Hey, everybody. How’s it going? This is Darrin Goodman with guitarcontrol.com, bringing you this video lesson. Today, I want to teach you how to play Sleep All Day by Jason Mraz. This song is pretty repetitive. It’s just the same four chords over and over and over again, but what I like about this song is it’s really good practice for playing some of these more exotic chords. It’s completely based out of seventh chords, major seventh, minor seventh, and dominant seventh. And I’m going to show you two different ways you can play it, two different ways of playing the chord voicings and stuff, so both ways are really good to practice to work on these transitions and these changes. Let’s get close up and take a look at it.
All right, so first let’s take a look at the chords that we’ll be using. This is the original way, these are the chord voicings that Jason’s using. First off, we have D major 7. I’m going to take my first finger and barre it across the fifth fret of the first five strings. Then my second finger will go onto the sixth fret of the third string, third finger will go onto the seventh fret of the fifth string, and my fourth finger onto the seventh fret of the third string. That’s D major 7.
Then we have B minor 7, and there’s two ways that you can do this. The way I do it is I go to the seventh fret of the sixth string with my first finger, and then to the seventh fret of the fourth string with my third finger, seventh fret of the of the third string with my third finger, and seventh fret of the second string with my fourth finger. The first and fifth strings are muted, so my first finger is arcing over, so it’s muting that fifth string, and the first string. Some people just actually play it like this, so they just use their second finger to get the sixth string, and then their third finger barred for the others. Whichever way is easier for you to do it.
Then we have E minor 7, so I’m going to take my first finger, barre it across the first five strings of the seventh fret, second finger to the eighth fret of the second string, and third finger to the ninth fret of the fourth string. Then, A7, so I go back to the fifth fret, barre across all six strings, second finger to the sixth fret of the third string, and third finger to the seventh fret of the fifth string.
All right, so the strum for this is we’re going to go down, down, down-up, up-down-up. It’s one, two, three-e, and-four-and. And it’s the same for each chord, so each chord, you spend one measure on. You could also just play this on an electric guitar, you know? It’s going to be considerably easier to play it on an electric guitar than an acoustic guitar. So, that strum, down, down, down-up, up-down-up. And like I said, it’s the same for each chord. Like I said, this is a really great song for working on making these chord changes.
Now, let’s take a look at an alternative way that we can play this. For this alternative way, we’re going to be using the same chords. We’re just going to be using a different voicing. For the first chord, for the D major 7, I’m just going to take my first finger and I’m going to barre it across the first three strings of the seventh fret, or excuse me, the second fret, and the fourth string will be open. Then, B minor 7, now I’m just going to take that first finger and just move it, so we’re barring across the first five strings, second finger to the third fret of the second string, third finger to the fourth fret of the fourth string.
Then E minor 7, sixth string is open, first finger is on the second fret of the fifth string. Second finger’s on the second fret of the fourth string. Third string is open, and my third finger is on the third fret of the second string, and my fourth finger is on the third fret of the first string. Then A7, I just simply remove all my fingers with the exception of my second finger, and then put my third finger onto the second fret of the second string, and strings five, three, one are all open. Now, this A7, you could also use your first and second finger, you know, whichever way is easier for you, and we’re just going to do the exact same strum.
All right, so like I said, it’s great. It’s a great song. I mean, it’s a cool song, but even if it’s not your thing, Jason Mraz, it’s really good practice for working on those chord voicings and making the changes and stuff, and the strum and everything, the rhythm and everything too. So I would recommend just to practice both ways, you know, just for the sake of working on the chord voicings, and the transitions, and stuff. Hope you got something out of this lesson. If you liked it, give me a thumbs up. Leave me a comment down below if there’s something you’d like to see either myself or one of the other instructors at guitarcontrol.com do in a future lesson. Be sure to subscribe to the channel, and until next time.