How to play slow dancing in a burning room on guitar

Slow Dancing in A Burning Room Lesson

Why should I pay for a lesson when I can get it free on Youtube?

I think this is a very valid question, and honestly, for some people, I think learning on Youtube is a very good option. But let’s look at this in perspective. A quick search on google for online guitar lesson shows an average of about £50 an hour. This doesn’t include high quality tabs, videos you can search back on over and over and most importantly, it’s not coming from someone who’s playing you actually want to learn (I’m assuming since you’re on this page, my cover of this song was something you wanted to learn). If you learn on Youtube, you are learning in a very scattered way, and you will have to find some information from one person, some information from another and then get mismatching tabs or chords somewhere else. You also won’t get the insights into my gear, setup and thought processes that I provide in this lesson. You likely will have to spend a lot of valuable time looking through the countless videos trying to find the best ones, the ones that best match each other, the ones with the best guitar tones etc etc when everything you need is already organised and provided conveniently for you in this lesson.

Here’s the most important thing though – To tell you the truth, I used to learn everything free from Youtube, but I realised a few years ago that if you pay for something, your brain assigns it more value and so you automatically push yourself more in order to make the most of your investment. Because of this trick in the brain, I now pay for most things online that I want to learn because it gives me an extra layer of motivation which is EXTREMELY valuable and important in my view. And that’s not just me trying to take your money – it’s a genuine psychological trick that you can play on your brain (do your own research on this – there’s tonnes on Google about this – even a TED talk on it). If you pay money, you will get a better result, and you will become a better guitar player. Period.

So if you would like a really complete view of every aspect of how to play this song and the gear I use, and the price tag isn’t something that is going to empty your bank account, I promise you that you will feel a lot better and be a much better player after buying this lesson, than from hours and hours of looking all over Youtube.

**NOTE: If you really are struggling with money at the moment and you can’t afford the price tag that comes with this lesson, send me a message using the contact details below and I will see if I can work with you and provide something that you can afford.

Is this a beginner course?

If I was a marketing expert, I would say that this is ‘for people of all levels’ so that I could sell more, but honestly, if you’re a complete beginner, this will probably be quite difficult for you. I assume a basic knowledge of the guitar and certain terms and move through the course relatively fast. It still can be done, with enough practice, I just wouldn’t call it a ‘beginners course’. **TIP: If you ARE a beginner and you’re determined to learn this song, the videos are private videos on Youtube so you can slow them down to half speed to make it easier to keep up with! If you are watching on mobile, you can use an app called ‘Speedtube’ to do this!

How Long Will it take to complete?

The course itself will take approximately 1. 5 – 2 hours hours to complete, but once you’ve complete the course, going back through it and learning it yourself could take anywhere from a few hours to a few months – that really is up to you and how much you practice!

What if I hate it?

If you hate it (or you hate me), and get nothing from this lesson, no problem, I’ll give you a full refund within 30 days of purchase, no questions asked! (Please Note: This is totally based on an honour system and I totally leave myself open and vulnerable with this, so I simply ask that you don’t abuse this and are honest with me!) Thank You 🙂

Still need more help?

I work on my own and respond to all emails myself so you can email me at [email protected] but if you have any simple questions that you just need a quick and simple response for, this is my private Whatsapp number +353860832144 and I generally reply within an hour or two if not quicker.

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Lyrics John - slow dancing in a burning room translation, lyrics, video, clip

Slow dancing in a room on fire

This not harmless insignificant moment,
It's not a storm that's about to die down.
This is a deep, dying breath
The love we've been working on for so long... So to feel you in my arms...
No one will come to save you.
We sent false alarms too often...

We are dying,
And you understand it...
We are dying,
You know we're doomed...
Honey,
We slow dance in a room on fire...

I was the only one you dreamed of
You were the only one whose attention I was trying to get.
How dare you say it means nothing to me?!
Baby, you're the only light I've ever seen...

You will be a bitch because you can...
You're trying to hurt me to hurt me
That's why you leave me feeling dirty,
Cause you can't understand.

We are dying,
And you understand it...
We are dying,
And you know, we are doomed...
Honey,
We're slow dancing in a room on fire...

Cry about it - why aren't you crying?
Cry about it - why don't you cry?
Cry about it - why don't you cry?

Darling, we are slow dancing at
A room on fire. ..
A room on fire...
A room on fire...
A room on fire...
A room on fire...

Don't you think it's time for us to understand?
Don't you think it's time for us to learn?
Don't you think it's time for us to understand?
Don't you think it's time for us to learn?
Don't you think it's time for us to understand?
Don't you think it's time for us to learn?
Don't you think it's time for us to understand?
Don't you think it's time for us to learn?
Don't you think it's time for us to understand?
Don't you think it's time for us to learn? Dancing a slow dance in the room on fire

This is not a harmless little moment
It's not the storm that is about to subside .
This is a deep, dying breath
The love , on which we have worked so long ...

Looks like I can not hold you as much as I would like ,
So, to feel you in my arms. ..
No one will come to save you.
We too often send false alarms ...

We are dying ,
And you know it ...
We are dying,
You know, we are doomed...
Honey,
We are dancing a slow dance in the room on fire...

You were the only one whose attention I was trying to attract.
How dare you say that to me it doesn't mean anything?
Baby, you're the only light I've ever seen ...

I brought the best out of despondency ,
You'll be a bitch because you can...
You're trying to hurt me, to hurt me,
Because you leave me feeling soiled,
You're not able to understand.

We are dying,
And you know it ...
We are dying,
And you know, we are doomed...
Honey,
We are dancing a slow dance in the room on fire ...

Cry about it - why are not you crying ?
Cry about it - why aren't you crying?
Cry about it - why aren't you crying?

Honey, we are dancing a slow dance in
Room on fire
Room on fire
Room on fire
Room on fire
Room on fire . ..

Do you think that we ought to understand?
Do you think we have time to learn?
Do you think that we ought to understand?
Do you think we have time to learn?
Do you think that we ought to understand?
Do you think we have time to learn?
Do you think that we ought to understand?
Do you think we have time to learn?
Do you think that we ought to understand?
Do you think we have time to learn?

Open lesson in the guitar class. Topic: "Creation and development of an artistic image in the process of working on a piece of music"

Abstract of an open lesson

teacher of the MOU DOD "DShI" Dno, Pskov region

Alla Nikolaevna Melnik

“Creation and development of an artistic image

in the process of working on a piece of music”

Date: May 14, 2014

Student: Pavel Ivanov, 10 years old, 2nd grade, guitar.

The purpose of the lesson:

To maximize the creative imagination and imaginative thinking of the student by mastering musical and technical skills on the example of two diverse works (V. Erzunov "Candle", V. Kozlov "Spanish dance").

Tasks:

Educational:

Work out and consolidate receptions of sound recovery (sloga, arpeggio, natural flaglet, apo -hoist) and articulation (Legato, Portmento) corresponding to the figurative characteristics of selected works.
Work out the rhythmic plan, dynamic shades and stroke features of the pieces.
Determine the form, phrasing, climax of the pieces.

Developing:

To instill the skills of a full-fledged artistic perception of the ideological and figurative content of a musical work.
To introduce the student to traditional Spanish flamenco culture.

Expand the student's understanding of the timbre variety of the guitar.
To consolidate the skill of independent analysis of the studied work.

Educational:

To deepen the student's interest in the variety of performing techniques of the guitarist.
Foster tolerance and sociability.

Form of training session: Individual
Type of training session: Combined lesson

1. The first stage.

The goal for the trainee is to prepare the workplace, set up the tool, and adopt a comfortable, correct fit.

The task of the teacher is to prepare the student psychologically for the open lesson; create a friendly environment conducive to creativity, interest in the topic of the lesson, set the student up for active work.

Introduction to the lesson plan:

Playing exercises and scales to warm up the performing apparatus;
Checking homework;
The main topic of the lesson;
Consolidation of educational material;
Homework;

At the initial stage of the lesson, the student is given the task to play the exercise "Caterpillar" and the c-moll scale at a slow pace, controlling the quality of the sound extraction.

2.Checking homework.

In the work is the work of V. Erzunov "Candle". At home, the student had to work out at a slow pace the combination of all the musical phrases of the piece, paying special attention to the fragments that cause difficulties (performing barre, harmonic). Constant control over articulation, purity of sound production, correct fit.

The goal of the teacher at this stage is to help the student "see" the work as a whole, to put it into shape. To do this, it is proposed to first visually analyze the musical text, mark the culmination, then play from beginning to end by heart at a single chosen tempo. In case of "uneven" performance, the student plays under the teacher's timing or his own score.

The task of the teacher, without interrupting, is to listen carefully to the student, then to note the most successful moments in his performance. Inviting him to analyze his own performance himself, you can smoothly move on to less successful fragments and try to correct them, again working through the material more carefully.

3.Main stage

The task of the teacher is to arouse the interest of the child in the work, to discover new facets of its performance. Then the emotional state of the student will positively influence diligence, contribute to purposeful persistent work on sound, tempo, nuances, strokes. As a result, the work will sound more vivid, meaningful.

The student is asked to imagine a picture of a burning candle, fantasize about the decor of a room or temple, the time of day, under what conditions the candle was lit, what shape it is, whether it is in a candlestick or held in the palm of your hand, etc.

A sincere response, the teacher's interest in the student's answers create emotional responsiveness and comfortable psychological conditions for the child to successfully solve more complex tasks set by the teacher.

Having decided on the visual image, you can move on to characterizing the performance of the piece (must be played softly, carefully, calmly so that the candle does not go out from jerky movements or a draft). It is very important to talk with the child about what the person carrying the candle feels (anxiety, fear, fear of the dark or peace, love when reading a prayer), because it is feelings and emotions that make the performance of music alive and resonate with listeners.

At this stage, the student is invited to play the piece again, mentally reinforcing the game with the created artistic images. The teacher must definitely praise the student for a more penetrating performance of the work (individual phrases or culmination), thereby strengthening the performer's confidence in the child and motivating creativity.

V. Kozlov "Spanish dance". At the last lesson, the student was asked to prepare a short message on the topic “Symbols of Spain: bullfighting and flamenco” using the Internet. Continue to work on the work, working through the final passage at a slow pace.

The goal of the first stage of work on the play is to lead the conversation to the main topic of the lesson during the conversation. The task is to arouse the student's interest in the work being performed, to help remember the history of the six-string guitar, to consolidate knowledge about the symbols of Spain.

During the conversation, you can briefly change the student's field of activity by inviting him to watch fragments of flamenco performances, photos of bullfighting participants. Offer to repeat the characteristic movements of a bullfighter or flamenco dancer, thereby resting the muscles.

We pass to the main stage. We invite the child to dream up on the theme of this work and present a visual image. After listening to his story, one can bring the child's understanding to the fact that the bullfight looks like a dance, like a choreographic performance with possible dramatic surprises. The matador, like the dancer, performs a certain sequence of figures. Connoisseurs appreciate not only the skill, but also the artistry of the participants in the battle.

Speaking about the nature of the work (energy, pressure, passion), you can invite the child to compare it with the character of the previous play. (If you perform "The Candle" imagining the image of a matador and a running bull, what feelings will this performance evoke in the listener? What would you call a "new" work? What picture does the imagination paint if the "Spanish Dance" is played carefully, subtly, affectionately?)

The next stage is the student's performance of a work with the necessary emotional mood. A thorough artistic and theoretical analysis of the studied composition stimulates interest, activates an emotional attitude towards it. At this stage, the originally created artistic image gets its development, acquires clearer colors, becomes voluminous, alive.

The teacher's task is to help the student overcome technical difficulties without departing from the created image.

4. Consolidation of educational material.

To consolidate this material, let's analyze L. Ivanova's play "Masha and the Bear". The teacher plays, the student follows the notes.

The student's task is to make an independent artistic and theoretical analysis of the play. Determine the phrases, culmination, technical difficulties, see the development of the relationship between Masha and the Bear in the music, talk about the nature of the performance of the play, about the feelings and emotions of the characters. (“Dialogue is heard at the beginning. The Bear’s voice sounds in a low register, slow and intimidating, and Masha’s answer is high, cheerful and carefree. Misha is displeased, he steps on Masha menacingly and stops. Taking advantage of a hitch, Masha quickly runs away and hides.” )

The teacher's task is to consolidate the skill of independent analysis of the studied work. Raise your child's self-esteem by celebrating the best moments. In the case of a “squeezed” student, the teacher needs to ask leading questions, illustrate musical fragments on the instrument, explaining and showing their emotional coloring.

At the end of the lesson, it is very important to summarize the work done in the lesson. Realizing the importance of the artistic and emotional coloring of the music being performed, the work performed by the student will acquire surround sound, be filled with meaning, feelings.