:00:41.16,Default,,0000,0000,0000,,But. There is an easy way to do it.
Dialogue: 0,0:00:41.16,0:00:43.02,Default,,0000,0000,0000,,Now, of course, you don't have to move.
Dialogue: 0,0:00:43.02,0:00:44.97,Default,,0000,0000,0000,,Those of you who are a little bit observant
Dialogue: 0,0:00:44.97,0:00:47.39,Default,,0000,0000,0000,,might have noticed that if we've got our G chord
Dialogue: 0,0:00:47.39,0:00:48.61,Default,,0000,0000,0000,,down here at the third fret,
Dialogue: 0,0:00:48.61,0:00:50.11,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:00:50.11,0:00:52.33,Default,,0000,0000,0000,,we also had a C chord around that as well:
Dialogue: 0,0:00:52.33,0:00:54.05,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:00:54.05,0:00:55.69,Default,,0000,0000,0000,,I'm going to get a little close up with this in a sec,
Dialogue: 0,0:00:55.69,0:00:57.33,Default,,0000,0000,0000,,just so you can make sure you get this right.
Dialogue: 0,0:00:57.33,0:00:59.08,Default,,0000,0000,0000,,But I'll explain it in a wide first.
Dialogue: 0,0:00:59.08,0:01:00.45,Default,,0000,0000,0000,,So we had G
Dialogue: 0,0:01:00.45,0:01:01.86,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:01.86,0:01:03.63,Default,,0000,0000,0000,,then we could go to C down here
Dialogue: 0,0:01:03.63,0:01:05.34,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:05.34,0:01:06.44,Default,,0000,0000,0000,,and then back to G
Dialogue: 0,0:01:06.44,0:01:07.62,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:07.62,0:01:09.37,Default,,0000,0000,0000,,and our D chord was just behind
Dialogue: 0,0:01:09.37,0:01:10.29,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:10.29,0:01:12.68,Default,,0000,0000,0000,,So instead of having to jump all around the guitar neck,
Dialogue: 0,0:01:12.68,0:01:17.77,Default,,0000,0000,0000,,suddenly you can find all of your chords in one shot,\Nin kind of one area of the guitar.
Dialogue: 0,0:01:17.79,0:01:19.61,Default,,0000,0000,0000,,So that was the first area:
Dialogue: 0,0:01:19.61,0:01:21.100,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:21.100,0:01:23.38,Default,,0000,0000,0000,,Now, there's a second area too.
Dialogue: 0,0:01:23.38,0:01:26.38,Default,,0000,0000,0000,,If we had the G chord using the second shape:
Dialogue: 0,0:01:26.38,0:01:28.01,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:28.01,0:01:30.65,Default,,0000,0000,0000,,then we have C chord using the first shape, just nearby:
Dialogue: 0,0:01:30.65,0:01:31.84,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:31.84,0:01:33.26,Default,,0000,0000,0000,,back to G chord:
Dialogue: 0,0:01:33.26,0:01:34.22,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:34.22,0:01:35.89,Default,,0000,0000,0000,,and D chord we can just go back a little bit.
Dialogue: 0,0:01:35.89,0:01:37.15,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:37.15,0:01:39.75,Default,,0000,0000,0000,,You can hear they're all kind of next to each other.\NI had a G
Dialogue: 0,0:01:39.75,0:01:41.13,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:41.13,0:01:41.80,Default,,0000,0000,0000,,C
Dialogue: 0,0:01:41.80,0:01:42.78,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:42.78,0:01:45.08,Default,,0000,0000,0000,,back to G and down to D
Dialogue: 0,0:01:45.08,0:01:48.04,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:48.04,0:01:50.46,Default,,0000,0000,0000,,And of course there's a third one,\Nbecause we've got three shapes.
Dialogue: 0,0:01:50.49,0:01:52.85,Default,,0000,0000,0000,,there's three different kind of areas that you can play it in.
Dialogue: 0,0:01:52.85,0:01:54.96,Default,,0000,0000,0000,,First one being up around at the twelfth fret,
Dialogue: 0,0:01:54.96,0:01:56.20,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:56.20,0:01:57.10,Default,,0000,0000,0000,,for the G chord.
Dialogue: 0,0:01:57.10,0:01:58.54,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:58.54,0:02:00.36,Default,,0000,0000,0000,,Staying around the twelfth fret for the C chord
Dialogue: 0,0:02:00.36,0:02:02.24,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:02:02.24,0:02:03.12,Default,,0000,0000,0000,,going back to G
Dialogue: 0,0:02:03.12,0:02:04.01,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:02:04.01,0:02:06.06,Default,,0000,0000,0000,,and using D using shape one.
Dialogue: 0,0:02:06.06,0:02:07.36,Default,,0000,0000,0000,,It's a really cool idea.
Dialogue: 0,0:02:07.36,0:02:10.17,Default,,0000,0000,0000,,Once you get the idea of how these little things\Nconnect with each other,
Dialogue: 0,0:02:10.17,0:02:12.32,Default,,0000,0000,0000,,you don't have to shift around the neck so much.
Dialogue: 0,0:02:12.32,0:02:14.29,Default,,0000,0000,0000,,You can choose to shift around if you want.
Dialogue: 0,0:02:14.29,0:02:18.07,Default,,0000,0000,0000,,Because sometimes it sounds better to do\NG down here and D right up here,
Dialogue: 0,0:02:18.08,0:02:20.73,Default,,0000,0000,0000,,but sometimes you don't want\Nto have to shift that far on the guitar
Dialogue: 0,0:02:20.73,0:02:22.86,Default,,0000,0000,0000,,and be looking and staring at the guitar neck.
Dialogue: 0,0:02:22.86,0:02:24.84,Default,,0000,0000,0000,,Especially if there's some nice girls around\Nthat you want to look at,\N
Dialogue: 0,0:02:24.84,0:02:26.96,Default,,0000,0000,0000,,you don't want to have to be looking at your guitar\Nto shift about.
Dialogue: 0,0:02:26.96,0:02:29.79,Default,,0000,0000,0000,,You might want to just shift back to D\Nso you don't have to look.
Dialogue: 0,0:02:29.81,0:02:32.80,Default,,0000,0000,0000,,So let's go to a close up now and I'll show you\Nthe ways of playing
Dialogue: 0,0:02:32.80,0:02:38.47,Default,,0000,0000,0000,,the G-C-G-D chord sequence,\Njust using one area at a time.\N
Dialogue: 0,0:02:39.69,0:02:41.61,Default,,0000,0000,0000,,Here we are for our first G shape
Dialogue: 0,0:02:41.61,0:02:44.34,Default,,0000,0000,0000,,and this is down the third fret, there's the note G.
Dialogue: 0,0:02:44.34,0:02:46.09,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:02:46.09,0:02:48.83,Default,,0000,0000,0000,,Now, rather than sliding up the neck,\Nwe've got a C chord
Dialogue: 0,0:02:48.85,0:02:50.11,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:02:50.11,0:02:53.52,Default,,0000,0000,0000,,here, using the third shape. There's the root note C.
Dialogue: 0,0:02:53.52,0:02:56.16,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:02:56.16,0:02:57.36,Default,,0000,0000,0000,,Then we'd go back to G:
Dialogue: 0,0:02:57.36,0:02:59.49,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:02:59.49,0:03:01.100,Default,,0000,0000,0000,,And then if we look nearby, there's the note D,
Dialogue: 0,0:03:01.100,0:03:04.02,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:04.02,0:03:05.28,Default,,0000,0000,0000,,and there's our little D chord.
Dialogue: 0,0:03:05.28,0:03:08.65,Default,,0000,0000,0000,,So in shapes using the first area, we could have G,\N
Dialogue: 0,0:03:08.65,0:03:10.43,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:10.43,0:03:10.98,Default,,0000,0000,0000,,C
Dialogue: 0,0:03:10.98,0:03:13.03,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:13.03,0:03:13.75,Default,,0000,0000,0000,,G
Dialogue: 0,0:03:13.75,0:03:14.67,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:14.67,0:03:15.70,Default,,0000,0000,0000,,D
Dialogue: 0,0:03:15.70,0:03:16.57,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:16.57,0:03:19.55,Default,,0000,0000,0000,,You can see the way that they all just link together.\Nthat's obviously
Dialogue: 0,0:03:19.56,0:03:21.64,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:21.64,0:03:22.78,Default,,0000,0000,0000,,a lot easier,
Dialogue: 0,0:03:22.78,0:03:27.63,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:27.63,0:03:30.00,Default,,0000,0000,0000,,a lot easier than shifting up and down the neck.
Dialogue: 0,0:03:30.00,0:03:32.05,Default,,0000,0000,0000,,OK, let's have a look at the second area.
Dialogue: 0,0:03:32.91,0:03:36.46,Default,,0000,0000,0000,,OK, here we are for the second way\Nof playing through our little sequence.
Dialogue: 0,0:03:36.48,0:03:39.01,Default,,0000,0000,0000,,The first one we used is the one\Nthat looks like a D shape.\N
Dialogue: 0,0:03:39.04,0:03:40.80,Default,,0000,0000,0000,,There's the root note there, G.
Dialogue: 0,0:03:40.80,0:03:42.59,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:42.59,0:03:44.18,Default,,0000,0000,0000,,Now we want a C chord.
Dialogue: 0,0:03:44.18,0:03:47.71,Default,,0000,0000,0000,,There's a note C, on the thinnest string,\Nso we do shape one:
Dialogue: 0,0:03:47.72,0:03:49.05,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:49.05,0:03:50.58,Default,,0000,0000,0000,,Then we go back to our G chord
Dialogue: 0,0:03:50.58,0:03:52.05,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:52.05,0:03:57.22,Default,,0000,0000,0000,,and then we're looking for a D shape,\Na D chord, rather. There's our note D:
Dialogue: 0,0:03:57.24,0:03:58.31,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:03:58.31,0:04:01.88,Default,,0000,0000,0000,,So, we're using kind of the third shape there.\NSo we'd be using here:
Dialogue: 0,0:04:01.88,0:04:02.85,Default,,0000,0000,0000,,Second shape
Dialogue: 0,0:04:02.85,0:04:04.03,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:04.03,0:04:05.96,Default,,0000,0000,0000,,To C using the first shape
Dialogue: 0,0:04:05.96,0:04:07.14,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:07.14,0:04:08.19,Default,,0000,0000,0000,,Back to G,
Dialogue: 0,0:04:08.19,0:04:09.35,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:09.35,0:04:12.24,Default,,0000,0000,0000,,and then using our third shape there for the chord D,
Dialogue: 0,0:04:12.24,0:04:14.49,Default,,0000,0000,0000,,because there's our root note: D.
Dialogue: 0,0:04:14.49,0:04:16.27,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:16.27,0:04:17.31,Default,,0000,0000,0000,,Nice one.
Dialogue: 0,0:04:17.31,0:04:26.83,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:26.83,0:04:29.88,Default,,0000,0000,0000,,OK, here we go for the third one.\NSo this is a G chord again:
Dialogue: 0,0:04:29.91,0:04:31.27,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:31.27,0:04:35.47,Default,,0000,0000,0000,,Here, this is the third finger on the note G, the root note.
Dialogue: 0,0:04:35.47,0:04:38.27,Default,,0000,0000,0000,,At the 12th fret, of course, because you can see \Nthe double dots there.
Dialogue: 0,0:04:38.27,0:04:39.06,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:39.06,0:04:41.57,Default,,0000,0000,0000,,There's G. Now, C chord nearby:
Dialogue: 0,0:04:41.59,0:04:43.35,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:43.35,0:04:44.84,Default,,0000,0000,0000,,Would be done like this, using
Dialogue: 0,0:04:44.84,0:04:47.50,Default,,0000,0000,0000,,there's the root note there, 2nd string, 13th fret.
Dialogue: 0,0:04:47.50,0:04:48.97,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:48.97,0:04:49.96,Default,,0000,0000,0000,,Back to G:
Dialogue: 0,0:04:49.96,0:04:51.59,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:51.59,0:04:52.55,Default,,0000,0000,0000,,And then D.
Dialogue: 0,0:04:52.55,0:04:53.66,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:53.66,0:04:55.83,Default,,0000,0000,0000,,There's the note D, there's shape one.
Dialogue: 0,0:04:55.84,0:04:56.49,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:56.49,0:04:58.65,Default,,0000,0000,0000,,Because shape one has the root note \Non the thinnest string.
Dialogue: 0,0:04:58.66,0:04:59.42,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:04:59.42,0:05:00.39,Default,,0000,0000,0000,,So G:
Dialogue: 0,0:05:00.39,0:05:01.75,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:01.75,0:05:03.04,Default,,0000,0000,0000,,Now, sometimes I finger
Dialogue: 0,0:05:03.04,0:05:04.84,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:04.84,0:05:06.89,Default,,0000,0000,0000,,using different fingers this time to make my D chord
Dialogue: 0,0:05:06.89,0:05:10.39,Default,,0000,0000,0000,,Instead of that, you could use this.\NIt doesn't really matter.
Dialogue: 0,0:05:10.41,0:05:12.10,Default,,0000,0000,0000,,You could even play that first shape like this
Dialogue: 0,0:05:12.10,0:05:12.92,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:12.92,0:05:14.98,Default,,0000,0000,0000,,Whatever works to you.\NAnd then:
Dialogue: 0,0:05:14.98,0:05:16.08,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:16.08,0:05:18.27,Default,,0000,0000,0000,,There's your D chord.\NSo, G:
Dialogue: 0,0:05:18.27,0:05:19.73,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:19.73,0:05:20.66,Default,,0000,0000,0000,,C
Dialogue: 0,0:05:20.66,0:05:21.77,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:21.77,0:05:23.15,Default,,0000,0000,0000,,Back to G
Dialogue: 0,0:05:23.15,0:05:24.28,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:24.28,0:05:25.26,Default,,0000,0000,0000,,D
Dialogue: 0,0:05:25.26,0:05:28.48,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:05:29.84,0:05:34.13,Default,,0000,0000,0000,,OK, what we've covered in this lesson \Nis quite a lot of information
Dialogue: 0,0:05:34.13,0:05:38.29,Default,,0000,0000,0000,,It's really important that you get to grips with this,\Nthese kind of shapes first.
Dialogue: 0,0:05:38.30,0:05:41.04,Default,,0000,0000,0000,,Being able to find and locate the root note,
Dialogue: 0,0:05:41.04,0:05:44.69,Default,,0000,0000,0000,,and then be able to put the appropriate shape\Naround the root note.
Dialogue: 0,0:05:44.69,0:05:46.54,Default,,0000,0000,0000,,The root note is the key here.
Dialogue: 0,0:05:46.54,0:05:48.89,Default,,0000,0000,0000,,If you don't know where the notes are on the guitar neck
Dialogue: 0,0:05:48.89,0:05:50.76,Default,,0000,0000,0000,,and you don't know where the root notes are,
Dialogue: 0,0:05:50.76,0:05:52.80,Default,,0000,0000,0000,,using this technique is going to be really difficult.
Dialogue: 0,0:05:52.80,0:05:56.27,Default,,0000,0000,0000,,Kind of possible, I suppose, if you just use your ear,\Nbut it's really, really hard.
Dialogue: 0,0:05:56.27,0:06:01.07,Default,,0000,0000,0000,,So, my big advice would be making sure\Nthat you get to know the notes on the fingerboard,
Dialogue: 0,0:06:01.07,0:06:05.48,Default,,0000,0000,0000,,which is discussed on the website and also\Ndiscussed in my practical music theory book,
Dialogue: 0,0:06:05.48,0:06:10.46,Default,,0000,0000,0000,,which might be worth a quick look if you are interested\Nin understanding what you're doing.
Dialogue: 0,0:06:11.58,0:06:13.16,Default,,0000,0000,0000,,That's the fundamental thing.
Dialogue: 0,0:06:13.16,0:06:15.96,Default,,0000,0000,0000,,The next thing is just to make sure\Nthat you are aware of the shapes
Dialogue: 0,0:06:15.96,0:06:19.13,Default,,0000,0000,0000,,and which note in the shape is the root note.
Dialogue: 0,0:06:19.13,0:06:20.85,Default,,0000,0000,0000,,For that you can go and check out the website
Dialogue: 0,0:06:20.85,0:06:24.60,Default,,0000,0000,0000,,where I'll have little diagrams of those three shapes.
Dialogue: 0,0:06:24.60,0:06:28.10,Default,,0000,0000,0000,,Now, so far we've only looked at G, C and D.
Dialogue: 0,0:06:28.10,0:06:31.11,Default,,0000,0000,0000,,But it's really important that you're able to find \Nany chord that you'd like,
Dialogue: 0,0:06:31.11,0:06:33.66,Default,,0000,0000,0000,,and that, again, just relies on the root notes.
Dialogue: 0,0:06:33.66,0:06:36.90,Default,,0000,0000,0000,,So, if you want to play an A chord,\Nan A triad, then you know,
Dialogue: 0,0:06:36.92,0:06:39.15,Default,,0000,0000,0000,,"Well, there's an A on the thinnest string."
Dialogue: 0,0:06:39.15,0:06:43.60,Default,,0000,0000,0000,,so, if I'd use the shape with\Nthe thinnest string having the root note,
Dialogue: 0,0:06:43.60,0:06:48.56,Default,,0000,0000,0000,,I'd use the first shape, which is that little one,\Nwith that little barre with the first finger.
Dialogue: 0,0:06:48.56,0:06:50.74,Default,,0000,0000,0000,,So that would be an A chord up here at the 5th fret.
Dialogue: 0,0:06:50.76,0:06:51.89,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:06:51.89,0:06:55.14,Default,,0000,0000,0000,,That same shape at the 9th fret would be a C# chord.\N
Dialogue: 0,0:06:55.14,0:06:56.36,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:06:56.36,0:06:57.49,Default,,0000,0000,0000,,They all just move around,
Dialogue: 0,0:06:57.49,0:07:01.07,Default,,0000,0000,0000,,so it's getting that understanding where the root is\Nand finding the shape,
Dialogue: 0,0:07:01.07,0:07:02.100,Default,,0000,0000,0000,,is really, really key important.
Dialogue: 0,0:07:02.100,0:07:07.30,Default,,0000,0000,0000,,Now, those of you -- It's a little challenge part for you.
Dialogue: 0,0:07:07.30,0:07:11.11,Default,,0000,0000,0000,,Now, if you want to learn the minor triads,
Dialogue: 0,0:07:11.11,0:07:14.94,Default,,0000,0000,0000,,so the same three shapes that I've just shown you,\Nbut the minor ones.
Dialogue: 0,0:07:14.94,0:07:16.53,Default,,0000,0000,0000,,Those of you who have done a little bit of music theory,
Dialogue: 0,0:07:16.53,0:07:20.07,Default,,0000,0000,0000,,will know that the only difference between\Na major chord and a minor chord
Dialogue: 0,0:07:20.08,0:07:23.73,Default,,0000,0000,0000,,is that the minor chord has a flattened third.
Dialogue: 0,0:07:23.73,0:07:27.05,Default,,0000,0000,0000,,Now, in this case, that note would be B,
Dialogue: 0,0:07:27.05,0:07:30.59,Default,,0000,0000,0000,,because a G major chord was G, B, D.
Dialogue: 0,0:07:30.59,0:07:36.39,Default,,0000,0000,0000,,So, Gm chord is going to have the notes G, Bb and D.
Dialogue: 0,0:07:36.40,0:07:40.96,Default,,0000,0000,0000,,So, your little task now is to go and figure out, \Nfrom those three shapes,
Dialogue: 0,0:07:40.96,0:07:44.97,Default,,0000,0000,0000,,which one's the root note, which one's the third, \Ni.e. the note B,
Dialogue: 0,0:07:44.97,0:07:48.12,Default,,0000,0000,0000,,and which one's the fifth, which is the note D.
Dialogue: 0,0:07:48.12,0:07:53.58,Default,,0000,0000,0000,,Once you've done that, if you lower the degree \Nthat is the third by one semitone
Dialogue: 0,0:07:53.58,0:07:58.34,Default,,0000,0000,0000,,you get your three minor type triads,\Nwhich I'm going to show you from wide shots,
Dialogue: 0,0:07:58.34,0:08:00.12,Default,,0000,0000,0000,,so you can't cheat too much.
Dialogue: 0,0:08:00.12,0:08:00.58,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:08:00.58,0:08:01.85,Default,,0000,0000,0000,,You'd have here Gm
Dialogue: 0,0:08:01.85,0:08:02.62,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:08:02.62,0:08:03.82,Default,,0000,0000,0000,,You'd have the Gm here
Dialogue: 0,0:08:03.82,0:08:04.78,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:08:04.78,0:08:08.66,Default,,0000,0000,0000,,And you'd have a Gm right at the 12th fret as well.
Dialogue: 0,0:08:08.66,0:08:10.86,Default,,0000,0000,0000,,So, they are really similar looking, you know,
Dialogue: 0,0:08:10.86,0:08:16.55,Default,,0000,0000,0000,,It's only one note moved one fret back\Nbetween the major shapes and the minor types.
Dialogue: 0,0:08:16.55,0:08:17.53,Default,,0000,0000,0000,,Minor shapes.
Dialogue: 0,0:08:17.53,0:08:20.73,Default,,0000,0000,0000,,So, it's really important now for you\Nto do a little bit of homework,
Dialogue: 0,0:08:20.73,0:08:24.79,Default,,0000,0000,0000,,and figure out what the notes are in each of those triad shapes that I've shown you.
Dialogue: 0,0:08:24.79,0:08:28.43,Default,,0000,0000,0000,,work out which note is the note B, flatten it,
Dialogue: 0,0:08:28.43,0:08:30.25,Default,,0000,0000,0000,,and then you've got all your minor types.
Dialogue: 0,0:08:30.25,0:08:33.37,Default,,0000,0000,0000,,I want to leave discussing minor triads\Nand the other ones for a little while
Dialogue: 0,0:08:33.37,0:08:37.88,Default,,0000,0000,0000,,to make sure that you actually work it out,\Nbecause if you if you learn this stuff yourself,
Dialogue: 0,0:08:37.88,0:08:41.50,Default,,0000,0000,0000,,you're going to find it a lot more beneficial\Nthan if just I spoon feed it to you.
Dialogue: 0,0:08:42.92,0:08:44.86,Default,,0000,0000,0000,,Hopefully, that's more than your brain,
Dialogue: 0,0:08:44.86,0:08:48.12,Default,,0000,0000,0000,,You know, hopefully your brain is getting a bit sore now\Nfrom all of this information.
Dialogue: 0,0:08:48.14,0:08:51.51,Default,,0000,0000,0000,,The big deal now is go and use it and to understand it.
Dialogue: 0,0:08:51.53,0:08:53.38,Default,,0000,0000,0000,,So figuring out what the notes are
Dialogue: 0,0:08:53.38,0:08:55.100,Default,,0000,0000,0000,,and get cracking trying to put it\Ninto this chord sequence we're doing.
Dialogue: 0,0:08:55.100,0:08:59.98,Default,,0000,0000,0000,,Jam with it as much as you can, and then try\Njust picking another song, I don't know:
Dialogue: 0,0:08:59.99,0:09:01.86,Default,,0000,0000,0000,,"Wish You Were Here" by Pink Floyd.
Dialogue: 0,0:09:01.86,0:09:05.37,Default,,0000,0000,0000,,it's got, you know, pretty basic kind of chord structure.
Dialogue: 0,0:09:05.37,0:09:09.08,Default,,0000,0000,0000,,So why not have a go at seeing if you can work out\Nall your triad shapes for that song.
Dialogue: 0,0:09:09.09,0:09:12.20,Default,,0000,0000,0000,,Get your mate to play the rhythm guitar\Nand use the triads over the top.
Dialogue: 0,0:09:12.20,0:09:13.51,Default,,0000,0000,0000,,Or, just play the record.
Dialogue: 0,0:09:13.51,0:09:16.80,Default,,0000,0000,0000,,You know, put the CD on and then try\Nand play along with it
Dialogue: 0,0:09:16.82,0:09:19.24,Default,,0000,0000,0000,,using your new found triad skills.
Dialogue: 0,0:09:19.24,0:09:21.49,Default,,0000,0000,0000,,It really sounds great as a second guitar part.
Dialogue: 0,0:09:21.49,0:09:26.90,Default,,0000,0000,0000,,Really cool for jamming and really,\Nreally useful kind of mind expanding lesson
Dialogue: 0,0:09:26.90,0:09:30.74,Default,,0000,0000,0000,,if you go through and work out where the notes are\Nand you understand the concept.\N
Dialogue: 0,0:09:30.74,0:09:34.38,Default,,0000,0000,0000,,If you don't subscribe, -- please hit that --\Nplease go and check out the web site,
Dialogue: 0,0:09:34.38,0:09:40.22,Default,,0000,0000,0000,,lots of information there on this and a whole lot more\Nas you probably know already.
Dialogue: 0,0:09:40.22,0:09:43.15,Default,,0000,0000,0000,,Worth a look if you haven't gone and checked it out already.
Dialogue: 0,0:09:43.15,0:09:45.84,Default,,0000,0000,0000,,See you again for some more lessons,\Nsometime in the near future.
Dialogue: 0,0:09:45.84,0:09:48.71,Default,,0000,0000,0000,,Take care of yourselves and I'll see you soon.