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The free resource for this guide is a songbook that will teach you some popular and easy tunes, like "Bad Moon Raising", " Hallelujah", or "Hey Joe". Click the button below to request your access to the free download area.
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Here is another great example of the G7 being used in this old time American spiritual. However, it is fine to play G major in the place of the G7. It will still sound fine and your audience will never know the difference!
This 50's song had a big comeback after the movie Beetlejuice, it is a traditional Jamaican folk song made popular by Harry Belafonte. While this song is simply C major and G major like the rest on this list, the key to playing it is to get the strum right. Jamaican and reggae type songs often have an emphasis on the 2 and 4 beat, strum with a percussive type effect on these beats as you play the Banana Boat Song.
I included this great song by The Beatles because it is a good example of how even a two chord song can be a little difficult to play. You will find much of the verse is in G with a short part in the C major chord, in fact many sites have the chord as G7. As you learn to play it, it will seem strange that you are staying in that same G chord for much of the verse. I find this can be fixed by good strumming and switching between G and G7. It's really all about using your ear. G7 is not that much different than G major and now is a great time to pick it up and start using it. With Paperback Writer you see that even two chords in a song it is not always easy!
Some of these songs have the F chord in some parts. Full bar chords are not easy for beginners. If you're not comfortable yet with bar chords , you can use one of the simplified shapes that you find on the F major chord diagrams page.
Soul Asylum released this power ballad about depression back in 1992, a heavily rotated radio play and video at the time. If you notice so far many of the songs on this list have a much more serious and sometimes sad feeling, that is because the E minor and A minor. Upbeat songs are often always in major keys, as soon as we add minors it can give it a more downcast attitude. This song also has a slash chord ( Em/B ) where it uses the B in the bass instead of E, however it is fine to play the regular Em if you are more comfortable with that.
The I (C major) , the ii (D minor) , the iii (E minor) , the IV (F major) , the V (G major) , and the vi (A minor) are now all apart of our music vocabulary!
In the last sections we have discussed songs that you can play with just two, three, four, five and six chords. We have stayed in the key of C major to keep it easy with the chords C, Dm, Em, F, G, and Am.
This last song was a hit for Paul Revere and the Raiders and The Monkees both. It is going to challenge you with one new chord and a progression that is hard to play, but worth the effort! Of all the chords we often see in rock songs along with Eb and Bb, it is common to see Ab . Before we learned that the vi chord was A minor in the key of C, well sometimes in rock they turn it to A major and flatten it! This VIb, is actually known as the Buddy Holly chord because he popularized it during the chorus of Peggy Sue . As you search for songs with the dreaded Eb and Bb you will often see this Ab thrown in the mix. So it can't hurt to learn it now on such a funky and fun song for your guitar.
Salut d'Amour does not sound like a typical work by its composer Edward Elgar, perhaps because he was young and in love at the time. It was written as an affectionate gift to the woman who was to become his wife with the dedication "To Carice", an abbreviation for "Caroline Alice". It was originally given its German name Liebesgruss because she spoke German fluently, but it is now best-known under the French title "Salut d'Amour" though its German and English titles are also sometimes used. It is a song-like sentimental work with a strong melody which flows passionately. Although Elgar's original work was for Violin and Piano in E major, he also created several arrangements of it for different combinations of instruments. All the arrangements have subtle yet interesting differences to make the music more suitable for their respective instruments. On mfiles in addition to the original version and this one for Cello and Piano, we also have the version for Piano Solo (in E), although other arrangements are also commonly heard and recorded.
For this arrangement you can download the sheet music parts, midi and mp3 files using the links on the left hand menu. Below is a video to illustrate this arrangement. Below that you can play the mp3 file or view the sheet music.
The audio controls below allow you to play the mp3 version of Elgar's Salut d'Amour Op.12 for cello and piano or you can download the MP3 file. You can also download the midi version of Elgar's Salut d'Amour Op.12 for cello and piano or alternatively edit/play the midi file.
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In this episode we are joined by Tristan Bridges, editor of the Journal of Men and Masculinities and Assistant Professor of Sociology at the University of California, Santa Barbara. Bridges joins us to reflect on the influence Raewyn Connell has had on his understandings of masculinity and power from his initial encounters with her writings to his more recent scholarship.*This podcast is the first of three hosted by Alysha Rios, an undergraduate sociology major at SUNY Brockport, who makes podcast hosting look far easier than it is. 2ff7e9595c