Music
www.boltonmusiclessons.com are proud to announce the following lessons are now available:
Guitar – Electric, Acoustic and Classical – all styles covered – Grades, GCSE or just for giggles.
Bass Guitar – Rock, Jazz, Pop and more…
Folk instruments – ukelele, banjo, mandolin and bodhran.
Vocal Tuition – Learn to sing with an experienced teacher.
Keyboards – Beginner to intermediate – learn to play for fun.
Recording – Get to grips with recording your own compositions on a budget, what to buy, how to setup and how to get started.
Composition – Learn how to write music, got an idea why not come for a lesson and workshop it into a rounded peice of music.
Songagram – Get your idea recorded or record your favourite song for yourself or for someone else – we can do original compositions or covers.
All our teachers are experienced working musicians who can cover a variety of styles and genres.
We are based in Farnworth, Bolton BL4 in an easy to find location.
We work days, nights and weekends.
Lessons are charged at £15 for a 45 minute lesson or block bookings can be arranged at 4 lessons for £55 or 10 lessons for £130.
Our teachers:
Jess Main: Singing Teacher
I didn’t come from a musical family, but always wanted to sing from a young age.
I was 10 when I began my musical training, and now at 25 I have completed my Masters degree in Vocal Studies (York). As a member of a female trio, I regularly perform in concerts in London and the north.
I have been coaching various ages of singers since 2009, alongside running several vocal groups. Having explored genres from opera, musicals, cabaret and classic rock, I know that my knowledge would be a useful tool to help you improve your own skills.
Bespoke Lessons
I do believe that everyone has the ability to improve their vocals under suitable tutelage and encouragement. Whether you want to get to grips with a particular style, work towards a grade or just simply enjoy the satisfaction of making a great noise – I can provide that help in a friendly, enthusiastic environment.
Contact details: jess@boltonmusiclessons.com Mobile: 07595 369437
Karl Kramer: Drum Teacher. (mobile, home lessons)
I have been playing drum kit since I was 12 years old, and orchestral percussion since I was 14.
I also teach mandolin, ukelele, keyboards, bodhran, recording and composition.
Over the years I have played in many ensembles, exploring both style and creativity. Since beginning drum kit, I have played for metal bands to folk bands, and I currently play Bodhrán for my band ‘Nish As Rish’ (www.nishasrish.com).
With experience in the Isle of Man Symphony Orchestra, York Symphony Orchestra, University of York Concert Band and CHIMERA ensemble, I am also well practiced in all tuned and non-tuned percussion.
Bespoke Lessons
Our lessons will be focused on three fundamental areas of learning: Technique – Solid technique is key to developing into a great player. Improvisation – Rather than focusing entirely on existing repertoire, I’ll help you explore ways into creating your own music and style. Musicianship – The most important thing about being a drummer is listening to other musicians.
Contact details: karl@boltonmusiclessons.com 07597 837010
Mark James – Guitar Teacher
I’ve been playing guitar since I was 12 and have been playing in bands since I was 15.
I now record under the name Back Bone Shiver – a solo project.
I have been teaching for over 6 years now. mainly in the Bolton area but branching out into Leigh, Walkden, Manchester and Horwich.
I love it, as a business it keeps me off the streets but as a vocation I have loved every minute of it.
Bespoke Lessons
My philosophy when it comes to music has always been no boundaries and I apply that to my teaching.
If you want to play for yourself or others then I’m more than happy to help.
I teach all styles of guitar, I also play bass, banjo, ukelele and mandolin.
I also have a decent project studio recording setup which is also available to students should they need it.
Contact details: mark@boltonmusiclessons.com Mobile:07780 681 585
If you would like to discuss booking a lesson or need advice of what to buy,
Related Reading:
What is a capo?
‘A capo (short for capotasto, Italian for “head of fretboard”) is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings, hence raising the pitch. It is frequently used on guitars, mandolins, and banjos. G.B. Doni first used the term in his Annotazioni of 1640, though capo use likely began earlier in the 17th-century.’ – WIKiPEDIA
Using a Capo can be quite a difficult thing to get to grips with.
A lot of songs on the internet will state whether a capo is used a few don’t.
But besides playing a song in the way it was intended we can us a Capo for other reasons.
transposing a song to our voice without having to change chord shapes or when trying to avoid too many barre chords.
Why avoid barre chords?
The first obvious reason is that when we start playing guitar the barre chord is a deal breaker.
It’s damn hard for new guitarists to move freely to a barre chord and sometimes dammit you just want to play that song!
The other is that when finger picking we can use open chords to play more elaborately, also the preasure needed to apply barre chords while picking can be very wearing on the fingers and hand.
Below are some tables showing the transposed open chords when the capo is applied to each fret.
The ‘Black‘ letters indicate the Original Chord, mainly Open Chords apart from the ‘F‘ and ‘Bm‘ which can be Barre Chords.
The ‘Red‘ letters indicate the new chord.
I’ve used the most common chord shapes to keep things simple.
The way to use these tables is to write out your chords on a peice of paper and then look for the best solution.
Find the chords you have in the red row and then move the capo to that fret. Using the chord shapes form the black row will now give you the transposed version.
Capo 1st Fret
C D Dm E Em F G A Am B Bm B7 C# D# D#m F Fm F# G# A# A#m C Cm C7 Db Eb Ebm Gb Ab Bb Bbm
Capo 2nd Fret
C D Dm E Em F G A Am B Bm B7 D E Em F# F#m G A B Bm C# C#m C#7 Gb Gbm Db Dbm Db7
Capo 3rd Fret
| C | D | Dm | E | Em | F | G | A | Am | B | Bm | B7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| D# | F | Fm | G | Gm | G# | A# | C | C#m | D | Dm | D7 |
| Eb | Ab | Bb | D#m |
Capo 4th Fret
| C | D | Dm | E | Em | F | G | A | Am | B | Bm | B7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| E | F# | F#m | G# | G#m | A | B | C# | C#m | D# | D#m | D#7 |
| Gb | Gbm | Ab | Abm | Db | Dbm | Eb | Ebm | Eb7 |
Capo 5th Fret
| C | D | Dm | E | Em | F | G | A | Am | B | Bm | B7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| F | G | Gm | A | Am | A# | C | D | Dm | E | Em | E7 |
| Gb |
Capo 6th Fret
| C | D | Dm | E | Em | F | G | A | Am | B | Bm | B7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| F# | G# | G#m | A# | A#m | B | C# | D# | D#m | F | Fm | F7 |
| Gb | Ab | Abm | Bb | Bbm | Db | Eb | Ebm |
Capo 7th Fret
| C | D | Dm | E | Em | F | G | A | Am | B | Bm | B7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| G | A | Am | B | Bm | C | D | E | Em | F | Fm | F7 |
| Db | Eb |
Capo 8th Fret
| C | D | Dm | E | Em | F | G | A | Am | B | Bm | B7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| G# | A# | A#m | C | Cm | C# | D# | F | Fm | G | Gm | G7 |
| Ab | Bb | Bbm | Db | Eb |
Capo 9th Fret
| C | D | Dm | E | Em | F | G | A | Am | B | Bm | B7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| A | B | Bm | C# | Cm | D | E | F# | F#m | G# | G#m | G#7 |
| Db | Gb | Gbm | Ab | Abm | Ab7 |
Note:
These charts show only the basic chords so as to avoid confusion.
Only one 7th chord is used and no sus chords have been used.
If you find that your chord progression has any of these follow the chart below to replace or add.
| C | D | Dm | E | Em | G | A | Am | B |
|---|---|---|---|---|---|---|---|---|
| Csus2 | Dsus2 | Esus2 | Asus2 | |||||
| Csus4 | Dsus4 | Esus4 | Asus4 | |||||
| Cadd9 | ||||||||
| C7 | D7 | Dm7 | E7 | Em7 | G7 | A7 | Am7 | |
| Bdim |
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Related Reading:
Want to transpose your chord progression into another key?
Then here is a little tool that should help.
This tool can be used to learn key signatures, modes, chords within key and relative minor.
Other uses could be when transposing chords using a capo.
Again I’ll write some more about using this tool for other uses.
Using the ClockFace:
The two inner circles have notes written on them.
The inner coloured circle is the ‘key’ in which your chords to be transposed are.
The outer circle from that are the notes from the ‘Key of C’
If you look at the buttons under transpose there are letters next to each button.
Pressing a button will change the ‘inner circle’ – so pressing the D button will change the inner circles notes to those of D Major – while the outer circle stays as C Major.
You can then look for you chords in relation to ‘C’ – Try it out.
The Outer circle has letters printed on it – ‘m’, ‘M’ and ‘dim’
‘m’ = minor
‘M’ = Major
‘dim’ = diminished
These relate to the chords.
The inner circle from that has roman numerals printed in it, ie ‘I’, ‘II’, ‘III’, ‘IV’ etc
These relate to the degree in the scale.
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To use this tool for modes use the roman numerals:
I = Ionian/Major
II = Dorian
III = Phygian
IV = Lydian
V = Mixolydian
VI = Aeolian/Relative Minor
VII = Locrian
Related Reading:
The key of C major is the easiest key to get to know.
This article deals with it’s principles, key signature, chords, relative minor and modes.
It also contains links to related articles on this site.
First the key signature.
This bit is the easiest bit.
When you look at the clef, you will see no sharps or flats indicated.
This is because the key of C has none.
The C Major scale has the following notes: C D E F G A B
The Key of C has the following chords: C Dm Em F G Am Bdim
It’s relative Key is A Minor.
It’s Modes are:
D Dorian
E Phrygian
F Lydian
G Mixolydian
A Aeolian(natural minor)
B Locrian
Related Articles:
Related Reading:
Before you begin take a look at how a major scale is constructed
Look at the C-major scale
C D E F G A B C
Find the sixth note. (The submediant). That note is ‘A’.
Now write a scale, starting on the ‘A‘,and proceed upwards for one octave.
A B C D E F G A
Now if you have already looked at how major scales are created you should know that Cmajor has no sharps or flats. This is the same for Aminor which has the same key signature as it is the relative minor of Cmajor.
So to find the relative minor of a major scale, find the sixth note of the major. That note is the note upon which the relative minor would be built.
The type of minor scale you just learned to construct is called a natural minor scale. Sometimes you may see them referred to as “Pure minor“.
There are two other types of minor scales you need to learn: the harmonic minor and melodic minor.
————————
HARMONIC MINOR:
To form a harmonic minor scale, take the natural minor, and raise the seventh note. To change the A-minor scale above into a harmonic minor scale, we would raise the seventh note, the ‘G‘ to become a ‘G#’. Here it is:
A B C D E F G# A
—————————
MELODIC MINOR:
To form a melodic minor scale, take the natural minor, raise the sixth AND seventh note on the way up, and put them back to their “natural” state going down. Because the melodic minor looks different going up than it does going down, you must write a melodic minor ascending and descending. Here is a A Melodic minor scale:
A B C D E F# G# A G F E D C B A
—————————–
You should learn all these types of minor scale.
————————-
Determining Key Signatures of Minor Keys
Hopefully you should know how to use a major scale, find the note upon which the relative minor scale will be constructed, and write the three different types of minor scale.
But what happens when you are asked to write the key signature of Aminor ?
As you know, a minor scale and its relative major will share the same key signature. In the case of A-minor, you know that ‘A’ is the sixth note of Cmajor scale. Simply go up a whole tone, plus a semitone. This will get you the relative major. So a whole tone plus a semitone above ‘A’ is ‘C’. C-major will use the same key signature as A-minor.
If you’ve understood the page dedicated to major scale construction you will already know that C-major has no sharps or flats. So now you also know that A-minor has no sharps or flats as well.