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_lute-vihuela-124-e-a-d-f-b-e-124-world-of-tuning-124-rga-junglism.jpg "Full page: https://ragajunglism.org/tunings/menu/lute/ | “The main layout of the Renaissance lute moves Standard tuning’s ‘irregular’ 4-semitone jump back a string, instead placing it right in the middle between 4-3str (i.e. 5/5/4/5/5 vs. 5/5/5/4/5). Reshuffling the same set of intervals (four 4ths and a major 3rd), preserves the same 2-octave open range, and also most of EADGBE’s familiar chord shapes (…just jump them up a string). Great for jazz rhythm parts: particularly for addin")
⏲ 1 min 5 sec ✓ 22-Mar-2022
_beginner-movable-f-chord-shapes-adult-guitar-lessons.jpg "Best Beginner Guitar Lessons")
⏲ 11 minutes 14 seconds 👁 448
_f-major-chord-3-ways-124-beginner-guitar-lesson.jpg "Guitar Goddess")
⏲ 3 minutes 56 seconds 👁 197.4K
_5-minute-guitar-lesson-from-jazz-to-rock-part-2.jpg "Part one of this short series looked at how it is common for Jazz musicians to play various arpeggios over any given chord. Arpeggio substitution makes your lines sound interesting because the notes add extensions with the underlying harmony.nnImagine we play for instance a Fmaj7 arpeggio over our Dm7 chordnnDm7 DFA Cn1 b35 b7nnFmaj7 FA C En1 3 57nnWhen you play Fmaj7 over Dm7 you imply the sound ofnnDmin9nnThis is because between the notes you a")
⏲ 2 min 50 sec ✓ 06-Apr-2020
_lead-guitar-lesson-use-chord-shapes-to-find-lead-lines.jpg "Worship Tutorials")
⏲ 7 minutes 49 seconds 👁 181.5K
_the-secret-to-playing-chords-anywhere-on-the-guitar-neck-easy.jpg "MusicMatchr")
⏲ 17 minutes 24 seconds 👁 183.8K
_open-d-vestapol-124-d-a-d-f-a-d-124-world-of-tuning-124-rga-junglism.jpg "Full page: https://ragajunglism.org/tunings/menu/open-d/ | “Resembles EADGBE’s famous ‘0-2-2-1-0-0’ Emaj shape in terms of intervals – a general pattern sometimes known as ‘Vestapol’ (after The Siege of Sevastopol, an earnest 1854 American folk song about the Crimean War, popular in parlor guitar instructional manuals of the 19th century: more below). Thus, the tuning represents a logical ‘first step away from Standard’: as this Emaj shape tends to be the first major chord we l")
⏲ 1 min 5 sec ✓ 19-Mar-2022
_20-ways-to-play-the-same-guitar-chord.jpg "Musora")
⏲ 9 minutes 53 seconds 👁 73.5K
_the-chord-trick-every-pro-uses.jpg "Rhett Shull")
⏲ 9 minutes 13 seconds 👁 125.4K
_ead-gad-124-e-a-d-g-a-d-124-world-of-tuning-124-rga-junglism.jpg "Full page: https://ragajunglism.org/tunings/menu/ead-gad/ | “A high-slackened tuning that essentially forms a ‘half-DADGAD’ layout (6-5-4str=Standard, 3-2-1str=DADGAD). This gives an ambiguous ‘open harmony’ – it can be seen as either a seventhless D9sus4, fifthless Emin11, thirdless G6/9, secondless Am11, or rootless C6/9 – or an A7sus4 from the parallel octaves on 5+2str. Great for creating complex chord inversions with the 2nd in the bass. Also also feel how the slackened 1+2str")
⏲ 1 min 5 sec ✓ 22-Mar-2022
_16-chord-shapes-every-real-guitar-player-must-know.jpg "Brandon D'Eon Music")
⏲ 13 minutes 56 seconds 👁 150.2K
_5-movable-chord-shapes-to-play-everything-on-fretboard.jpg "Neil Chan Music")
⏲ 8 minutes 14 seconds 👁 7K
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_lute-vihuela-124-e-a-d-f-b-e-124-world-of-tuning-124-rga-junglism.webp "Full page: https://ragajunglism.org/tunings/menu/lute/ | “The main layout of the Renaissance lute moves Standard tuning’s ‘irregular’ 4-semitone jump back a string, instead placing it right in the middle between 4-3str (i.e. 5/5/4/5/5 vs. 5/5/5/4/5). Reshuffling the same set of intervals (four 4ths and a major 3rd), preserves the same 2-octave open range, and also most of EADGBE’s familiar chord shapes (…just jump them up a string). Great for jazz rhythm parts: particularly for addin")
_beginner-movable-f-chord-shapes-adult-guitar-lessons.webp "Best Beginner Guitar Lessons")
_f-major-chord-3-ways-124-beginner-guitar-lesson.webp "Guitar Goddess")
_5-minute-guitar-lesson-from-jazz-to-rock-part-2.webp "Part one of this short series looked at how it is common for Jazz musicians to play various arpeggios over any given chord. Arpeggio substitution makes your lines sound interesting because the notes add extensions with the underlying harmony.nnImagine we play for instance a Fmaj7 arpeggio over our Dm7 chordnnDm7 DFA Cn1 b35 b7nnFmaj7 FA C En1 3 57nnWhen you play Fmaj7 over Dm7 you imply the sound ofnnDmin9nnThis is because between the notes you a")
_lead-guitar-lesson-use-chord-shapes-to-find-lead-lines.webp "Worship Tutorials")
_the-secret-to-playing-chords-anywhere-on-the-guitar-neck-easy.webp "MusicMatchr")
_open-d-vestapol-124-d-a-d-f-a-d-124-world-of-tuning-124-rga-junglism.webp "Full page: https://ragajunglism.org/tunings/menu/open-d/ | “Resembles EADGBE’s famous ‘0-2-2-1-0-0’ Emaj shape in terms of intervals – a general pattern sometimes known as ‘Vestapol’ (after The Siege of Sevastopol, an earnest 1854 American folk song about the Crimean War, popular in parlor guitar instructional manuals of the 19th century: more below). Thus, the tuning represents a logical ‘first step away from Standard’: as this Emaj shape tends to be the first major chord we l")
_20-ways-to-play-the-same-guitar-chord.webp "Musora")
_the-chord-trick-every-pro-uses.webp "Rhett Shull")
_ead-gad-124-e-a-d-g-a-d-124-world-of-tuning-124-rga-junglism.webp "Full page: https://ragajunglism.org/tunings/menu/ead-gad/ | “A high-slackened tuning that essentially forms a ‘half-DADGAD’ layout (6-5-4str=Standard, 3-2-1str=DADGAD). This gives an ambiguous ‘open harmony’ – it can be seen as either a seventhless D9sus4, fifthless Emin11, thirdless G6/9, secondless Am11, or rootless C6/9 – or an A7sus4 from the parallel octaves on 5+2str. Great for creating complex chord inversions with the 2nd in the bass. Also also feel how the slackened 1+2str")
_16-chord-shapes-every-real-guitar-player-must-know.webp "Brandon D'Eon Music")
_5-movable-chord-shapes-to-play-everything-on-fretboard.webp "Neil Chan Music")
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