The Ultimate Complete Course for Beginners to Intermediate

In this second series of lessons, Nick and Bobby introduce us to many more exciting techniques and ideas to further improve our guitar playing.
Subjects covered include: The 1st position chords of D minor and F; Power chords; Palm muting; Rock n’ roll/Blues 12 bar shuffle riffs; Finding the notes on the neck and some classic riffs and songs including: “The House Of The Rising Sun”; “Everybody Hurts”; “You Really Got Me”; “All The Small Things” and “Save Tonight”.

In this first lesson, Nick teaches us yet another very commonly used chord: The chord of F.

Now that we know the chord of F, we can learn another classic song. In this lesson, Nick shows us how to play The Animals version of “The House Of The Rising Sun”.
This is a great song to practice as it will also improve your picking hand technique.

Another song that will improve both your chord changes and your picking hand technique is the REM classic “Everybody Hurts”. In this lesson, Nick shows us how to play the intro, verse and chorus sections of this great song.

Now it’s time to learn Power Chords. Learning these shapes will open a lot of doors for your riff playing, since power chords are used in countless classic songs. In this lesson, Nick also shows us how to play The Kinks classic “You Really Got Me”. The Kinks are often credited with introducing the overdriven, power chord-based riff to mainstream audiences and paving the way for the rock bands of the late 60s, 70’s 80’s and beyond.

Another song that uses power chords to great effect is the 2004 U2 classic “Vertigo”. In this lesson, Bobby shows us the main riff from the song. This is a great riff to practice since it will improve the speed at which we change from one power chord to the next.

In this lesson, Bobby introduces us to palm muting. This technique is common in all kinds of music and used to great effect by many rock, metal and punk bands as it’s an effective way of altering dynamics within songs. Bobby shows you the technique, using the intro section of the Foo Fighters classic “All My Life”, as well as parts of “All The Small Things” by Blink 182.

As promised in the previous lesson, we’re now going to learn the verse and chorus riffs from “All The Small Things” by Blink 182. This is a great song to practice if we want to improve our palm muting, dynamics and power chord changes.

Over the next two lessons, Nick shows us some essential rock ‘n’ roll/blues 12 bar shuffle riffs that feature in countless classic songs. Nick also demonstrates different variations of grooves and how to add palm muting to create dynamics.

In this lesson, Nick continues to show us some essential rock ‘n’ roll/blues 12 bar shuffle riffs that feature in countless classic songs. Nick also demonstrates different variations of grooves and how to add palm muting to create dynamics.

In this lesson, Nick teaches us the chord of D minor and shows us a cool chord sequence that features three minor chords. This chord progression will help us practice our changes. If you’re a songwriter, you could even try taking these minor chords and coming up with your own original composition.

In this video, Bobby teaches us the Eagle Eye Cherry hit “Save Tonight”. This song features just four chords throughout, including the chord of F. Not only will learning this song be great pratice for our chord changes, but it will also improve our strumming. Bobby also demonstrates several other well known songs that share this same chord progression. If you’re a songwriter, you could try taking these four chords and coming up with your own original composition.

Over the next four lessons, Bobby teaches us the notes on the neck. It’s essential at this point, for the progress of your playing, that we at least know how to find the notes on the low E and the A strings as this will allow us to locate the roots of power chords and later, barre chords, scales, riffs and much more. Bobby takes us through each note, step by step, so that it’s easy to follow. We also have available on this website an intensive course named “Learning The Neck” that explores this subject deeper. Think of these four short lessons as a kind of “Learning The Neck Lite”, since they contain as much information as you need at this point to navigate your way around the fretboard.

In this lesson, Bobby continues to teach us the notes on the neck. It’s essential at this point, for the progress of our playing, that we at least know how to find the notes on the low E and the A strings as this will allow us to locate the roots of power chords and later, barre chords, scales, riffs and much more. Bobby takes us through each note, step by step, so that it’s easy to follow. We also have available on this website an intensive course named “Learning The Neck” that explores this subject deeper. Think of these four short lessons as a kind of “Learning The Neck Lite”, since they contain as much information as you need at this point to navigate your way around the fretboard.

In this lesson, Bobby continues to teach us the notes on the neck. It’s essential at this point, for the progress of our playing, that we at least know how to find the notes on the low E and the A strings as this will allow us to locate the roots of power chords and later, barre chords, scales, riffs and much more. Bobby takes us through each note, step by step, so that it’s easy to follow. We also have available on this website an intensive course named “Learning The Neck” that explores this subject deeper. Think of these four short lessons as a kind of “Learning The Neck Lite”, since they contain as much information as you need at this point to navigate your way around the fretboard.

In this lesson, Bobby continues to teach us the notes on the neck. It’s essential at this point, for the progress of our playing, that we at least know how to find the notes on the low E and the A strings as this will allow us to locate the roots of power chords and later, barre chords, scales, riffs and much more. Bobby takes us through each note, step by step, so that it’s easy to follow. Elsewhere on this website, there’s an intensive course-within-a-course named “Learning The Neck” that explores this subject deeper. Think of these four short lessons as a kind of “Learning The Neck Lite”, since they contain as much information as you need at this point to navigate your way around the fretboard.

In this third series of lessons, Bobby and Nick take your playing to new heights, introducing you to more exciting techniques and ideas.
You will learn: alternate picking; great picking exercises to improve left and right hand co-ordination; how to tune your guitar by ear; dominant 7 chords; major and minor bar (or barre) chords and many classic songs.

In the first four lessons of Level 3, we’re going to concentrate on alternate picking. Bobby breaks down this technique step by step, allowing you to pick as efficiently and accurately as possible.

First, we isolate the picking hand, making sure we’re holding the pick correctly for maximum efficiency when using alternate picking.

Next, we learn a very useful linear chromatic exercise that incorporates alternate picking. This exercise is designed to improve co-ordination between both hands and will serve you well as a warm up routine for many years to come.

Next, we learn another very useful chromatic exercise that incorporates alternate picking. Again, this exercise is designed to improve co-ordination between both hands and will serve you well as a warm up routine for many years to come.

In this video, Nick explains relative tuning. Using this tried and tested technique, you’ll always be able to keep your guitar in tune without the aid of a tuner.

In this lesson, Bobby shows you the main riff, verse and chorus parts from Green Day’s “American Idiot”. As well as featuring a great riff, this song serves as a very useful exercise to practice quick changes between power chords.

Here, Nick shows you the Dominant 7 chords of G7, C7, A7, D7, E7 and B7. These are very common chords and essential to know, since they crop up in countless classic songs.

Now we’ve learnt some Dominant 7 chords, we can practice some common chord changes.

So far, we’ve covered 1st position chords incorporating open strings and power chords. By now, your hands should be strong enough to learn bar chords (or “Barre” chords). In this lesson, Nick shows you the 2 main barre chord shapes that will enable you to play major chords all over the neck. You may feel some strain in your wrist or hand, so please don’t play though pain, but rest assured, barre chords get easier with regular yet careful practice. Using the tips you learned in the “Finding Notes On The Neck” videos in the last module, it should be easy for you to locate your root notes and move these 2 barre chord shapes up and down, creating new chords. Try putting 2 or 3 barre chords together to create your own chord progressions, riffs or even whole songs.

In this video, Nick shows you the main riff from the Nirvana classic “Smells Like Teen Spirit”. As well as being a classic riff, it’s a great way to practice your barre chords, since it features the 2 major barre chord shapes we learned in the previous lesson.

In this lesson, Nick shows you the 2 main minor barre chord shapes that will enable you to play minor chords all over the neck. You may feel some strain in your wrist or hand, so please don’t play though pain, but rest assured, barre chords get easier with regular yet careful practice. Using the tips we learned in the “Finding Notes On The Neck” videos in the last module, it should be easy for you to locate your root notes and move these 2 barre chord shapes up and down, creating new chords. Try putting 2 or 3 barre chords together (including the major shapes you already know) to create your own chord progressions, riffs or even whole songs. Knowing these shapes will also open the doors to learning many more classic songs.

A great song to practice changing between barre chords and moving them around the neck is the 1978 Undertones classic “Teenage Kicks”. In this lesson, Bobby shows you the main riff, verse, chorus and outro of the song.

Another great song to practice changing between barre chords is “Molly’s Chambers” by Kings Of Leon. In this video, Bobby shows you the main riff, verse and chorus parts.

In this short lesson, Bobby shows us how to play the Bob Dylan classic “Knockin’ On Heaven’s Door”. This great song features just four first position chords that you should already know.

In this lesson, Bobby shows us how to play the Tom Petty classic “Learning To Fly”. Again, this great song features just four first position chords that you should already know.

In this lesson, Nick shows us how to play the Neil Young classic “Heart Of Gold”. There are more chord changes in this song than in previous songs we’ve learned, but you should find it fairly easy if you’ve practiced your first positon chords.

We cover a lot of ground in this fourth series of lessons. You will learn: Major and minor scales in the first position; how to speed up your chord changes; the finger-style technique; how chords are made; major 7 and minor 7 chords; the all-important E minor pentatonic scale, hammer-ons, pull-offs and some classic songs.

In this first lesson, Bobby shows us the scales of C major and A minor in first position. Be sure to practice these scales both ascending and descending and use alternate picking throughout. This will help you to build up speed and dexterity in both hands.

In this lesson, Nick shows us a great technique that will enable us to make quicker changes from one chord to the next.

Now it’s time to learn the Fingerstyle technique. Nick breaks things down for us, showing us the right hand technique first.

In this lesson, Nick shows us a fingerpicking version of the classic song “House Of The Rising Sun”. This song features 5 chords that we already know, so it’s a great way to practice the fingerstyle technique. It is recommended that you first take a look at the picked version Nick taught us in Level 2.

Now it’s time to learn how chords are made. This will give you a far greater understanding, not only of chords, but also of scales. This lesson will help you learn the differences beween major, minor and other types of chords. First, we look at the formula for building major chords.

Continuing our study of how chords are made, we now look at the formula for building minor chords.

Continuing our study of how chords are made, we now look at the formula for building Dominant 7 chords.

In this lesson, Nick shows us some essential Major 7 chord shapes in first position. We also learn how Major 7 chords are made.

Next, we’re going to look at changing between some of the Major 7 chord shapes we learned in the previous lesson.

In this lesson, Nick shows us some essential Minor 7 chord shapes in first position. We also learn how Minor 7 chords are made.

In this lesson, Nick introduces the holy grail of scales: The Minor Pentatonic. This is arguably the most commonly used scale among guitar players and is featured in countless classic solos and riffs alike. Here, we look at the E Minor Pentatonic scale in 1st position.

Using the minor pentatonic scale we’ve just learned, we now look at hammer-ons and pull-offs: Two essential and very expressive techniques used in all styles of guitar playing.

Now it’s time to learn a classic rock n’ roll riff: The mighty “Shakin’ All Over” – a song originally performed by “Johnny Kidd and the Pirates” and made famous in the 1960s by “The Guess Who”. This riff is based around the E minor pentatonic scale in open position and serves as a fun and very musical rhythmic technique building excercise.

In this next series of lessons, Nick and Bobby present a thorough introduction to playing lead guitar, providing you with a solid foundation to become a great soloist.
We cover a wide range of techniques and ideas including: the minor pentatonic scale; fast hammer-on and pull-off trills; expressive techniques such as vibrato and string bending; lots of cool blues/rock licks that you can practice over two great backing tracks; the blues scale; extending scales by breaking out of the box shape; incorporating slides and much more.

In this first lesson, we look at the movable minor pentatonic scale. In this example, we’re going to be working in the key of A minor. The minor pentatonic scale is arguably the most common scale in lead guitar. There are countless licks and riffs we can play once we’ve mastered this scale. We’re also going to practice some fast hammer-on and pull-off trills using this scale in order to build up dexterity and strength in our fingers.

Vibrato is a very expressive technique, but it can also take a while to master. That said, it’s fun to experiment with different types of vibrato, since it can also be a very personal technique. No two guitar players have exactly the same vibrato and many are distinguishable by the way they apply the technique.

In this lesson, we’re going to look at string bending. Like vibrato, string bending is a very experssive technique and can also be combined with vibrato for a vocal-like effect. Be sure to have a spare set of strings close by, since it’s not uncommon to break the odd string when you’re experimenting with string bends.

Next, we’re going to learn four blues/rock licks that incorporate string bending. Try putting these licks together to come up with your own solo ideas.

Next, we’re going to learn five more blues/rock licks that incorporate string bending, hammer-ons, pull-offs and vibrato, all based around the A minor pentatonic scale. Try playing these licks over the backing track. You can even experiment by coming up with your own ideas.

Now we’re going to put together a selection of the licks we’ve learnt so far and play them over the backing track. With just a few fairly simple licks, it really starts to sound like we’re playing lead guitar now. Try this yourself and see what else you can come up with.

At this point, it’s a good idea if we learn the riff that’s being played on our backing track in A. If you know your power chords, this is a fairly simple rhythm part. It’s especially handy to learn this part if you want to team up with a friend and trade solos.

The Blues Scale is very commonly used variation of the Minor Pentatonic Scale.

Now we’re going to look at another way of playing the minor pentatonic scale. This time, we’re breaking out of the box shape and incorporating slides for a very expressive feel.

In this lesson, we’re going to extend the range of the minor pentatonic scale even further, giving us a bigger playing area for our solos.

In this video, Nick shows us how to play the blues scale in the open E position.

Next, Nick shows us how to expand the E minor pentatonic and E blues scales, enabling us to add more range to our lead breaks.

In this video, Nick shows us four more cool blues/rock licks. This time, we’re playing over a new backing track in the key of E.

Here is the riff to our backing track in E as used in the previous lesson. It’s always handy to know what you’re soloing over and great if you’re planning to get together with a friend for a jam, taking turns to solo.

Here’s how to play the E minor pentatonic and the E blues scales in 12th position. This is the same shape we learned in A minor, but this time, we start on the 12th fret. We also look at extending the E minor pentatonic scale in the same way we did with the A minor pentatonic. By practicing these ideas, you should eventually should be able to play minor pentatonic and blues scales in any key.

Finally, Nick summarises what we’ve covered so far before playing us out with a solo over our backing track in E, using the various scales and ideas we’ve developed during the course of this module.

This essential module is all about chords. You could be the world’s best lead guitar player, but chords and rhythm guitar make up 95% of the playing of most working guitarists - so get watching!
The songwriters among you will also benefit greatly from this module as we cover: primary chords (or the i, iv, v chords); relative minors; the seven diatonic chords available in each key; the diminished chord; extending the harmony of chords using major 7, minor 7, dominant 7 and minor 7 flat 5 voicings; getting more from power chords; Add9 chord shapes; Sus (or suspended) chord shapes; 9th chord shapes; Dominant 7♯9 shapes (or the “Hendrix” chord) and lots of tips and advice on songwriting and how to incorporate these ideas and approaches into your own playing and compositions.

In this first lesson, we look at the primary chords or the i, iv, v chords. A vast amount of classic songs contain just three chords. If you’ve ever heard the term “Three chord trick”, this usually refers to a song written using the three primary chords.

In this next lesson, we look at the relative minor, which now gives us four chords (i, iv, v & vi). Each major key has a relative minor and each minor key has a relative major. If you’re a songwriter, there are countless hit songs that feature the four primary chords we looked at in the previous video, along with and the relative minor. Here, Bobby gives you some songwriting tips and demonstrates some very popular progressions containing just 4 chords.

Next, we look at more chords that belong to the key of C major, giving us more options when writing songs as well as providing us with a greater knowledge of music theory, which will help us figure out how to play our favourite songs.

Here we look at the diminished chord, giving us a total of seven chords in each key.

Now we’re going to extend the harmony or our chords. Previously, we’ve been working with three note major, minor and diminished chords (or triads). We can make these four note chords, adding more colour to our chord progressions. In other words, we’ll be working diatonically with major 7, minor 7, dominant 7 and minor 7 flat 5 chords. If the terminology baffles you at this point, don’t worry as all will be explained over the next few videos.

Now we’re going to extend the harmony of our chords. Previously, we’ve been working with three note major, minor and diminished chords (or triads). We can make these four note chords, adding more colour to our chord progressions. In other words, we’ll be working diatonically with major 7, minor 7, dominant 7 and minor 7 flat 5 chords.

Now we’re going to extend the harmony of our chords. Previously, we’ve been working with three note major, minor and diminished chords (or triads). We can make these four note chords, adding more colour to our chord progressions. In other words, we’ll be working diatonically with major 7, minor 7, dominant 7 and minor 7 flat 5 chords.

In this lesson, we look at getting more from power chords. You may already be familiar with power chord shapes with their roots on either the low E or the A string, but here, Bobby shows you how to stack roots and fifths to create some huge sounding power chord voicings and some fat, heavy inversions. These ideas are particularly useful when playing with a two guitar band or for thickening up rhythm guitar parts in the studio as well as providing you with extra power if you’re the only guitarist in your band.

In this lesson, Nick shows you you some very useful Add9 chord shapes that will add colour to your chord playing as well as inspire your songwriting. Movable shapes are also covered.

In this next lesson, Nick shows you you some very useful Sus2 (or suspended 2nd) chord shapes that will add colour to your chord playing as well as inspire your songwriting. Movable shapes are also covered.

In this next lesson, Nick shows you you some very useful Sus4 (or suspended 4th) chord shapes that will add colour to your chord playing as well as inspire your songwriting.

In this next lesson, Nick shows you you some useful 7 Sus4 (or dominant 7th suspended 4th) chord shapes that will add colour to your chord playing as well as inspire your songwriting. Movable shapes are also covered for the 7 sus4 as well as regular sus4 chords.

Now Nick shows you you some more useful Add9 chord shapes that will add colour to your chord playing as well as inspire your songwriting. Most of these shapes are movable and may require more stretching than the previous shapes we looked at.

Here, Bobby shows you some 9th chord shapes. These are very common in all kinds of music, especially blues, funk, rock, country and jazz. 9th chords are not be confused with the Add9 chords we looked at earlier. The shapes we’re going to look at in these examples are an extension of the dominant 7 chord.

Here, Bobby shows you some more 9th chord shapes. These are very common in all kinds of music, especially blues, funk, rock, country and jazz. 9th chords are not be confused with the Add9 chords we looked at earlier. The shapes we’re going to look at in these examples are an extension of the dominant 7 chord.

In this video, Bobby shows you the very popular ‘Dominant 7♯9’ chord. The 7♯9 is what is known as an altered chord and is arguably one of the most commonly used altered chords in modern music. This chord has it’s roots in jazz, but was made popular in mainstream rock and blues by Jimi Hendrix, who used it to great effect.

In this comprehensive module, Nick shows you how to spice up your chord playing by creating more movement in your chord progressions. This will inspire you if you’re a singer/songwriter or if you want to make your rhythm guitar parts more interesting and musical.
We cover: Using a Capo and Harmonising using 3rds, 6ths, Octaves and 10ths. We also look at some Jimi Hendrix-esque rhythm and blues approaches to embellishing chord progressions.
A huge amount of information is provided within this set of lessons so don’t worry if your brain starts to hurt!

In this first lesson, we look at embellishing the A Minor chord. You’ll be surprised at just how much more melodic and interesting your chord progressions can become by simply adding fingers or taking them off.

Next, we look at embellishing the C major chord. As with Am i the previous lesson, you’ll be surprised at just how much more melodic and interesting your chord progressions can become by simply adding fingers or taking them off.

Next, we look at embellishing the chords of D and E.

Next, we look at embellishing the chord of G as well as other cool songwriting tips in first position. 

Yep, more chord spicing!

Next, we look at embellishing the chords of D minor and E minor.

In this lesson, Nick shows you how to use a capo. The capo is a great tool for songwriters as it allows guitarists to easily transpose songs to different keys.

If you want to make your rhythm guitar parts more interesting and musical, we look at some Jimi Hendrix-eque, rhythm and blues approaches to embellishing chord progressions. This very tasteful approach is where lead guitar and rhythm guitar meet. You can use these ideas to spice up your chord progressions, or drop them into a lead break for a more chordal approach to soloing.

More versions of inversions to invert your brain with.

In this video you will learn....more useful chord ideas!

Following on from the four previous lessons, we’re now going to look at some useful embelishments using movable minor chord shapes.

Over the next 4 lessons, Nick presents a deep study into the technique of playing with octaves. Octaves are very common in rock, metal, jazz, funk and many other styles of music. We start by locating octaves and playing scales up the neck using octaves.

Continuing with our study of octaves, Nick shows us some cool rock ideas that incorporate muting and open strings.

Continuing with our study of octaves, Nick now shows us some cool funk rhythm playing ideas.

Continuing with our study of octaves, Nick now shows us some more mellow, jazz-tinged applications of the technique incorporating the right hand thumb. This lesson also includes tips for creating our own solos, riffs and melodies using octaves.

The next three lessons are dedicated to harmonising melodies using thirds. Nick shows us this very useful technique common in all kinds of music from rock to blues to country and many other styles.

We continue our study on harmonising melodies using thirds. Nick shows us this very useful technique common in all kinds of music from rock to blues to country and many other styles.

We continue our study on harmonising melodies using thirds. Nick shows us this very useful technique common in all kinds of music from rock to blues to country and many other styles.

The next four lessons are dedicated to harmonising melodies using 6ths. Nick shows us this very useful and common technique.

We continue our study on harmonising melodies using 6ths. Here, Nick gives us some improvising tips for soloing over a common progression.

We continue our study on harmonising melodies using 6ths. We take things even further now, learning the 6th shapes on different groups of strings.

We continue our study on harmonising melodies using 6ths. Here, we look at harmonising scales using intervals of 6ths, plus some country-tinged ideas.

Next, we look at harmonising the major scale using intervals of 10ths. This approach is used in all kinds of music, from subtle acoustic playing, to thickening rock lines, since its clear sound also cuts through the mix when playing using a distorted or overdriven sound.

In this lead guitar orientated module, we cover a lot of ground, taking our playing to new heights as we prepare to become even better soloists.
Subjects covered include: Improvisation techniques such as question and answer phrasing, repetition and timing; fast, descending pentatonic runs; lots of cool, bluesy rock licks; the major pentatonic scale and more. There’s plenty here to have a lot of fun experimenting with.

In our first lesson, we’re going to take a look at ‘question and answer’ phrasing or ‘call and response’ phrasing. This is a very musical and conversational approach to improvisation.

Now it’s time to look at repetition and timing. This is another cool approach to improvisation, where we take a short phrase and either repeat it, add to it or alter the timing with some very musical results.

In this lesson, Bobby shows us two very useful, fast descending pentatonic runs that we can get a lot of milage from when soloing. We can either play the runs all the way through or simply use fragments of them in order to get from one lick to the next.

Following on from the previous lesson on descending pentatonic runs, Nick shows us a cool variation of Bobby’s triplet run. This time, we’re starting on a different note, but there’s less picking and more hammer-ons and pull-offs for a fast, fluid legato approach.

Proving we can get a lot of milage out of just a few ideas, Nick shows us yet another very cool variation of the previous lick. This time we’re approaching it with a 16th note feel and picking more notes. Nick goes on to demonstrate both runs over the backing track in A.

Next, Nick shows us four popular and very cool minor pentatonic licks that we can practice over the backing track.

Now Bobby shows us four more popular and very cool minor pentatonic/blues scale licks that we can practice over the backing track.

Not a lesson but a demo. In this clip, Nick improvises a solo over a backing track, based around the G major pentatonic scale. This is a taster for  the next 2 lessons in which we will learn the scale shapes and techniques he is using.

In this lesson, Nick shows us how to play the G Major Pentatonic scale. Like its relative, the Minor Pentatonic, this is one of the most commonly used scales in improvisation and is one of the most useful shapes we can learn, since it features in all styles of lead guitar.

Next, Nick shows us how to break out of the box and extend the Major Pentatonic scale.

Here we learn the chord progression for the backing track in G major that we used in the previous 3 clips.

In this next lesson, Nick shows us four great licks using the G major pentatonic scale. Practice these over the backing track and create your own solos.

In this next lesson, Bobby shows us four more great licks using the G major pentatonic scale. Practice these over the backing track and create your own solos.

In this more advanced lead guitar module, you will learn lots of cool double stop licks; a very useful way of extending the E minor pentatonic scale; yet more useful rock licks and new techniques; how to spice up your lead playing by adding extra notes to the minor pentatonic scale; combining the major and minor pentatonic scales; the 7 note natural minor scale; the 7 note major scale; tremolo/whammy bar techniques; all about harmonics and more.

We kick things off by learning some great double-stop ideas that we can practice over the backing track. In this video, Nick shows us four very cool sounding and very useful licks.

Bobby shows us four more useful double stop licks that we can practice over the backing track.

Nick shows us a cool way of extending the range of the E minor pentatonic scale up the neck, allowing us to play long runs from the open E String, all the way up to the 12th fret on the high E string and beyond…

Next, Bobby shows us four cool licks that we can incorporate into our own playing, including unison bends, fast, repeating pentatonic licks and wild string bending ideas. Try these ideas out for yourself by playing over the backing track.

Here, we spice up the minor pentatonic and blues scales by adding extra notes from outside of these scales. A lot of these notes are borrowed from the major pentatonic scale. Some people refer to this new scale as the “Hybrid Blues Scale”, but don’t get too bogged down with the terminology right now. Simply practice these ideas over the backing track in E, trust your ears and decide what works for you. The results can sound very effective.

Now we’re going to look at some cool ideas that combine the major pentatonic and minor pentatonic scales. Over our backing track in E, it’s possible to use both scales and many guitarists, such as Jimmy Page and Angus Young use this concept to great effect in their solos.

Next, Nick shows us the 7 note natural minor (or Aeolian) scale. Previously, we learned this scale in first position, but here’s a very useful movable shape that we can use either on it’s own along with our existing minor pentatonic and blues scale ideas.

We change key from A minor to E minor in this next video, but we’re still using the movable minor scale we learned in the previous lesson. Over a haunting E minor backing track, Nick demonstrates how to use the 7 note minor scale along with the minor pentatonic and blues scales.

Next, Nick shows us the 7 note major (or Ionian) scale. This time, we’re in the key of G major as we look at some very useful movable shapes that we can use either on their own along with our existing major pentatonic ideas.

Using the movable shapes we learned in the previous lesson, Nick demonstrates how to use the 7 note major scale along with the major pentatonic scale over a backing track in G major.

In this fun lesson, Bobby shows us some useful whammy bar or tremolo arm applications, from subtle vibrato on single notes and chords to some wilder dive-bomb ideas.

Next, we delve into the wonderful world of harmonics. There are 3 main types of harmonic on the guitar: Natural harmonics, tapped harmonics and pinch (or artificial) harmonics. Bobby shows us some interesting uses of these techniques from the subtle to the downright crazy. First off, we’re going to look at natural harmonics.

Continuing with our insight into harmonics, we now look at playing chords, melodies and wild dive-bomb effects using natural harmonics.

Now we’re going to look at tapped harmonics and how to play some interesting chord and riff ideas using this cool technique.

Now we’re going to look at pinch harmonics. This technique is also known as artificial harmonics. When done correctly, it enables us to really make the guitar scream…..in a good way, of course!

In this final video on harmonics, we look at a couple more applications of the technique.

In this series of lessons, Bobby shows us some useful chord extensions. You may already be familiar with Major 7, Minor 7 and Dominant 7 chords, but here, we extend the harmony even further, creating 6th chords, 9th chords, 11th chords, 13th chords and many, many more.

All the chord extensions are shown diatonically, so we will develop a strong knowledge of harmony and will leave this series of videos knowing the right chords to play in any given key. This knowledge will also aid your songwriting and compositions and add flavour to your existing chord progressions.

In this lesson, Bobby shows us some useful chord extensions.

In an earlier series of lessons, we gave each of the seven diatonic chords in each key a number from i to vii. Firstly, we learn the available chord extensions for our first chord (the i chord).

In this lesson, we continue learning the available chord extensions for our first chord (the i chord).

In this lesson, we continue learning the available chord extensions for our first chord (the i chord).

In this lesson, we continue learning the available chord extensions for our first chord (the i chord).

In this lesson, we continue learning the available chord extensions for our first chord (the i chord).

In this lesson, we continue learning the available chord extensions for our first chord (the i chord). We then summarise what we’ve learned so far, before we move on to the ii chord.

Things start to move a lot more quickly now as we learn the available chord extensions for our second chord (the ii chord).

Next, we learn the available chord extensions for our third chord (the iii chord).

Next, we learn the available chord extensions for our fourth chord (the iv chord).

Now it’s time to learn the various extensions and embellishments for our fifth chord (the v chord). There are quite a few of these, so be sure to take notes.

We continue to learn the various extensions for our fifth chord (the v chord), before summarising its many embellishments.

Next, we learn the available chord extensions for our sixth chord (the vi chord).

Finally, we learn the available chord extensions for our seventh chord (the vii chord), before summarising and learning a few tips on songwriting and adding colour to our existing chord progressions. Have fun!