In addition, since it’s a tutorial on the live version I’ve had questions about the basic, and alterations of, the guitar strumming pattern for the song. I’ve also had more than a couple questions about the the outro section. Justin seems to “improvise” his way out of the tune thereby creating some very interesting rhythmic devices. It is a little tricky as Justin has clearly learned a thing or three from Dan Kanter🙂
Here are the links to part 1 and 2 of my tutorial set for Justin’s unique and guitar-friendly cover.
Ed Sheeran’s new song “New Man” is just what the doctor ordered for those of you who need to get over your fear of barre chords. This phenomenon seems to be occurring more and more and the guitar Capo has pulled many away from the dreaded process of learning to get those fingers holding down multiple strings.
But as luck would have it, along comes Ed to help you deal with the inevitable. “New Man’ consists of five chords. G, E minor, D, C, and B minor. All chords are played with 5th string roots and nary a once do you touch the 6th or 1st string.
Here are your chord forms:
G Major 10th Fret)
E Minor (7th Fret)
D Major (5th Fret)
C Major 3rd Fret)
B Minor (2nd fret)
There are only two chord patterns used in the song:
Pattern 1 is as follows (mainly during the intro and verse):
E Minor-G Major-D Major-E minor-C Major-B minor-D Major-E minor
As you can see, E minor is the central focus of the progression giving us the expected minor tonality that matches the lyrical content of the verses.
Pattern 2 is played during the chorus and bridge sections, that progression is as follows:
G Major-D Major-E minor-C Major-B minor-D Major-E minor
The G Major lead in this section brings a nice contrast to the chords and gives the song the rhythmic lift it needs to launch us into the somewhat more hopeful chorus section.
As for how to deal with barre chords? I recommend starting them on electric guitar (if you have one) and once you produce a good clear sound, transfer over to acoustic. If you wish, stay on electric. Use a clean tone with light reverb or chorus.
As for playing the chords, do not use a pick but rather articulate each chord with your thumb, index, middle, and ring fingers. You can add a tap after each chord however, know that Ed doesn’t over-emphasize that technique in this song. I do it just to mark the rhythm of the pattern.
Take your time with this one. Move back and forth through the chords making sure you are accurate with both right and left hands.
This is a nylon-string cover of the beautiful ” Bratja (Brother)” written by Michiru Oshima.
Here is more information about the song that will put things in context:
Brothers (Russian: Братья, Bratja; Japanese: Buraacha) is a song composed by Michiru Oshima for the anime Fullmetal Alchemist. It can be found on the first Fullmetal Alchemist O.S.T.. Other orchestrated versions can be found on Fullmetal Alchemist O.S.T. 3 and the Fullmetal Alchemist: The Conqueror of Shamballa soundtrack.
The song is about the Elric brothers, Edward and Alphonse, and their feeling about the tragic incident that happened at the very beginning of the series. They attempted to resurrect their mother who had died of an illness. However, during the transmutation, Alphonse lost his body while Edward lost his left leg, and, consequently, his right arm.
In the first verse, Edward expresses his grief and regret for pushing his brother into doing the transmutation with him. He blames himself for what happened, admitting that “there is no cure for death”. Alphonse, in the second verse, attempts to console him. He urges Ed to forget whose fault it is, as they both chose the same path, so neither of them is more guilty than the other. In each of the choruses, they sing about how much their mother meant to them, but how their tries to bring her back were in vain. In the final stanza, both brothers question where they should go from where they are now after realizing that it is impossible to bring back that which has been lost.
Another version of the song was recorded in english by Vic Mignogna, the voice actor who played Edward Elric in the series.
Here are the lyrics translated into English:
Forgive me, younger brother
I am to be blamed
It is impossible to return
that, which has been taken by earth
One that knows the law
would help me find the answer.
I made a terrible mistake,
there is no cure for death.
Dear Mother! So Soft! (soft as in loving)
We loved you so much.
But all our powers
were spent in vain.
I intrigued you
With the perfect hope
To return our family
My brother, the blame is all mine.
Don’t cry, don’t despair, older brother
You are not the only one to blame
We both have one road
Lets bury the blame to the depth (meaning lets forget whos fault it was)
I can’t blame you for anything,
And I hold no hard feelings. (as in Im not mad at you)
Heavy is our cause
The desire to be stronger than all
Dear Mother! So Soft!
We loved you so much.
But all our powers
were spent in vain.
I was intrigued myself
with the wonderful hope
to return our family.
I am the one to blame.
So what do we do now?
How do we correct and forget?
When you can’t return
That, which was been taken by earth.
One thing is sure, people still love live music. If there was any worry that is was slowing down that’s surely gone. Fans want the real deal. Audio improvements, ease of downloading music, and the saturation of music in the media have not dimmed that internal desire for live performance. Our GM put it best when he said that “the business is healthy, and business is good”. The pubic’s desire to become, as it where, part of the experience continues to bring them to venues in droves.
All of us deal with concert goers that come up to us pleading that they know someone in the band. I knew rock stars were “prolific” but I didn’t know it spread so far. My reaction is always “You don’t say?!” “How do you know him?” Crickets…:)
Rob Zombie’s set smoked. He sounded great and to be honest, for a few moments I forgot who the headliner really was. I kept thinking, “How can the show get any bigger than this?”John 5 played a blistering four minute long guitar solo during Rob Zombie’s covert walkathon through the crowd. Ya, maybe a little cliche at times but still great. It’s about time he was allowed to cut loose. It wasn’t going to happen with Marilyn Manson as the music wasn’t about long guitar solos. But with Rob’s vibe, it fits perfectly.
Zac Brown’s horn section ripped out some of the most thrilling lines I’ve ever heard during their spotlight. For sure horns in a country band are unusual. Credit has to be given to Zac’s vision of the band as the variety of instruments in Zac’s music is what creates the magic.
Korn has to have the largest female following in Metal. Easily. I’m not saying I have the reason for it, it’s just a fact. What does it mean? I dunno, maybe there’s something to be learned here for other bands who carry a heavy “guy” fan base.
Breaking up fights during shows is dangersome and delicate. But, there is an art to it. One things for sure, a girl fight is the dread of us all.
Zac Brown’s cover of The Who’s, “Baba O’ Reilly” was explosive. The keyboard part at the beginning could have been tweaked a bit better but nevertheless, it was refreshing to see fans of all ages singing along. It was a genius move to cover that gem.
I still don’t understand mosh pits. How more young people are not injured is beyond me. Flailing arms, karate kicks, muscular hulks with fire in their eyes, females fearlessly running around impervious to the danger. It’s interesting to watch but that doesn’t make it any more understandable to me. But…hey, it’s there and it’s part of what makes this music burn.
Korn’s music has a unique element in it that produces an aggressive and hyper-ecstatic reaction in its fans. What that element is centers around their unique harm and very tight and compressed sound. There were moments when it felt as though the venue was about to go nuclear.
Zac Brown’s music is at times fun, sad, reflective, lively, and safe. But, when he hit the stage it all changed. The high-octane crowd took it to another level. Zac rocked hard. I must say I was pleasantly surprised! Be assured that Zac Brown is the real deal. He runs a very well oiled music machine and they are tight.
The key to being good at working on the floor during high energy shows is a very keen sense of people. If you can’t read a situation instantly you won’t make it. You have to look, evaluate, judge, and keep your eyes moving. Other than that it’s a piece of cake.
Experience. There is no substitution for it. Every show, every situation, and every moment is an opportunity for growth and movement forward. This is the greatest job I ever loved.
Mark Jeffery Campayno runs a music performance studio, Musicians-inc/StudioRock of Northern Virginia. Mark also directs the guitar department at Broad Run High School in Ashburn,Virginia. He also works on the pit crew at Live Nation’s Jiffy Lube Live Pavilion in Bristow, Virginia, and hosts his own internet radio show, The Studio Rocks at http://www.jazzbites.com.
This is an instrumental song about soaring to heights you’ve only dreamt of. But after listening, you must prepare yourself to live like there are no limits to your potential. Maybe then you will find that there really aren’t any if you are of a mind to overcome your circumstances. -Mark
The track was written and produced by, Martin Carlberg.
The electric guitar melodic content was performed and produced by Mark Jeffery Campayno. Mark played his Paul Gilbert Model Guitar (PGM150) for this session.
Published on Mar 20, 2016
“The Sky Is No Limit” – Original Song/Collaboration
Track Composer: Martin Carlberg