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Guide To Play Guitar

The Beginner’s Guide to Learning the Guitar in 60 Days

Whether you’re young or old, there’s no better feeling than learning to play an instrument. While many attempts to learn the guitar, it is unfortunately very common for beginners to give up after only a couple of months. Guitar lessons with an instructor can be expensive and it can be frustrating if you’re not seeing progress immediately. That’s where ChordBuddy steps in, offering one of the easiest and quickest ways to learn to play the guitar in 60 days or less. Simple, effective, and affordable, this guitar learning device has shown great success among beginner guitar players of every age. Use this handy guide to learn everything you need to know as a beginner guitarist. You’ll be playing your favorite song in no time at all!

외로워 남자 손님 집에서 기타 배우는 여친…한혜진 ‘경악’ (연참3)

Stop wishing. Start playing. Our free guide will teach you to be a master musician in just 60 days. Get yours now – and save 10% on your next purchase!

Common Guitar Myths and Misconceptions

There are many misconceptions about learning how to play the guitar, many of which have hindered individuals from picking up an instrument they’ve always dreamed about playing.

After years in the industry, we’ve heard plenty of reasons that people put off learning to play the guitar. Here are some of the most common guitar myths and misconceptions:

  • “I’m too old to learn an instrument!”
  • “I don’t have the time to learn to play the guitar.”
  • “Physical limitations will get in the way of my ability to play the guitar.”
  • “I can’t play the guitar left-handed.”

The Truth About Learning The Guitar with ChordBuddy

AGE CAN’T HINDER YOU – Working off of muscle memory and visual assistance, ChordBuddy is designed for players of every age. In fact, ChordBuddy is well-suited for those looking to play guitar with arthritis, offering a pain-free method of playing your favorite song. Utilizing ChordBuddy also allows you to learn the guitar on your own, eliminating the need for long guitar lessons with an instructor, which can result in prolonged joint pain.

LEARN TO PLAY ON YOUR TIME – While signing up for weekly guitar lessons may not be feasible, ChordBuddy allows you to learn how to play guitar chords on your time in the comfort of your home or school. That means you can play first thing in the morning, during lunchtime, or even in the middle of the night. Whatever works for you!

ANYBODY, OF EVERY ABILITY, CAN PLAY – Designed for every type of learner, ChordBuddy includes modifications that allow individuals of every ability to successfully learn a new instrument. Perfect for use in the music therapy, home, or school setting, ChordBuddy can help individuals learn to play the guitar flat or with two people at a time, making for what is an all-around therapeutic experience.

RIGHTY, LEFTY, DOESN’T MATTER – ChordBuddy offers a great way to learn how to play guitar for left handed beginners. This guitar learning device is available in both right-handed or left-handed options, making for a device tailored to your needs.

Buying A Guitar For Beginners

First things, first. Before you begin your journey of learning the guitar, you’ll need the instrument! While much of your decision will be based on personal preference, there are some key factors to consider when buying a guitar as a beginner guitarist:

  • Price
  • Style
  • Player Age/Size
  • Guitar Condition
  • Where You’re Purchasing

WHERE TO PURCHASE

As a beginner, it is best to avoid making a pawn shop, flea market, or yard sale purchase unless you are shopping with somebody who has experience in purchasing a guitar. Having never purchased a guitar, you may not know what to look for in terms of damage or guitar quality. With that being said, a local music retail shop is your best bet. You may also shop online with a reputable company, although be sure to review the business’ return policy.

ㅎㅂ 기타실력 평가 해달라고 하는 유튜버

PRICE OF GUITAR

While some suggest that a great guitar can cost you between $300 and $500, there are plenty of quality guitars available within the $100 to $200 range. Additionally, there are many “package” options that include not only the guitar, but also essential accessories, such as a tuner and gig bag

ELECTRIC VS ACOUSTIC VS CLASSICAL GUITAR

Though this decision can be based on preference, we think the best guitar for a beginner is the acoustic guitar. Classical guitars have a wider neck, which can be hard for younger students or physically smaller individuals to handle when learning guitar chords. Meanwhile, the electric guitar is designed to be played with an amplifier, which comes at an additional cost. Acoustic guitars are simple and require little to no additional equipment, making them ideal for beginner guitarists.

CONDITION OF GUITAR

There are numerous things to look for when purchasing a guitar. If purchasing a brand new guitar, these issues likely won’t be a concern, but they are worth checking for. Here are some steps to follow as you check the condition of a guitar:

1.) Slowly run your hand up and down the length of the guitar’s neck, as pictured below. It should be smooth, with no sharp edges or splinters.
2.) Turn the guitar over and check its heel, as indicated in the photo below. There should be no cracks or gaps between the guitar’s heel and neck.
3.) On the front of the guitar, check the bridge, as pictured below. Run a thin pick between the bridge and the body of the guitar to ensure there are no gaps.
4.) Check the guitar’s string height by pressing down on the first, second, and third fret. You should be able to do so with minimal effort. Come to the 12th fret and press down. The distance from the top of fret to the bottom of the string should be no more than three times. If it is five times, the guitar may have a warped neck or too high of a bridge.

How to Play Guitar Chords

In order to play your favorite song, you’ll need to learn guitar chords. Use the images and instructions below to learn how to play each chord. The ChordBuddy device can be used for assistance in knowing where to place your fingers In the images the circles represent where you will be placing your fingers (I=index, M=middle finger, R=ring finger, P=pinky). The X’s represent strings that you will not be strumming while the O represents strings that will be played without any frets.

HOW TO PLAY THE D CHORD

  1. Place your index finger on the third string at the second fret, your middle finger on the first string at the second fret, and your ring finger on the second string at the third fret.
  2. Leave the fourth string open.
  3. Strum the bottom four strings.
  4. Pay attention to the sound. That’s the D-chord!

HOW TO PLAY THE C CHORD

  1. Place your index finger on the second string at the first fret, your middle finger on the fourth string at the second fret, and your ring finger on the fifth string at the third fret.
  2. Leave the first and second strings open.
  3. Strum the bottom five strings and you’ll hear the C Chord!

HOW TO PLAY THE G CHORD

  1. Place your middle finger on the fifth string at the second fret, your ring finger on the sixth string at the third fret, and your pinky finger on the first string at the third fret.
  2. Leave strings two, three, and four open.
  3. Strum all strings. That’s the G Chord!

HOW TO PLAY THE E-MINOR CHORD

  1. Place your middle finger on the fifth string at the second fret and your ring finger on the fourth string at the second fret.
  2. Leave strings one, two, three, and six open.
  3. Strum all strings. That’s the E-minor Chord!

There you have it! Practice these chords and you’re well on your way to playing the guitar.

READY TO LEARN GUITAR?

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Guitar Basics For Every Beginner

Now that you’ve learned how to play guitar chords with the help of ChordBuddy, you’re well on your way to learning how to play your favorite songs. In addition to helping beginners learn how to play guitar chords, ChordBuddy can help you learn essential guitar basics such as…

Once you feel comfortable with playing guitar chords, you can begin to move on to something more challenging—songs! ChordBuddy makes the process as simple and efficient as possible. Simply take off the colored tabs as you progress until you’re able to play without the device.

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Top Albums Of The Year

Last year felt particularly cruel as we watched so many of our pop-culture icons get taken from us without warning. By December, we all yearned for a pause, an ending, a reset. However, none of the comforts that come with the hopeful act of flipping a calendar page lasted long into 2017. Instead, we’ve felt the pain more acutely and more personally than a year ago. Most of us have witnessed our core values challenged, felt our realities shaken, and endured daily reminders that who we are in our most basic integrity remains very much at stake. For that reason, it’s been a year in which we’ve turned to music out of necessity perhaps more than ever. The albums you find on this list aren’t just records we admired or caught ourselves dancing to. In many cases, they’re part of the reason we’re still here. They’ve consoled and empowered us, understood how we’ve felt, and in a time of such ugly, bitter divisiveness, reminded us that we’re never truly alone in mind, heart, or spirit.

소유, 봄에 돌아온 ‘음색 여신’…새 앨범 수록곡 티저 공개

 

These are the 50 albums we’ve leaned on most this year. Here’s hoping they don’t have to do such heavy lifting in 2018.

–Matt Melis
Editorial Director

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50. JOHNNY JEWEL – WINDSWEPT

Top Albums

Origin: Los Angeles, California

The Gist: After placing Chromatics’ Dear Tommy in the Red Room, Italians Do It Better producer and multi-instrumentalist Johnny Jewel issued this daring solo album mostly inspired by his work behind the scenes on Twin Peaks: The Return.

Why It Rules: With Windswept, Jewel sounds more assured as a producer than ever, conjuring up a moody amalgamation of his signature brooding synthpop and a style of free-form jazz akin to David Lynch go-to Angelo Badalamenti.

Essential Tracks: “Windswept”, “Slow Dreams”, and “Between Worlds”

–Michael Roffman

 

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49. ONEOHTRIX POINT NEVER – GOOD TIME

Origin: Wayland, Massachusetts

 

The Gist: Two years after the interstellar, metallic Garden of Delete, esoteric electronic experimentalist Daniel Lopatin (AKA Oneohtrix Point Never) returned to score a crime drama starring Robert Pattinson. Retaining his own burning palette and pushing it through a Vangelis/Carpenter mesh, Lopatin continues to find new ways to inject anxiety and awe under the skin.

Why It Rules: A somber, piano-heavy collaboration with Iggy Pop in which the Stooge dreams about petting crocodiles is a good place to start, but Lopatin delivers the high-voltage thrills all on his own.

Essential Tracks: “Hospital Escape / Access-A-Ride”, “The Acid Hits”, and “The Pure and the Damned”

 

–Lior Phillips

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48. JAY SOM – EVERYBODY WORKS

Origin: Oakland, California

The Gist: Multiple-instrumentalist Melina Duterte (aka Jay Som) rode her production and recording acumen on debut LP, Turn Into, to a deal with indie major Polyvinyl for Everybody Works.

Why It Rules: In what can only be described as bedroom maximalism, Duterte dug her lyrics into the granular, banalities of existence and aimed her production at expansive soundscapes. On “The Bus Song”, Duterte sings, “I can be whoever I want to be,” and that’s exactly who she is on Everybody Works.

 

Essential Tracks: “The Bus Song”, “Everybody Works”, and “For Light”

–Geoff Nelson

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47. THE JUJU – EXCHANGE

Origin: Chicago, Illinois

The Gist: After rising to session-player fame by collaborating with Chance the Rapper, Kanye West, and Vic Mensa, 24-year-old trumpeter Segal (FKA Donnie Trumpet) wrangled three fellow Chicago musicians together to expand his interest in experimental jazz, ultimately showcasing how the backbeat of hip-hop’s new sound is worthy of its own spotlight.

Why It Rules: On their debut LP, The Juju Exchange follow in the footsteps of producers like Flying Lotus and Knxwledge — not in sound, but in audience awareness, drawing listeners out of their usual jazz associations and into a world of smooth, free-form, low-key musings that inspire with their use of ample space.

Essential Tracks: “The Circuit”, “We Good”, and “Morning Of”

–Nina Corcoran

‘싸이 그룹’ TNX, 데뷔 앨범 ‘WAY UP’ 포스터 공개

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The Best And Worst Musical Hosts

This weekend, Chance the Rapper will take the stage to host Saturday Night Live, leaving the musical guest duties to Eminem. Last weekend, Taylor Swift rejoined the late-night sketch institution for a couple of songs, but she also handled full hosting responsibilities back in 2009. Ever since Paul Simon emceed the second-ever episode back in 1975, SNL has granted adventurous musicians the opportunity to try their hand at sketch work.

Episodes hosted by non-professional actors are always dicey; there are few experiences more exquisitely painful than watching a good-natured quarterback stumble his way through a commercial parody. Musicians generally have a better go of things, channeling their natural stage presence into a more precise format. But when they tank, they tank hard. We’ve surveyed Saturday Night Live’s long history of turning the host’s mic over to music stars.

The Good
Debbie Harry

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On Valentine’s Day 1981, Debbie Harry’s acting career (she had memorable roles in David Cronenberg’s Videodrome and John Waters’ Hairspray) mostly lay ahead of her. America knew her as the lead singer of the new wave outfit Blondie and an emblem of post-punk glamour, but a winningly game performance heralded bright things to come. She bounds onstage for the monologue in her sporty tux and works the crowd like she’s bantering between sets, and beams like the proud kid she is when she shows off her parents in the crowd. For sheer surrealist magnificence, there’s no matching the Waxmans in SoHo sketch, in which Harry tentatively attempts to come out as a lesbian to her uncle Gilbert Gottfried.

Dolly Parton

Dolly Parton on SNL.
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Dolly Parton on SNL. Photograph: NBC
The country and western superstar’s entire schtick revolves around having a sense of humor about herself – about her manners, about her assorted surgical upkeep, about her trashy-made-flashy style. Accordingly, she was a good sport as the host of an April 1989 episode that took potshots at her spotty career on the silver screen (her film Rhinestone was still an instant punchline) and, more than anything, her breasts. The virtue of Parton’s performance was in transcending otherwise repugnant material, including a monologue revolving entirely around her boobs and another sketch titled Planet of the Enormous Hooters. All through it, Parton remains a consummate professional, grinning and rolling with the blows.

Justin Timberlake

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The live-wire stakes of Saturday Night Live are perfectly suited to the charismatic showman’s skill set. From his earliest days as a Mouseketeer through his stint with ’NSync, Timberlake has thrived on the nourishment of an adoring crowd, and the routinely glowing reception he gets at Studio 6H has powered him through five appearances as host. In his recurring Bring It on Down to ______ville sketches, Timberlake hits a positive feedback loop with the audience, going bigger and getting bigger laughs, which in turn amplify his energy even more. But his finest work has taken place outside NBC’s facilities, in his regular appearances on the Lonely Island’s digital shorts. The 90s-R&B lothario of Motherlover and Dick in a Box could sustain his solo career.

The Bad
MC Hammer

MC Hammer and David Spade
MC Hammer and David Spade. Photograph: NBC
In December 1991, MC Hammer was on top of the world. He had scored a chart-topping hit with U Can’t Touch This, and the song had made history earlier that year as the first rap track to crack the Record of the Year category at the Grammys. He had his own cartoon featuring a pair of talking shoes. What could go wrong? As it turns out, a wooden and uncomfortable style of acting, paired with some limp writing from a staff that clearly knew precious little about hip-hop. One sketch revolves around Hammer playing himself as he tries to get past a pushy receptionist to see Dick Clark, and even that seems like a tall order.

Justin Bieber

The swishy-haired Canadian singing sensation pulled double duty in a February 2013 episode, and while the cast member Bill Hader has already gone on record to confirm that the youngster was a backstage terror, he didn’t fare much better in front of the cameras. He couldn’t fit in on the regular sketches The Californians and The Miley Cyrus Show, and in the sketches that played on his heartthrob status, such as Valentine’s Dance and 50s Romance, he comes across first and foremost as … Justin Bieber. Perhaps it was impossible from the start for a boy already a parody of himself to lampoon his own persona – best to leave the Justin Bieber appearances to resident impersonator Kate McKinnon.

The Brooks
Garth Brooks

Tracey Morgan and Garth Brooks
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Tracey Morgan and Garth Brooks. Photograph: NBC
Brooks wasn’t the worst host SNL has ever seen, but his gig on 13 November 1999 was certainly one of the strangest. The country megastar turned SNL into another phase of his bizarre career pivot to “Chris Gaines”, a rock’n’roll alter ego Brooks had invented as part of a studio album that had debuted two months prior. Gaines, for whom Brooks created an entire fictional identity and planned an aborted film vehicle, performed as the musical guest and was credited independently. In one sketch from that evening, Tracy Morgan confronts Brooks and tells him to ditch the act, referring to the somewhat heavier-set character’s look as “Girth Brooks”. Brooks eventually came to his senses, but that episode remains a bizarre pop-cultural footnote.

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A Beginner’s Guide To Garage-Rock

“My motto is: try everything, life is short,” says John Dwyer, the leader of San Francisco garage rockers Thee Oh Sees. “We are growing at every turn. Every day you get a little older, a little closer to the grave – you should taste it all.”

A master of contemporary garage rock, he came into prominence as part of the fruitful San Francisco scene of the early 2000s. Since then Thee Oh Sees have rattled out 21 LPs of bewilderingly consistent quality, under various iterations of their name, and Dwyer has written, recorded and released another 20 albums with other collaborators, encompassing everything from industrial electronics to improvised jazz and death metal.

In a recent interview with Marc Maron, Dwyer talked of his love of Scott Walker and, in particular, a scene in the Walker documentary 30th Century Man when a percussionist is recorded punching a side of beef; Dwyer has similarly tried to master new sounds, be it a flute on Thee Oh Sees’ Dog Poison or electronic bagpipes on his most recent Damaged Bug LP. His career is full of examples of how to explore genres on a shoestring, too – there are projects that are just drums and vocals (the Drums) or a hefty death metal record squeezed out of three people (Dig That Body Up, It’s Alive). We asked him where to begin in his vast back catalogue.

Coachwhips – Bangers vs Fuckers (Narnack, 2003)

Coachwhips rewrote the punk aesthetic for the 21st century. Raw, stripped back to the bones of guitar, drums and keys, their shows were chaotic and rambunctious. Bangers vs Fuckers epitomises that, squeezing 11 tracks into 18 minutes, and was notable for Dwyer’s use of a telephone transducer rather than a microphone. “It was very simplistic and was meant to be bombastic and primitive,” Dwyer says. “Doing it the most direct path was key. The music was so abrasive and forward that no one would have noticed any of our innovation. It was a sort of as-much-as-you-can-squeeze-from-nothing aesthetic.”

OCS – 34 Reasons Why Life Goes on Without You (Tumult, 2003)

“This goes hand-in-hand with the amount of marijuana I was smoking at the time,” is Dwyer’s take on this early OCS material, a stunningly delicate collection of untitled tracks that marks the only time an acoustic guitar has been given prominence in one of his records.

Zeigenbock Kopf ‎– IDM LP (KimoSciotic, 2002)

The first time Dwyer worked extensively with abrasive electronics was in his band Zeigenbock Kopf. The group aped German industrial to create an abrasive noise overlaid with homoerotic subject matter – the IDM of the title stands for “I dig men” and the cover featured Dwyer dressed as a leather daddy. “I got a lot of heat from this band,” he says. “We had a real mix of people who loved and hated it. I think it goes to show that not every idea is a good idea or needs to be a reality. I was much more into heavier drugs and beats and distorted electronics, so it felt perfect. I had this idea of doing a faux German band, and the leather daddy thing sort of fell into line with it.”

Sword & Sandals ‎– Good & Plenty (Empty Cellar, 2010)

This project with Randy Sutherland and Shaun O’Dell wraps duelling saxophones around blistering percussion. “I love jazz and improvisation,” he says. “That band was real fun. We played a lot of shows in the woods, on the street, in art galleries and bookstores. Even today we have massive segments of improvisation in Thee Oh Sees, so why not [do it]? It would be boring otherwise.”

Damaged Bug – Bunker Funk (Castle Face, 2017)

With Thee Oh Sees constantly touring and recording, it is astounding that Dwyer finds time to work on his own Damaged Bug solo project, full of instrumental experiments (like the aforementioned bagpipes). “It’s my meditation – I love doing it,” Dwyer says. “I love to be consumed in art, whether it be my own or somebody else’s. I love Philip K Dick, Truman Capote, Flannery O’Connor, Peter Watts, Ben Wheatley, Stanley Kubrick, Peter Weir … the list could go on for days. I’m always working.” With that approach, it would not be a surprise to see 40 more releases over the next two decades.

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Guardian Books Podcast #2

The Guardian Books podcast is our weekly look at the world of books, poetry and great writing presented by Claire Armitstead, Richard Lea, & Sian Cain. With in-depth interviews with leading authors and investigations into the thematic trends in contemporary writing, this is the perfect book worm’s companion

As a new report reveals the dire financial straits being faced by literary novelists, we investigate how these bleak conditions arose and what can be done to help the writers, regarded by some as thoroughbreds and by others as ghosts of Christmas past.

We also catch up with Edward St Aubyn, one of a series of top novelists hired to reimagine Shakespeare’s plays for the 21st century. Perhaps not surprisingly for a writer whose name-making Melrose novels centred on his own monstrous father, he chose King Lear as his subject. In a Guardian book club event chaired by John Mullan, he introduces Dunbar, the autocratic head of an international media corporation who has recently been ousted by his family.

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The H3 Podcast #1

If Lunar H3 started as a drunken lark in a bar poking fun at the raising of rego prices as time goes on, then the Lunar H3 podcast was conceived with even less brillance, but maybe as much alcohol.

Virtual circle was just too much fun to follow that it seemed it should have a soundtrack to accompany it. And why not have two blow hards like SqueezeMe and Brown Noser to spew their worthless drivel streamed live over the internet.

Turn into to our worthless show during virtual circle for now… but lets be honest. This will only continue with enthusiasm of our strong fanbase of dozens of hashers.

Hopefully this site helps explain to people who we are and what we do, even though we barely know sometimes. This should be the launch pad to connect you with the show, us and Lunar H3 as if you didn’t know about that phenomenom.

Put this in the contacts of your phone and call us when you are drunk. Here are some discussion topics to get the conversation started:

  • Who you are and how much you have been drinking?
  • Where you are drinking?
  • What you are drinking?
  • Have you been hashing?
  • What happened on the hash?
  • Are you on trail right now? (drink for tech on trail)
  • How did you get your hash name?
  • Are you injured and need assistance and thought calling us was a good idea? (hang up and call 911 or your mom)?