Leonard Cohen Package
Leonard Cohen's first few albums were full of gems, most of which were guitar-based songs.
Lesson 1: Famous Blue Raincoat- Leonard Cohen - Guitar Lesson
Leonard Cohen’s first few albums were full of gems, most of which were guitar-based songs. Famous Blue Raincoat is from Songs Of Love And Hate and features a standard 3/4 arpeggio picking pattern and an interesting chord progression, mostly in the key of D, although his guitar was tuned down a step in the original recording. The Preview section of the lesson includes an instrumental play through encouraging you to try the song as an ear-training exercise.
Lesson 2: Hallelujah Guitar Lesson - Leonard Cohen
Hallelujah is one of many Cohen songs that got more recognition by other artists, this one in particular by Jeff Buckley. His compelling recording a few years before his untimely death moved anyone who heard it. Hallelujah is considered by many to be one of the greatest songs of all time. This lesson looks at few different renditions, including Jeff Buckley’s and Kate Voegele’s
Lesson 3: One Of Us Cannot Be Wrong - Leonard Cohen - Guitar Lesson
Many of Leonard Cohen’s early songs consisted of a regular fingerpicking pattern in 3/4 time. One Of Us Cannot Be Wrong is from his first album, Songs Of Leonard Cohen, and is a perfect example of this approach.
It is in the key of A, and uses all six primary chords along with a couple different voicings of G. There are barre chords involved, of course. The lesson pays particular attention to notes you want to hear at the extremes of the chord, the lowest and highest.
Lesson 4: Suzanne - Guitar Lesson
Probably the best-known song by someone many people fell is the best songwriter of our time, Suzanne is the song that started Leonard Cohen’s illustrious career. This lesson looks at the way Leonard originally did it, in the key of E using a classical arpeggio technique with a few embellishments, over a simple, four chord progression.
Lesson 5: The Stranger Song - Leonard Cohen - Guitar Lesson
This is another of Leonard Cohen’s early masterpieces. It is hauntingly beautiful and thought provoking, and like many of his songs uses a simple, but unusual chord progression, some nice embellishments, and a regular arpeggio-picking pattern. Sounds easy, huh? The picking is very, very fast, creating an almost tremolo-like sound. Singing smoothly over the accompaniment bumps it up another level or two as well.