In this video we select a 16th note 1 bar rhythmic phrase, take the notes away and strip the melody back to the melodic rhythm. We then spontaneously place alternative pitches on to each rhythm syllable, one chord change at a time.
This is not a guitar 101 guitar lesson. There is nothing newbie about the next seven steps.
Step One: You must know the chord progression for the Hotel California verse by heart.
These are Bmi, F# ma, A ma, E, G major, D ma, Emi, F#.
Step Two: You must know how to fret the chords in order.
Step Three: You should know how to arpeggiate these chords in order.
Step Four: You should know how to talk the reference rhythm continually.
Step Five: You need to know how to map notes from each arpeggio to the reference rhythm.
Step Six: You must verbalise the rhythm and arpeggiate in time with that focus rhythm
Step Seven: You can freeflow notes over the reference rhythm without verbalising the rhythm.
And you can do this uninterruptedly all day until the ducks come home.
Assuming you know steps one to three, you will now learn the focus rhythm: bar 1 of Hotel California with the words: “on a dark se-sert high-way”.
This rhythm is called the “sadibi dadibi daba so” rhythm. You should be able to talk the rhythm during steps four to six and sense the rhythm in step seven.
The “sadibi dadibi daba so” rhythm is fully detailed in this presentation.
This rhythm word belongs to the dibidibi rhythm group. Hotel California is a 16th note song rhythmically speaking. You can learn more about the dibidibi rhythm vocabulary in the Rhythm Book 103: Sixteenth Note Rhythm Patterns (Volume 3)
Which you can access here:
And in this Youtube Dibidibi rhythm
How a compositionally proven rhythm can bring theoretical things like chord tones alive is one discovery made in this video.
What lessons did you discover through this video?
Why don’t you tell me?
In the commments below.
Want me to demonstrate another bar of Hotel California in the same way?
Just ask for any bar you like between bar 02 to 64 in the comments below.
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