guitar music

Singing While Playing Guitar

2009-07-05T01:56:00.000-07:00

Hi there everyone. In this lesson, I'll be trying to help you on singing while playing guitar, whether you know nothing about singing, or can sing but having difficulty singing while playing.Note: This is not a singing lesson, it's not how to do a vibrato by your vocal chords or a vocal training, so if you're looking for that, don't waste your time on this. Here it’s only about how to get your singing and playing synchronized. In other words, how to control your singing to go with your music beat by beat & note by note.

(Please be aware that this is not anything I've been taught academically or even in private lessons. I have been playing guitar for 2 years and more without being able to sing along, so that's what I came up with accumulatively to help me).

Well, to start off, you have to abandon these ideas:

1-I sing well, and I can play guitar, so at some point after regular practice, it will naturally happen that I can sing while playing along.
>>No, this won't happen because singing while playing is a practice itself.

2-I gave up on that, I can't sing while playing, there are some people who are gifted by that and can do it, but I'm mentally unable to do it, I always screw up while trying to separate between what I'm speaking and what my hand is doing on the neck of the guitar.
>>Not true, it's just that you don't have the key thing, when it's so simple.

One of these two things (or both) may happen when you try singing while playing:

1-You screw up the lyrics, and may even speak nonsense words.

2-You screw up the music, and at times when you have to change chords, you just keep singing, with the same previous chord which sounds like something is terribly wrong.

Here's what i think to be the key.

Part 1.
Things to do before even touching your guitar:

1. Sing the song for few times and try to be louder than the singer.

2. Read the lyrics if you can't figure them out, and it'd be better if you know them by heart (memorize it), but you can print it out or look at it on the computer while singing.

3. Master the song, and what I mean is that you sing it without having to think about it. Example: If you are singing this:
"So close no matter how far
It couldn't be much more from the heart
Forever trusting who we are
And nothing else matters

Don't hold your guitar when you are still at the level of

"Damn I forgot what comes after the 1st line!"
"Was it much more from the heart, or much from the heart?"

If you are still at that level, then keep practicing the song. Because that will absolutely make you screw up while playing, because you will start to think about lots of things at the same time, and you won't be able to focus.

If you sing "much from the heart" instead of "much more from the heart", and you are following some chord progression, you will jump to the next line that may have different chord that should be played, but you are still on the same chord, because that line in the original song is longer.

So master the song (lyrics wise) before trying to do both singing and playing at the same time.

Part 2
Do these before starting to sing along.

1. Of course make sure your guitar is tuned the correct tuning for the tab you are looking at.

2. Make sure you know how to play all the chords properly(technique wise) and having no problem with changing from one chord to another.

Part 3
Important practice.(It's better if you have some chord and music theory to totally make advantage of this part)

First of all, think about your voice as another instrument, let's say a lead guitar. And all what you are going to do, is to play that guitar. So you have to play the proper note, and beat for the song.

If your voice is an instrument, you have to practise it.

Here are some ways:

1. Play a note on your guitar then, try to sing it.

2. Play some scale like the E major scale

(Do this on the E string)

E--0--2--4--5--7--9--11--12

1st try to sing each note after playing it once.

After that, try to sing the whole scale outloud without playing anything, but only the 1st note of the scale (the E note, for the E scale, the A note for A scale, the C note for C scale... Etc)

And keep altering things that, play a note like the 2nd fret, then do the 4th and 5th by your own voice.

That helps A lot to get a control over your instrument (your voice).

Do the same with minor Scale

E--0--2--3--5--7--8--10--12

Sing each note after everytime you play it on the guitar for few times. Sing a note that's the next one after a note you played.

Example: play the 5th fret ("A" note) then sing the 7th and 8th by your voice, and if you get it wrong, play them and do it again.

That will help you control how to jump by your voice from a note to the CORRECT next one, and if you can't do that, you will never be able to sing.

3. Use your voice to produce a chord. You can't of course sing two notes at the same time, so play a note on the guitar, for example let it be the C note (The 3rd fret on the A string)

Then you sing the E note (The 2nd fret on the D string). That will really help because most of the times, what you are doing when you are singing along with playing some chord, is that you are singing a note that the chord you are playing contains.

Example you are playing Am chord, and what you are supposed to sing, is a word with the note C, which is a note in the Aminor chord).

Now try it for different chords

E minor: e--0
B--0
G--0
D--2
A--2
E--0

pick the 1st 3 strings, then try to sing the note "G"(the 4th open string).

F major: e--1
B--1
G--2
D--3
A--3
E--1

Pick the 1st 3 strings, then try to sing the note "A" (The 2nd fret on the 4th string)
Do the same for different chords, then try to play a note, like F, then sing the whole other notes that make up the major chord.

Then do same for minor.

Now try to do things like these.
Play a note then sing the note that makes the power chord for the note u played. Example:

A---5 (Sing this)
E---3 (PICK IT)

Play a note then, sing the same note but an octave higher (If it's an E, sing the next higher E).

Example e-- e--3 (sing this)
(E and B-- B---
an G-- G--0 (pick this open string)
octave D--2 (sing this) D--
higher 1)A--- A--
E--0 (PICK IT) E--
(G note and an octave higher 1)

Part 4: Singing Along
Two things you need to figure out before singing while playing guitar.

First: Figure out the 1st note you are going to sing. (That will be the problem because once you have done the previous practice tips a lot, you will be able to jump from some note to the correct one)

But now you will have to figure out the very 1st note just to start.

You will know the attack time and the 1st note by your ears. Just listen carefully, and if you can't figure out the 1st note, try all the notes in the chord till you think that one is it. If you can't still find it, try all the notes that in the scale that the Chord is from.( example: Try C, D, E, F, G, A, B for C major chord).

Second: The attack time of your singing.

You need to know when exactly you are going to start singing. Don't just play some chord and sing anywhere.

If you get this right, you most likely won't screw up with timing for the rest of the song if you know the song well. And it will be easier to change the chord in sync with changing the notes you are singing.

Few examples:
From the Song "Rain" by Breaking Benjamin look at the link if you don't know these chords.

C Fmaj7sus2
Take a photo-graph

The 1st note: is the 2nd fret on the D string. The word (Take) and the (PHOTO) part, are in E note (2nd fret on D string).
The attack time: You play the C chord once, then you start singing right at the same time you strum the chord again.

Then, another attacking time (you will get this by instinct if you get the 1st attack time, and 1st note right) is when you start saying (-graph), you switch to that F chord at the same time you start saying (-graph).

And the note of (-graph) is the G on the D string (5th fret on D).

From the song "Unforgiven II" by Metallica

Am C G Em Am
Lay beside me, tell me what they've done

(Assume you are playing it on standard tuning)
The first note: the E note on the D string.

The Attack time: the 1st one is so easy, but time to switch can be little tricky:

So here's how I sing it:

Am C G Em Am
Lay bes--ide me--ee, Tell me what they've done

Lay bes-- (E note (2nd fred, D string))
--ide me--ee (D note (open D string)

So the word "me" is all sang in one note(D), but you only switch chords.
I hope that helped, it's long and boring, but it will help if you were stuck.

How To Improve Hand Synchronization

2009-07-05T01:51:00.000-07:00

Single string exercises are an effective way to develop coordination and synchronization between the hands as well as alternate picking technique on the guitar. When focusing on one string only, you can exclusively work on developing your picking, fret hand and position shifting technique without having to be concerned with moving from string to string (which is a separate skill that also needs to be developed.)

Below are four separate exercises designed to develop your right and left hand skills. The first one focuses on a single left hand fretboard position and the next three all involve left hand shifts.

All the exercises use straight alternate picking with the right hand. You can start with either a downstroke or an upstroke—it is a good idea to practice them both ways. Once memorized, all the drills should be practiced on all strings and in other areas of the fretboard.

A detailed video of all the exercises is available here.

The first exercise is a six note repeating figure in one position:

Exercise 1

|---------------------------| |--5-8-5-7-8-7-5-8-5-7-8-7--| |---------------------------| |---------------------------| |---------------------------| |---------------------------|

The second drill incorporates a one fret shift with the index finger when descending and a one fret shift with the pinky finger when ascending. Take it slow until you are comfortable with the left hand shifts and can maintain perfect synchronization between the pick hand and the fret hand when executing the shifts.

Exercise 2

|---------------------------| |--8-7-5-4-5-7-8-7-5-4-5-7--| |---------------------------| |---------------------------| |---------------------------| |---------------------------|

Similar to the second exercise, the third drill incorporates a two fret shift with the pinky finger when ascending and a two fret shift with the index finger when descending.

Exercise 3

|-----------------------------| |--5-7-8-10-8-7-5-7-8-10-8-7--| |-----------------------------| |-----------------------------| |-----------------------------| |-----------------------------|

The final exercise consists of two three note sequences ascending and two three note sequences descending.

Exercise 4

|----------------------------| |--4-5-7-5-7-8-10-8-7-8-7-5--| |----------------------------| |----------------------------| |----------------------------| |----------------------------|

As mentioned, take these drills slow to start, make sure everything is smooth and in sync between the right and left hand. Use the minimum amount of pick hand movement in your right hand and the least amount of left hand finger pressure you need to get the notes to sound clearly.

Then work the drills on all other strings and in other areas of the guitar neck. You can also develop your own single string exercises — the possibilities are limitless. Find fingering sequences that give you trouble and come up with your own exercises to conquer them. You will notice an improvement in your playing technique in a short time after working these exercises into your daily practice routine.

Download the free video of this lesson here.

Paul Kleff is a musician and guitar instructor located in Grand Rapids, Michigan USA. To receive a free E Book with 5 additional mini lessons, go here.

How To Pick Accurately

2009-07-04T21:47:00.000-07:00

Level 1: Start Simple
Alright, firstly find a good pick. You want one that doesn't flap, fits a good bit of your thumb, but not so much that it restricts your playing. Hold firmly but not tightly, and place the side of your hand in a cup shape near your strings (middle of the pick-ups, or funny square black things). Then without force gently strum this out:

e--0-1-2-3-4------------------------------------------------------- b------------0-1-2-3-4--------------------------------------------- g----------------------0-1-2-3-4----------------------------------- d--------------------------------0-1-2-3-4------------------------- a------------------------------------------0-1-2-3-4--------------- E----------------------------------------------------0-1-2-3-4-----

The reason why I use the 0 is because it teaches you control on open notes. Especially since people hit multiple strings this way. Also if you use a metronome, set it very low and go through this at first down-stroke only. You need those skills in general. But if you want improvement, then you should do this alternate (up and down). Do this exercise about:

Just started-3 months: Do this maybe 6 times, you need the basics of music more than how to play the guitar right now

4 months-7 months: You can do this maybe 4 times through to get better at speed as well

8-months beyond: You probably don't need this but if you have problems then do this about 3 times to warm up your fingers for intense training.

Level 2: A Little Harder Up-downs

Here is my mixture of soloing and warming up. I won't give any explanations, but make all your movements fluid and as close to subtle as you can. Try to make it so that your up-down motion is involuntary (took me a year and a half). You probably think that up-down is either too much a hassle or actually useless compared to just striking down. Well it's Not! You can search for somebody playing a guitar solo or anything and they will most likely be going up-down (if they are good anyway). So now let's try your best friend, the penatonic scale, in an easier and simple way: (use a metronome for best results and this is obviously up-down)

e---------------------------------5--8--5------------------------------- b---------------------------5--8-----------8--5------------------------- g---------------------5--7-----------------------7--5------------------- d---------------5--7-----------------------------------7--5------------- a--------5-6-7-----------------------------------------------7-6-5------ E--5--8-------------------------------------------------------------8--5

If you get this down (just take it down if you need to, chop into small parts, and keep your goal a little over andante), you can move your root (5 in our case, or A) anywhere in theory.

Level 3: My Own Creative Warm-up Song

You probably want to be pretty agile now, and you want to be able to step back and forth with your hand. If not take it slower and please don't rush through it or give up. that's why you need this training, young grasshopper. Up-down!

e---15-13-12--13-12----12----------------------------------12----12-13-- b-------------------15----15-13--15-13-12--13-15-13--13-15----15-------- g----------------------------------------------------------------------- d----------------------------------------------------------------------- a----------------------------------------------------------------------- E-----------------------------------------------------------------------  e-12-13-15-------|.| b----------------| | g----------------| | d----------------| | a----------------|.| E----------------| | (repeat)

I think that's right, though I didn't have a guitar nearby so that just proved it unreliable. But it's a nice tune and you can add the other strings also. Good luck and respond if you liked it.

The Intangibles Of Forming A Great Band

2009-07-04T21:32:00.000-07:00

I've been playing guitar for 12 years, dabbled in a bunch of bands (good and bad). Every person is different, and what works for one band may not for the other. But here are some things that experience has taught me that will make your band practices effective and your band even better:

1) No Alcohol (or other drugs) At Practice! I know this may seem like blasphemy, but I have seen more bands destroyed by alcohol than anything else. If you are going to be pushing each other to improve, critiquing each others songs, tensions are going to run high at some points even while sober. It's healthy, and it happens. But with alcohol in the mix, it makes people say stupid things, it makes them do stupid things, and generally leads to a lot of bickering and in-fighting that should not happen. You wanna sit around and have a few afterwards? That's cool. But showing up or getting trashed during practice only leads to trouble, and it doesn't make you play better.

2) Beware of the musician who says "I'll play anything". First off, this statement screams, "I just wanna play and make money. If you find someone on Craigslist or know somebody who says this to you, be wary about bringing them into the fold. I've seen this happen too. They say this, then you present a blues song you wrote, and then they say"I don't like blues." Ok, then you just contradicted yourself. Or worse, they play it even though they hate it, and then they quit with no warning because they hate playing the music. Not everybody in the band has to like all the same bands, or even like all the same styles you do. But you need everybody to at least enjoy their own parts, and dig what you do.

3) Work with people you would normally associate with. If you are clean and sober, and you are playing with a bunch of junkies, things probably will not go so well. Ask yourself if these are the type of people you would hang out with on a Friday night if you didn't know them through the band. If the answer is no way, then this isn't the band for you. Even if the music is great stay away. #4 explains why...

4) Bond as individuals outside of band. Go bowling once a week. Go for pizza on Friday nights. Hold a movie night every now and then. Go camping once a month. Just enjoy hanging out outside of the band setting. You don't have to be the best of friends, but remember that you are going to be working with these people, a lot. You're going to be criticizing each others work. If you can't get along as people, then there is no way this is going to work.

5) Be honest with each other, brutally if need be. This is where #4 is most helpful. If you really don't like a song, speak up. If somebody is playing something wrong, tell them. Don't just call them an idiot and tell them the song sucks, be constructive and tell them WHY you don't like it. If you get along well with each other, this kind of criticism won't be taken personally and will improve the songs your band is putting together. If you are the kind of person who does not respond well to criticism, music may not be your thing.

6) Find out what everybody's ideal goal is. Do you want to sign to a major label and end up on MTV? Do you want to sign to a smaller label, but have more control over your own music and image? Are you just looking to gig once or twice a month? Having different goals in mind is not a band killer in itself early on, but if everybody is not on the same page when things take off, it can lead to trouble.

7) Take practice seriously. Practice can be fun, but if somebody is constantly showing up trashed, showing up an hour late, or just not showing up without a phone call, it ruins practices and needs to be fixed. If it's you, you're killing your chances of being in a successful band. For some reason, musicians seem to think that this is ok behavior (and for some reason, it's often the drummer:-p). People who are unreliable or cannot be counted on don't last long in new bands. Also, if you aren't going to be at practice, have a good excuse. People get sick, you get stuck at work, relatives pass away, the car's transmission falls off, hey it's ok just call and let people know. But excuses like being hungover, not feeling like it, or my girlfriend and I had a fight 3 days ago and I still feel kind of bummed out (real!) are not going to fly.

8) Don't do it for the money. Seriously, doing it for the chicks is a better idea than this. If you expect to make money playing music, odds are that you are going to wind up disappointed, frustrated, and bands who do it for the money often don't get along when there isn't any to be had. Cover bands may make a little bit to start, but won't get the good gigs until they build a good reputation. Original bands, don't expect to make anything in your first few gigs. You know why AC/DC can charge $90 a ticket? Because they're AC/DC. This is a business where there is a direct relationship between payment and reputation. People aren't likely to pay a $5 cover charge for a band they never even heard of. Plus, bars aren't going to pay much if they are unsure if a band will draw a crowd. Some money is nice, but it's takes time and patience before you can even earn a little.

9) Love the music. If you and your band can't be happy playing what they do, all the other tips are null and void. You cannot enjoy doing what you do if you don't enjoy what it is that brought you here in the first place.

Building Speed On The Fret Board

2009-07-04T21:26:00.000-07:00

This lesson, I will cover all of the speed training on the E panotonic scale and some on the Mixolydian mode. It is one of the more easier scale to memorize once you start the practice, plus the Mixolydian mode has a good stretch at the beginning of the pattern. Plus you want to start simple and then move on to more complex scales.

Explaining My Method

The method I use, I like to call Single Time to Double Time, simple! ( I'm sure I'm not the only one that figured this method out, I just wanted to get better. I have showed my friends and this works really good for us, maybe it will work for you). You will need a metronome to keep you in time. So every beep of the metronome will represent a quarter note also, in between the beeps will represent the eight notes. What you want to do is take a pattern of a scale and run through it with a basic quarter note rythm. You will play each note of the scale pattern on a beep (single time). Once you get back to the top of the pattern you will go back through the pattern with eight notes (double time). Not only will you play the beeps of the metronome but you will play in between the beeps. (Important: The picking you will use for this practice will be down, up, down, up etc... All the way down the patern and back up. To know if your picking the pattern right, the first note you pick will be a down pick. Once you go all the way down the pattern and back up, the last note you pick will be a down pick.) Also before I forget, you will start at a low bpm (beat per minute), try using 60bpm on your metronome to start with. Then once you get confortable with this speed, increase the bpm by 5bpm everytime. Untill you reach about 120bpm, then you want to go back down to about 80 bpms then work your way back up. This will help your fingers with stanima, also you will remember the scale this way. The more times you play a scale the better chance your going to remember the scale. Also you want to keep your fingers loose so when you switch from single time to double time it won't be a strain on your fingers.

Remember! The first time through the position (pattern) use quarter notes and then the second time through use eight notes. (Scroll down to lick section for a good example.)

E panotonic scale.   1st position.     q q q q ect. e I---------------------0-3-0----------------------I B I-----------------0-3-------3-0------------------I G I-------------0-2---------------2-0--------------I D I---------0-2-----------------------2-0----------I A I-----0-2-------------------------------2-0------I E I-0-3---------------------------------------3-0--I   2nd position.   e I-------------------------3-5-3------------------------I B I--------------------3-5--------5-3--------------------I G I---------------2-4------------------4-2---------------I D I----------2-5---------------------------5-2-----------I A I------2-5-----------------------------------5-2-------I E I-3-5--------------------------------------------5-3---I   3rd position.   e I-----------------------5-7-5--------------------------I B I------------------5-8---------8-5---------------------I G I-------------4-7------------------7-4-----------------I D I---------5-7---------------------------7-5------------I A I-----5-7------------------------------------7-5-------I E I-5-7---------------------------------------------7-5--I   4th position.   e I---------------------------7-10-7---------------------------I B I---------------------8-10----------10-8---------------------I G I----------------7-9----------------------9-7----------------I D I-----------7-9-------------------------------9-7------------I A I------7-10---------------------------------------10-7-------I E I-7-10--------------------------------------------------10-7-I   5th position.   e I---------------------------------10-12-10-------------------------------I B I--------------------------10-12-----------12-10-------------------------I G I--------------------9-12-------------------------12-9-------------------I D I--------------9-12-------------------------------------12-9-------------I A I-------10-12------------------------------------------------12-10-------I E I-10-12------------------------------------------------------------12-10-I

Those are the 5 positions of the E panotonic scale. I'm not going to tab out the whole scale twice and put Q (quarter notes) and E (eight notes) at the top of the positions, it would take to long and I would never get done with this lesson. But I will tab out some practice lick using the same method. With the Q's and E's abouve the Tab.

*These licks are from the Mixolydian mode.

Lick #1       q  q  q  q  q  q  q  q  q  q   e  e  e  e  e  e  e  e  e  e         A I----------10-12-14-12-10------I----------10-12-14-12-10--------I E I-10-12-14---------------14-12-I-10-12-14----------------14-12--I i Lick #2       q  q  q  q  q  q  q  q  q  q   e  e  e  e  e  e  e  e  e  e      G I----------11-12-14-12-11------I----------11-12-14-12-11-------I D I-10-12-14---------------14-12-I-10-12-14----------------14-12-I   Lick #3       q  q  q  q  q  q  q  q  q  q    e  e  e  e  e  e  e  e  e  e   e I----------12-14-15-14-12-------I----------12-14-15-14-12-------I B I-12-13-15----------------15-13-I-12-13-15----------------15-13-I   Lick #4       q  q  q  q  q  q  q  q  q  q  q  q  q  q  q  q   D I-------------------10-12-14-12-10----------------I A I----------10-12-14----------------14-12-10-------I  cont. E I-10-12-14----------------------------------14-12-I       e  e  e  e  e  e  e  e  e  e  e  e  e  e  e  e   D I-------------------10-12-14-12-10-----------------I A I----------10-12-14----------------14-12-10--------I E I-10-12-14----------------------------------14-12--I

You can see Lick 1-3, I'm just focusing on two strings and then in Lick 4 I'm just adding a string. After you get done with lick number 4 and are up to a nice fast speed, just add the G string in the Lick, then add the B, then the e. You can practice this with any mode or pattern of a scale. Instead of me tabbing out 100 diffenent Licks, just make some up of your own or explore different scale. The licks matter, don't get me wrong. But using the ideal of Single time to Double time is the main focus here. Plus Putting the Q's and the E's above the licks take alot of time to get it even with the numbers.

How To Practice

2009-07-04T21:24:00.000-07:00

This is my first non-theory lesson so please bear with me. I kept wanting to play as fast and clean as my favorite guitarists and I never seemed to get any closer to my goal. I would just jam along with CDs all day and not really get any better. Then I started buying guitar books and DVDs and actually using them and I learned a LOT about practicing.

First things first, you should get a metronome. They aren't that expensive out of musiciansfriend or samash or guitar center, you could probably find one for about $10. A metronome is a little machine that produces a ticking or beeping sound to help you keep the tempo. Several people think they've got this down and don't need a metronome to help with it. The reason for getting a metronome is because it keeps PERFECT time, you never know what little mistakes you might be making without realizing it, and they can have a BIG effect on your playing; plus tapping your foot or counting takes your concentration off of the guitar itself. A metronome will help you stay more focused on the guitar and keep perfect time. Even guitar gods like John Petrucci still use metronomes. The best way to use a metronome is by taking the fastest speed that you can play the lick cleanly and playing it 10 times perfectly at that speed. Then increase the speed by 1. This is the part that everyone hates and tries to skip over, I find myself skipping over it as well, but this is the quickest way to get results. Instead of waiting days to get the lick up to speed, you find that you can get it much faster in a matter of minutes.

Now that we've got that down, here's another extremely important part of practicing: Organization. What I mean by that is scheduling a time to practice and scheduling what to practice. My schedule consists of at least 2 hours. I cut it into 30 minute segments. I devote 30 minutes to scales, 30 minutes to chords, 30 minutes to technical exercises, and 30 minutes to improvising. It's always a good idea to jam around with a CD though, it keeps guitar fun. Hours and hours of just hard practice will make you loose interest in your instrument as I did once(but hard technical practice will help you reach your goals much faster so don't count it out!.

If this begins to happen, I reccomend watching guitarists that inspire you, and if you feel inferior, look for videos of those guitarists making mistakes. I watched a Paul Gilbert DVD, he's a very down to earth and modest guy. He made a few mistakes in his DVD and it made me feel a lot better about myself. It showed that he is still human and not completely perfect, there are also videos of John Petrucci making mistakes if you can believe it. Those two are ridiculously amazing guitarists, and seeing them make mistakes reminds me that although they are insanely great, they are still human just like me and I can reach their level, and so can you.

In order to make sure you practice the set ammount of time, you should get an alarm clock(I don't reccomend this one), or get a kitchen timer. Basically anything that keeps up with time and can annoy you with a loud noise after 30 minutes or so. I personally prefer the kitchen timer, you can set it easily and it'll scare the crap out of you when your practice time's done.

You should learn the Major scale and all of it's modes as well as Pentatonic minor and Harmonic Minor. Play all of these modes in whatever key you desire(I use F just because it's the first fret. It makes things easier for me to keep up with). Although it's a good idea to be familiar with other keys, that's not what this lesson is about. Make sure you ascend and descend and try different patterns. Try ascending 4 notes then go to the second note and ascend 4 more notes and then go to the 3rd note and ascend 4 more and continue until you hit the last note and then reverse the process.

Ok, here's an exercise I learned from a bass player from Atlanta. This exercise is meant to strengthen your fingers and teach them to stay close to the fretboard. This allows you to play faster by keeping your fingers from moving too far away from the strings.

------------------------------------------1-2-3-4----------------
----------------------------------1-2-3-4------------------------
--------------------------1-2-3-4--------------------------------
------------------1-2-3-4----------------------------------------
----------1-2-3-4------------------------------------------------
--1-2-3-4--------------------------------------------------------

Now the idea behind this is not so much in the notes you're hitting, but how you move your fingers.
On the low E string
-1-2-3-4--

you get all of your fingers down on these frets and hold them there.
Then, while still keeping all of the other fingers on the low E string, move your index finger to the first fret of the A string. When that finger is in place, bring your middle finger over to the second fret while still keeping all of your other fingers anchered onto their strings. DON'T MOVE YOUR INDEX FINGER OFF OF THE A STRING! Continue this process with all fingers all the way down to the high E string. Only one finger should be off of the strings at a time. When you do this for the first time your hand will probably be hurting. Take a quick break but try not to get too distracted. A good idea would be to read up on some music theory or try to learn the notes on the guitar, something that doesn't involve physical work, you don't want to hurt your hand and cripple yourself. But the main idea is to stay focused on guitar and music.

You should try to come up with your own practice exercises as well. Take a scale and isolate two strings. Play the notes on those two strings and change them around, play them out of order, find difficult ways to play them and perfect them. This will help you be more creative and original as well as work out your technique. It's fun to find difficult licks and impress your friends with them. Also try string skipping, don't just stick to strings that are side by side.

That is basically how I practice each day, you can practice longer if you want, but I like to keep my strict practice at about 2 hours a day and noodle for the rest of the day. It's also great to practice writing, so when you're not working on technique you can exercise your creativity.

Well guys, I hope this lesson has been helpful and I wish you all the best of luck on your musical journey. More lessons comming soon!

Right Hand Economy And Left Hand Agility

2009-07-04T21:19:00.000-07:00

Alright, some of these aren't perfect, but then again this is my first lesson... Once again this is for somebody that was having a problem with right hand accuracy on the forum, I wanted to help him with this, so I started writing this lesson, I spent about 3 hours on it so decided to share this with everyone else...
When you play these exercises, be sure you are playing in an even tempo, use this metronome I customized, you can adjust the tempo to your liking. I also took the liberty to mark down the beep, click, click, click metronome timing... [b= beep, c=click.]

The picking style is also very important aswell, alternate picking can become very sloppy, try to use economy picking.

Essentially economy picking is the same as sweep picking...

If the string you wish to pick is below the one you are currently picking, then pick down, and if it is above, pick up...

So basically an example would be....

ep1

1| x x
2| x x x x
3| x x

d u d du u d d

Or
ep2

1|
2| x x x x
3| x x x x
d u u d d u u d\

fig1
b c c c b c c c
1| | | | |
2| | | | |
3| | | | |
4| | | 8 10 | 7 9 |
5| 8 10 | 7 9 | 7 9 | 8 10 |
6| 7 9 | 8 10 | | |
d- d-u--d | u-u-d-u | d-d-u--d | u-u-d-u
+++++
u=upstroke, d=downstroke
Do that on any string\fret you wish, and then if you want to start working on skips

fig2
b c c c
1| | |
2| | |
3| | |
4| 8 10 | 7 9 |
5| | |
6| 7 9 | 8 10 |
d d u d u u d u
Also another one that I "invented/or not"

fig3
b c c c
1| |
2| |
3| 8 | 5
4| 7 | 6
5| 6 | 7
6|5 | 8
d d u d u u d u
On those ones, if you master them, start double or triple picking each note

fig 4a
Also my favorite....
b.......c.......c.......c.......b.......c.......c.......c.......b......
/=======================================================================\
1|-------|-------|-------|-------|-------|-------|-------|-------|-------|
2|-------|-------|-------|-------|-------|-------|-------|-------|-------|
3|-------|-------|-------|-------|-------|-------|-------|-------|-------|
4|-------|-------|-------|-------|-------|5------|5-6----|5-6-7--|5-6-7-8|
5|-------|5------|5-6----|5-6-7--|5-6-7-8|--6-7-8|----7-8|------8|-------|
6|5-6-7-8|--6-7-8|----7-8|------8|-------|-------|-------|-------|-------|
|d-u-d-u|d-u-d-u|d-u-u-d|d-u-d-u|d-u-d-u|d-u-d-u|d-u-u-d|d-u-d-u|d-u-d-u|
\=======================================================================/

fig4b
c.......c.......c.......b.......c.......c.......c.......b......
/===============================================================\
1|-------|-------|-------|-------|-------|-------|-------|-------|
2|-------|-------|-------|-------|5------|5-6----|5-6-7--|5-6-7-8|
3|5------|5-6----|5-6-7--|5-6-7-8|--6-7-8|----7-8|------8|-------|
4|--6-7-8|----7-8|------8|-------|-------|-------|-------|-------|
5|-------|-------|-------|-------|-------|-------|-------|-------|
6|-------|-------|-------|-------|-------|-------|-------|-------|
|d-u-d-u|d-u-u-d|d-u-d-u|d-u-d-u|d-u-d-u|d-u-u-u|d-u-d-d|d-u-d-u|
\===============================================================/
fig4c
c.......c.......c.......b......
/===============================\
1|5------|5-6----|5-6-7--|5-6-7-8|
2|--6-7-8|----7-8|------8|-------|
3|-------|-------|-------|-------|
4|-------|-------|-------|-------|
5|-------|-------|-------|-------|
6|-------|-------|-------|-------|
|d-u-d-u|d-u-u-d|d-u-d-u|d-u-d-u|
\===============================/

Play that up the fret board, if I screwed up with the up down picking order for economy, please let me know;
Also if you REALLY want a challenge play that going backwards... don't feel like tabbing it.

Harmonic Tuning For Bass Guitar

2009-06-19T07:28:00.009-07:00

This is a guide on how to tune your bass guitar with harmonics. Tuning with harmonics is a great way to tune your bass because you can hear both notes ringing as you tune the pegs. In reality, you will use 2 methods of tuning. Tuning with an electronic tuner, then harmonics to "fine tune" the bass.span class="fullpost">
Producing A Harmonic.
Producing a harmonic is rather easy. It will not sound very clear if you don't have your bass plugged in. Put your finger lightly over the 5th fret of the E string. Make sure you are right over the fret. Strike the string with your picking finger. You should use your thumb or a pick when you are tuning. You should hear a high pitched sound. This is a harmonic. It is usually represented in tabs as an * or a +. After making a harmonic, you can release your fretting finger and let the harmonic ring out. If you are not familiar with harmonics, you should practice this:

Example (we're just going to use the * as a harmonic):

G|----------7*-------|
D|-------5*----------|
A|----7*-------------|
E|-5*----------------|

Tuning With Harmonics.
Tuning with harmonics will only really work if your bass is already in tune to standard (GDAE, high to low) Harmonics are just a way of "fine tuning." Get you bass into standard with an electric tuner.
Make a harmonic on the 5th fret, E string (as shown above) using your thumb or a pick. Then make a harmonic on the 7th fret, A string. If you did the exercise above, you will notice that the two harmonics sound alike, but if they are not the exact pitch you might hear a beating sound. It sounds like an in and out sound (like a flanger pedal). You will know if you hear it. Make both harmonics (E string, 5th fret and A string, 7th fret) with your thumb or pick and let them both ring. Tune the bass up or down. If the beating sound gets faster you are going more out of tune, as it gets slower and slower, you are getting more into tune. When you don’t hear any beating you are perfectly in tune. Do this with the rest of the strings and you will be exactly in tune. This should become a habit every time you pick up the bass.

Harmonic tuning:
G|-----|
D|-----|
A|---7*|
E|5*---|

G|-----|
D|---7*|
A|5*---|
E|-----|

G|---7*|
D|5*---|
A|-----|
E|-----|

All the harmonics should sound the same with no beating.

Two Handed Tapping On Bass Guitar

2009-06-19T07:28:00.008-07:00

So maybe you've always been impressed by the way guys like Billy Sheehan play, or maybe you just saw this article and were like "Hey, I'd look really cool if I could tap on bass."
Well, here's your chance to learn one of the most impressive techniques on bass, and not only is it impressive, very few people take the time to learn it right, so if you put yourself to it, you'll be one step ahead of the rest.

So, for starters, do an open hammer on on your G string. Good job, you tapped your first note. Now practice making it sound clear and defined, and get used to stopping the note. Now, since everybody has a different right hand approach, I'll give you mine and with time you will develop your own. I usually wear my bass low, but when it comes time to tap, the strap goes up. Not super high, just a comfortable high.

Now position your right arm almost parrallel to the strings, and find a position where you will note be muting them. Go ahead and tap the 12th fret on the G string, and practice starting, holding, and ending the note properly. It should be as clear and controlled as note played conventionally. Take the time to make sure you have this down, most players skip this part and then never learn to tap correctly. This part is crucial, so if it takes you a week to get it perfect, practice for two before moving on.

So now you've got that, and you have a real impressive sounding riff that goes like this:

G--12---12---12--12--|
D--------------------|
A--------------------|
E--------------------|

That's mad there. Probably the technique most used in tapping is a pull-off. RIght now you're going "I already know how to do a pull-off, I'll just skip this." Well, you can if you want to, but you will be a little lost later on, because pulling off from a tapped note is a lot different than pulling off a fretted note. When you pull off a tapped note, you want to slide the tapping finger (RH) off the string, in order to give the note more volume. So practice catching pull-offs, and the finger slide (the 15 is right hand, 12 is left hand):

G--15p12-15p12-15p12--|
D---------------------|
A---------------------|
E---------------------|

Again, seemingly simple, but crucial if you want to tap. Let's go ahead and bring some hammer-ons into that riff, try this:

G--15p12h14p12-15p12h14p12--|
D---------------------------|
A---------------------------|
E---------------------------|

Again, really simple, but that riff right there will be impressive once you get it up to speed, and will provide a basis for you to get your own riffs going.
Practice really is key to getting tapping down, just like you had to build up muscles to slap, and even play fingerstyle, your hands have to get used to tapping. Eventually, you will find it coming naturally, and after that your playing ability will multiply. Hope this was helpful ( 1st artice by the way, all for you Dan).

One more thing, once you get tapping down, and I don't recomend this while learning because it will hide your mistakes, is turning on some distortion, nothing comletes a tapping line like some fuzz to blend it all together. I personally prefer to set my EQ flat, with a moderate amount of disortion of fuzz, and tap away. Have fun.

One more line...

G--------14p12h14-14p12h14p10------15p12h14p1215121412--|
D-------------------------------------------------------|
A--10--------------------------------------12-----------|x2
E-------------------------------------------------------|

G--19p14-19p14p12--17p14-17p14p12-15p12-15p12h14--------|
D-------------------------------------------------------|
A-------------------------------------------------------|x2
E-------------------------------------------------------|

G--12p0-7h8-12p0-7h8-12p0-7h8-12p0-7h8------------------|
D-------------------------------------------------------|
A-------------------------------------------------------|
E-------------------------------------------------------|

G--12p0-9h10-12p0-9h10-12p0-9h10-12p0-9h10--------------|
D-------------------------------------------------------|
A-------------------------------------------------------|
E-------------------------------------------------------|

G--12p0-5h6-12p0-5h6-12p0-5h6-12p0-5h6------------------|
D-------------------------------------------------------|
A-------------------------------------------------------|
E-------------------------------------------------------|

G--12p0-7h8-12p0-7h8-12p0-7h8-12p0-7h8------------------|
D-------------------------------------------------------|
A-------------------------------------------------------|
E-------------------------------------------------------|

G--19p14-19p14p12--17p14-17p14p12-15p12-15p12h14--------|
D-------------------------------------------------------|
A-------------------------------------------------------|
E-------------------------------------------------------|

G--19p14-19p14p12--17p14-17p14p12-15p12h14p12-15--------|
D-------------------------------------------------------|
A-------------------------------------------------------|x2
E-------------------------------------------------------|

G--15p12h14p12h15p12h14p12--|
D---------------------------|
A---------------------------|
E---------------------------|

Play double the speed of the rest of the piece and use it to impress people.
All right, enjoy. BTW, I tabbed this line out without my bass, not sure if all the notes are right, I just wrote a few minutes ago and can't remember the whole thing.

Major Tetrachords

2009-06-19T07:28:00.007-07:00

First I must explain to beginners how to read my diagrams: read them left to right, bottom to top. Every horizontal line is a string (bottom being E and the top G) and every Vertical lihne is a fretbar.

As many already know a major scale follows the pattern:

W-W-H-W-W-W-H

W - whole steps (two frets)
H - half steps (one fret)

Looking closly you see there are two parts bridged by a whole step (W-W-H)W(W-W-H). These parts are called tetrachords. Now using common sense you can see that any two tetrachords can make up a one-octave scale (if bridged by a whole step).
There are three easy ways to play tetrachords using patterns and certain fingers. You don't have to use the fingers I suggest but they are what I found easiest. Here are the patterns (2412), (1334) and (4134). NOTE: these are not tablature! The numbers indicate the finger to use, 1 being the index, 2 the middle, 3 the ring, and 4 being the pinky!

(2412)
|---|---|---|---|
|---|---|---|---|
|-1-|-2-|---|---|
|---|-2-|---|-4-|

(1334)
|---|---|---|---|---|---|
|---|---|---|---|---|---|
|---|---|---|---|---|---|
|-1-|---|-3-|---|-3-|-4-|

(4134)
|---|---|---|---|
|---|---|---|---|
|-1-|---|-3-|-4-|
|---|---|---|-4-|

Now those are just the tetrachords you must put the together to get a scale! Do this by skipping a whole step after the last note, then starting over again:

(1334)
|---|---|---|---|---|---|---|---|
|---|---|---|---|---|---|---|---|
|---|---|-1-|---|-3-|---|-3-|-4-|
|-1-|---|-3-|---|-3-|-4-|---|---|

(2412)
|---|---|---|---|---|---|
|---|---|-1-|-2-|---|---|
|-1-|-2-|---|-2-|---|-4-|
|---|-2-|---|-4-|---|---|

(4134)
|---|---|---|---|---|---|
|---|---|-1-|---|-3-|-4-|
|-1-|---|-3-|-4-|---|-4-|
|---|---|---|-4-|---|---|

Notice that the second added part is just moved up one string and over two frets!

See:
|---|---|---|---|---|---|
|---|---|-1*|---|-3*|-4*|
|(1)|---|(3)|(4)|---|-4*|
|---|---|---|(4)|---|---|

Now you can have one-octave scales you can use on any fret. For example starting any of thes on the 8-fret of the E string allows you to play the C-major scale. Now it's harder to make multi-octave scales because you must make some small adjustments an requires understanding of root notes but I'll get to in another lesson. Also look in case I make something like this for minor scales.
I hope you understand major scales more now. I know this might be a bit confusing but to understand use a little common sense.

Melodic Harmonic And Natural Minor Tetrachords

2009-06-19T07:28:00.006-07:00

I suggest you look at my lesson on Major Tetrachords before you read. I will allude to it and expect you to have. Also note that I use fingering blueprints, read them from left to right, bottom to top, as if each space was a any fret you want!
There are actually three types of minor scales: natural, harmonic, and melodic. A tetrachord is half a octave scale and therefore four notes(though there are only three spaces between the four) To play each you must start with a minor tetrachord. A minor tetrachord follows the pattern:

Whole step, Half step, Whole step

This can be played in the forms (1234), (1342), and (3412). Each number standing for the finger you use 1 being your index finger and 4 being the pinky. They are shown below (this is a fingering blueprint, not tabs):

(1234)
|---|---|---|---|---|---|
|---|---|---|---|---|---|
|---|---|---|---|---|---|
|-1-|---|-2-|-3-|---|-4-|

(1342)
|---|---|---|---|
|---|---|---|---|
|---|-2-|---|---|
|-1-|---|-3-|-4-|

(3412)
|---|---|---|---|---|
|---|---|---|---|---|
|-1-|---|-2-|---|---|
|---|---|-3-|---|-4-|

Now comes the part that may make it hard. To make a minor scale you can any of the following tetrachords: Major, Gypsy, & Phrygian. We’ll start with the major, a review for those who read Major Tetrachords. Major tetra chords follow the pattern:

Whole step, Whole step, Half step

There are three major tetrachord patterns: (1334), (2412), & (4134)

(2412)
|---|---|---|---|
|---|---|---|---|
|-1-|-2-|---|---|
|---|-2-|---|-4-|

(1334)
|---|---|---|---|---|---|
|---|---|---|---|---|---|
|---|---|---|---|---|---|
|-1-|---|-3-|---|-3-|-4-|

(4134)
|---|---|---|---|
|---|---|---|---|
|-1-|---|-3-|-4-|
|---|---|---|-4-|

Add this to the minor tetrachord to get a one-octave minor scale. Then there are the gypsy and Phrygian tetrachord. Don’t ask where the names come from, because I don’t know. The gypsy is weird but the Phrygian is easy:

Gypsy: Half step, Step and a Half, Half step
&
Phrygian: Haft step, Whole step, Whole step

The Gypsy has one easy fingering pattern while the Phrygian has two fingering patterns:

Gypsy:
(3412)
|---|---|---|
|---|---|---|
|-1-|-2-|---|
|---|-3-|-4-|

Phrygian:
(2341)
|---|---|---|---|
|---|---|---|---|
|-1-|---|---|---|
|-2-|-3-|---|-4-|

and
(3413)
|---|---|---|---|
|---|---|---|---|
|-1-|---|-3-|---|
|---|---|-3-|-4-|

Ok let’s put those together to get a minor scale! Play a minor tetrachord skip a whole step them play a major, gypsy, or Phrygian and whalah you have a melodic, harmonic, or natural minor scale! Note I will use (3413) for Phrygian, (2412) for major scales and (3412) for minor!

Melodic
|---|---|---|---|---|---|---|---|
|---|---|---|-1-|-2-|---|---|---|
|-1-|---|-2-|---|-2-|---|-4-|---|
|---|---|-3-|---|-4-|---|---|---|

Harmonic
|---|---|---|---|---|---|---|---|
|---|---|---|-1-|-3-|---|---|---|
|-1-|---|-2-|---|-3-|-4-|---|---|
|---|---|-3-|---|-4-|---|---|---|

Natural
|---|---|---|---|---|---|---|---|
|---|---|-1-|---|-3-|---|---|---|
|-1-|---|-2-|---|-3-|-4-|---|---|
|---|---|-3-|---|-4-|---|---|---|

Now I know that maybe confusing so I will put the G natural, melodic, and harmonic minor scales into tabs!

Melodic
G|-------------------------------|
D|-------------4-5---------------|
A|-----1-3-5-7-------------------|
E|-3-5---------------------------|

Harmonic
G|-------------------------------|
D|-------------4-5---------------|
A|-----1-3-5-6-------------------|
E|-3-5---------------------------|

Natural
G|-------------------------------|
D|-------------3-5---------------|
A|-----1-3-5-6-------------------|
E|-3-5---------------------------|

As you can see in tabs there are only small differences between each type. They also all start and end on G. I hope those who read this will get something from it. It maybe confusing, but if you haven’t read Major Tetrachords, you should. It will make this easier to understand.

Sweep Picking On Bass Guitar

2009-06-19T07:28:00.005-07:00

The best way in my opinion to approach sweep picking through arpeggios is to start out small out first and work your way up. So the first thing covered will be two string sweeps on bass.span class="fullpost">
Throughout this lesson I will show you arpeggio shapes in the key of D minor and will use a I-VI-VII chord progression(D minor, Bb major, C major) which is an often used and one of my favorite chord progressions. All of these shapes are also movable so they can be played anywhere on the fretboard.

The fingerings and downstroke/upstrokes shown are merely my opinion in what is the best way to approach these shapes, you are welcome to do them whatever way feels most comfortable to you.

Guide Key

D = Downstroke
U = Upstroke
1 = Fret with 1st (pointer) finger
2 = Fret with 2nd (middle) finger
3 = Fret with 3rd (ring) finger
4 = Fret with 4th (pinky) finger
T = Tap
P = Pull off
h = Hammer on

Two String Arpeggios (In D Minor)

I Chord (Dm)
D D U D D U D D U D D U
G|----10-14----10-14----10-14----10-14-|
D|-12-------12-------12-------12-------|
A|-------------------------------------|
E|-------------------------------------|
1 2 4 1 2 4 1 2 4 1 2 4

VI Chord (Bb)
D D U D D U D D U D D U
G|---7-10---7-10---7-10---7-10-|
D|-8------8------8------8------|
A|-----------------------------|
E|-----------------------------|
1 2 4 1 2 4 1 2 4 1 2 4

VII Chord (C)
D D U D D U D D U D D U
G|----9-12----9-12----9-12----9-12-|
D|-10------10------10------10------|
A|---------------------------------|
E|---------------------------------|
1 2 4 1 2 4 1 2 4 1 2 4

The next shapes I will show you are three string arpeggios for bass, when attempting to figure out these shapes it seemed hard to keep the shape having the root note as the bass note of the arpeggio, so the next following 3 and 4 string shapes are sweep inversions meaning that another note of the chord other than the root is the bass note.
These three string shapes are 2nd Inversion Sweep Arpeggios meaning that the 5th of the chord is the bass note.

Three String Arpeggios (2nd Inversion, 5th As Bass Note)

I Chord
D D D U D U U D D U D U U
G|-------10-14-10----------10-14-10-------|
D|----12----------12----12----------12----|
A|-12----------------12----------------12-|
E|----------------------------------------|
1 2 1 4 1 2 1 2 1 4 1 2 1

VI Chord (Bb)
D D D U D U U D D U D U U
G|-----7-10-7-------7-10-7-----|
D|---8--------8---8--------8---|
A|-8------------8------------8-|
E|-----------------------------|
1 2 1 4 1 2 1 2 1 4 1 2 1

VII Chord (C)
D D D U D U U D D U D U U
G|-------9-12-9----------9-12-9-------|
D|----10--------10----10--------10----|
A|-10--------------10--------------10-|
E|------------------------------------|
1 2 1 4 1 2 1 2 1 4 1 2 1

Next are four string sweeps, these can be tricky at your first attempt, but with constant practice they are no harder than the rest of these shapes. Also these shapes contain the third of the chord as the bass note making them first inversion shapes.

Four String Arpeggios (1st Inversion, 3rd As Bass Note)

I Chord (Dm)
D D D D U D U U U D D D U D U U U
G|----------10-14-10----------------10-14-10----------|
D|-------12----------12----------12----------12-------|
A|----12----------------12----12----------------12----|
E|-13----------------------13----------------------13-|
2 1 2 1 4 1 2 1 2 1 2 1 4 1 2 1 2

VI Chord (Bb)
D D D D U D U U U D D D U D U U U
G|--------7-10-7------------7-10-7--------|
D|------8--------8--------8--------8------|
A|----8------------8----8------------8----|
E|-10----------------10----------------10-|
3 1 2 1 4 1 2 1 3 1 2 1 4 1 2 1 3

VII Chord (C)
D D D D U D U U U D D D U D U U U
G|----------9-12-9----------------9-12-9----------|
D|-------10--------10----------10--------10-------|
A|----10--------------10----10--------------10----|
E|-12--------------------12--------------------12-|
3 1 2 1 4 1 2 1 3 1 2 1 4 1 2 1 3

Lastly, I would like to include the basics of adding tapping to your sweeping. This example is still using the I-VI-VII chord progression, and in each shape the note tapped is the root note of the chord. This example is just using the three string sweep but will work with any number of string sweep.

I(Dm) VI(Bb) VII(C)
G|-------10h14T19P14P10------------7h10T15P10P7------------9h12T17P12P9-------|
D|----12----------------12-------8--------------8-------10--------------10----|
A|-12----------------------12--8------------------8--10--------------------10-|
E|----------------------------------------------------------------------------|

Unlike the rest of the previous shapes, you have no choice in these but to hammer on and pull off when you reach the G string in order to tap the high root note.
Before this lesson is ended I will leave you with something other than a three chord progression to practice these with. This is a three string sweep&tap arrangement of Pachebel's famous "Canon" that I wrote it's a little tricky and takes some reach in spots but enjoy!

This is also in Guitar Pro format if you would prefer it that way

G|-------11h14T19P14P11--------6h9T14P9P6-----7h11T16P11P7---|
D|----12----------------12---7--------------9--------------9-|
A|-12----------------------7--------------9------------------|
E|-----------------------------------------------------------|

G|-----2h6T11P6P2-------4h7T12P7P4------------------|
D|---4------------4---5------------5-----4h7T12P7P4-|
A|-4----------------5------------------5------------|
E|-----------------------------------5--------------|

G|-----4h7T12P7P4-------6h9T14P9P6---|
D|---5------------5---7------------7-|
A|-5----------------7----------------|
E|-----------------------------------|

Double Popping

2009-06-19T07:28:00.004-07:00

When playing slap bass a common misconception is that you are restricted to a simple slap and pop melody, many bassists constrict themselves by not realizing they are able to use more than just their index finger when playing a slap groove.

Here is a clear example of how the second finger (and in later lessons even the third) can be used in their basic form to pop when playing a slap and pop riff. Let’s start off with the double popping then, Shall we?

The basic concept:
S = Slap.
H = Hammer-On.
P = Pull-Off
P(1) = Pop (With first finger).
P(2) = Pop (with second finger).

G|------------7------------------x-----------7---------9---------------
D|---------------------------------------------------------------------
A|---------------------------------------------------------------------
E|--0------------------0---------------------------------------0-------
S P (1) S P (1) P (2) S

There's a little bit of improvisation in this but here's a brief video I made. The Fundamental Riff itself is there and you can hear how it is achieved. What I would like to stress is that this isn't a technique that is usually picked up very quickly if you've never tried it before but with time and a great many blisters on your middle finger it can be successfully achieved and prove very handy in your soloing. So what we have here is the basic repetitive riff using the double-pop technique which we can build off quite easily using the E pentatonic.
For example:

H
G|------------7------------------x-----------7---------9---------------
D|---------------------------------------------------------------------
A|---------------------------------------------------------------------
E|--0------------------0---------------------------------------x-------
S P (1) S P (1) P (2) S

H
G|----x--------------------x---------------------x---------7-------9---
D|---------------------------------------------------------------------
A|---------------------------------------------------------------------
E|--------------0----------------------0-------------------------------
P (1) S P (2) S P (1) P (2)

H H H P H P
G|--------------7----------7-------------------------------------------
D|---7----9-----------9----------9-----7/5----7----5-------------------
A|-------------------------------------------------------7-------------
E|---------------------------------------------------------------------
S S S S

H
G|---------------x--------7---------9----------------------------------
D|---------------------------------------------------------------------
A|---------------------------------------------------------------------
E|----x----------------------------------------------------------------
S P (1) P (2)

As a technique there are probably better examples than this from far better Bassists than I of how to use the technique to the best of it's potential, but looking at the groove in that first bar as a technique, that can not be done with one popping finger and it creates a very definitive sound in comparison.

Soloing

2009-06-19T07:28:00.003-07:00

Scales To Use

major

g----------------------------------------
d----------------------2---4---5---------
a-----------2---3---5--------------------
e---3---5--------------------------------

minor

g----------------------------------------
d----------------------3---5-------------
a------------3---5--6--------------------
e---3--5--6------------------------------

dorian

g----------------------------------------
d-----------------2--3--5----------------
a-----------3--5-------------------------
e--3--5--6-------------------------------

minor pentatonic

g----------------------------------------
d----------------------3----5------------
a-------------3-----5--------------------
e----3----6------------------------------

major pentatonic

g----------------------------------------
d------------------------2----5----------
a--------------2------5------------------
e-----3----5-----------------------------

blues

g----------------------------------------
d-----------------------------3-----5----
a----------------3---4---5---------------
e----3-----6-----------------------------

Application Of These Scales

Patterns: you can use little visual patterns to create interesting lines in solos. Eg: as in each note of a scale a number, 1 through 8. then play 1, 3, 2, 4, 3, 5, 4, 6, 5, 7, 6, 8. That's what I'm on about! Playing these sequences can also help with technique when practiced with a metronome. Here are a few more:
1, 4, 2, 5, 3, 6, 4, 7, 5, 8.
1, 2, 1, 2, 3, 2, 3, 4, 3, 4 etc
1, 8, 2, 7, 3, 6, 4, 5, 4, 4, 3, 6, 2, 7etc

Ideas: you can use little motifs/ideas within a musical context that you repeat on to create interest for the listener. Because of the nature of the bass guitar, bass guitarists are genereally very bad at this and tend to just go through everything as fast as they can. That is one of the reasons teachers will tell you to transcribe horn solos, or keys. Horn players are very good at developing ideas/motifs within a musical context, because they are not thinking scale shapes, they are thinking musically. As in speech, lines should be played in little phrases, to keep the listeners interest. People don't just blurt out a whole paragraph do they? So thinking in short melodies, rather then shredding can aid in making a solo better. of course this takes years of practice. Another cool idea creator is to play the melody and slightly change it each phrase. This does take some practice but when mastered can make your bass lines seem almost horn like in nature.
Other Ideas: playing behind the beat - this is best practiced with a metronome. Playing behind the beat is basically just playing just before each beat, but being consistent, because if your not consistent, you will sound terrible. Percussive solos - just play beats on your strings, this is totally different, and when combined with dead notes and roots can be extremely effective. Chromatics - using the frets inbetween the scale notes can give a jazzy feel, and also add that 'out' sound you will hear horn and keys players create.

Techniques

Artificial Harmonics: I noticed a comment asking for pinch harmonics and I assumed you meant artificial harmonics. Artificial harmonics were made famous in bass by the great Jaco Pastorius. He used these in a more melodic context which has since been utilised by players such as bootsy collins, victor wooten, richard bona etc. An artificial harmonic is played by placing the knuckle of the right thumb on the node point of a string. Then plucking with your index finger. The node point is found twelve. Frets above the note your fretting. If you move up a fret with your left hand, then you have to compesate with your right. The node is usually written above the fretted note in brackets like so:

(15) (17) (14) (15) (17) (14)(16) (17)
g-------------------------------------------
d--------------------------------2---4----5-
a-----------------2----3----5---------------
e-------3----5------------------------------

To practice this technique, it is a good idea to play through scales, particularly widely spread scales I.e 3 notes per string (which you can find in other lessons).
Slap And Pop: slapping is one of the techniques which makes bass unique. To slap a note, hit the string with the side of the knuckle of your right thumb. Pops are the 'rebound' of a slap.(sort of) to pop, simply lift the string up with your left index or middle finger, then let it snap back down onto the frets. these two techniques produce a very distinctive sound, so you I'll know if you are doing them correctly. they are written as below:

s s s s s p p p p p p
g----------------------- g--5--4--2-----------------
d----------------------- d------------5---4---2-----
a--------2---4---5------ a--------------------------
e--3--5----------------- e--------------------------

Once again, play through scales, using these techiques to master them.
Dead Notes: dead notes are used by bassists to create a rhythmic feel within a solo. for the ultimate in dead note usage, look no further then wictor wooten 'me and my bass guitar'. To produce a dead note slap, pop or just pluck a string, whilst resting the left hand lightly on the strings, so the don't ring out. Dead notes are written as below:

g------------------------------------------------
d-------x--2-----x--3----------x--2---x---3------
a------------------------------------------------
e---3-x------x--------x--3--x-------x------------

I don't know what these are called but Victor Wooten uses them alot, they are done by playing an open string, hammering on with one finger, then slapping or popping the next note, ie:

s s
g------------------------------------------------
d------------------------------------------------
a------------0--h--2--3-h-5----------------------
e--0-h-3--5--------------------------------------

Once again, practising these with scales and metronome.
Arpeggios: arpeggios are created by taking the colour tones out of chords and playing them melodically. Example:
a major chord = 1-3-5
minor chord = 1-b3-5
b= flat diminshed chord = 1-b3-b5
#= sharp augmented chord = 1-3-#5
dominant 7th chord = 1-3-5-b7
minor 7th chord = 1-b3-5-b7
major 7th chord = 1-3-5-7
etc

So to put this in context, again, assign each scale note a number,

1 2 3 4 5 6 7 8/1
g-------------------------------------------------
d------------------------2---4---5----------------
a----------2----3---5-----------------------------
e---3--5------------------------------------------

then start combining colour tones eg:
minor = 1, b3, 5
1=G b3=Bb 5=d

g-----------------------3-----7-------------------
d-------------------5-----------------------------
a--------2-----5----------------------------------
e----3--------------------------------------------

These arpeggios can be used to outline the chord changes.
Walking Bass Lines: a walking bass line is created by playing the root (1) of a chord, then 'walking' through other notes to get to the next chord. A good general rule to follow for walking bass lines when beginning is to play (in key of C major) root-c 5th-g root-c leading note (7th or 2nd of next chord) - so if the next chord is F then we could play either the 7th of F-e or the second of F-g.
Bends: bending a string up can add a bluesy effect, and isn't really done by enough bassists these days. A good note to bend is the 3rd note of the blues scale in the second octave, ie:

g-----------------------------------3-----5--------
d-------------------------3-----5---------^--------
a---------------3-----5----------------------------
e------3----6--------------------------------------
Open String Harmonics: there are a few harmonics to be found that can be created with out fretting a note. Jaco was the pioneer of harmonics on bass, so check his stuff out to see the real deal.

g-----------------------------------
d-----------------------------------
a-----------------------------------
e--2.3--3.2--4--5--7--9--12---------

Plucking Using The Pinky

2009-06-19T07:28:00.002-07:00

Note: I practice these exercises on a four string, but I will write out the lesson for a five string, and if you do play a four string just ignore the low B string. I will indicate the fingers used with these characters:span class="fullpost">

T:thumb
I:index
M:middle
R:ring
P:pinky
Begin on open notes, slowly building your tempo until use of the pinky beccomes more fluent.

G|---------------------------------0-0-0-0-|
D|-------------------------0-0-0-0---------|
A|-----------------0-0-0-0-----------------|
E|---------0-0-0-0-------------------------|
B|-0-0-0-0---------------------------------|
I M R P I M R P I M R P I M R P I M R P
Now repeat the above exercise focusing on the accents of your fingers, try and make sure that the volumes are similar on each note. After you have even accents try adding accents on particular notes. Now lets try the pinky technique on a quarter note groove.

Ascending:

G|---------------------------------5-6-7-8-|
D|-------------------------5-6-7-8---------|
A|-----------------5-6-7-8-----------------|
E|---------5-6-7-8-------------------------|
B|-5-6-7-8---------------------------------|
I M R P I M R P I M R P I M R P I M R P

Decending:

G|-8-7-6-5---------------------------------|
D|---------8-7-6-5-------------------------|
A|-----------------8-7-6-5-----------------|
E|-------------------------8-7-6-5---------|
B|---------------------------------8-7-6-5-|
P R M I P R M I P R M I P R M I P R M I
Practice ascending and decending until the pinky becomes more fluent. Also try the ascending and descending at diffrent places on the fretboard. This exercise could take more practice to get an even flow of the fingers. You will also use your thumb in this part if you are playing a five string.

Ascending:

G|---------0-|
D|-------0---|
A|-----0-----|
E|---0-------|
B|-0---------|
T I M R P

Descending:

G|-0---------|
D|---0-------|
A|-----0-----|
E|-------0---|
B|---------0-|
P R M I T
Practice ascending and descending until they are fluent. Now lets try attaching some notes to the ascending and descending motions.

Ascending:

G|---------9-|
D|-------8---|
A|-----7-----|
E|---6-------|
B|-5---------|
T I M R P
Decending:

G|-9---------|
D|---8-------|
A|-----7-----|
E|-------6---|
B|---------5-|
P R M I T
Give these exercises a try and drop me a line on what it has done for you. Cheers!

Bass Solo's

2009-06-19T07:28:00.001-07:00

Most bassist don't even get to show there talent during a show. All they do is stand out of the spotlight and thwack away at the E and A strings.

Well I'm tired of that and hopefully you are too! Music is all about expressing yourself, and that's why you need to show your chops.
I'm not going to tell you that all bass solo's have to be part of a scale, but I think it's important to include some scaling in your solo. Let's Start out of a C major scale.

G|-----------2-4-5-
D|-----2-3-5-------
A|-3-5-------------
E|-----------------
Now let's add some notes in between

G|------------2424-5-
D|-----2323-5--------
A|-3-5---------------
E|-------------------
Here's were you can add different parts of a bass solo. Either chords, speed, or slap/octaves. (I'm leaving out tapping, because I haven't mastered that yet)

Chords

G|------------2424-5-5-4-----5-4---4-
D|-----2323-5--------3-2-4---3-2-4-2-
A|-3-5-------------------2-------2---
E|-----------------------------------

Speed

G|------------2424-5-55553333--------
D|-----2323-5----------------55553-2-
A|-3-5-------------------------------
E|-----------------------------------

Slap/Octave

(s=Slap, p=Pop)

G|------------2424-5----5p------------5p----4p-
D|-----2323-5------------------5p--------------
A|-3-5---------------3s------------3s----2s----
E|------------------------3s-------------------
There's a nice easy solo for you. I find most bass solo's come from using doodling around the fretboard or improv.

Effects

Some people find that using distortion or other effects may pump up a solo. I agree and disagree. Using an effect is great, but don't overuse it. If all your solo's are distortioned, what's the point, anyone can hit a couple notes on distortion and sound like Cliff Burton. I hope this helped you in your pursuit of face-melting, bass-pounding, guitar player-killing solos.

Rock On!

The Minor Pentatonic

2009-06-19T07:28:00.000-07:00

The way I remember the Pentatonic Scale is by remembering the 5 Shapes and giving them rememberable names. (The following Scales are in E Minor)

Shape 1

G|-0-2-|
D|-0-2-|
A|-0-2-|
E|-0-3-|

Give it a unique Name.
Shape 2

G|-2-4-|
D|-2-5-|
A|-2-5-|
E|-3-5-|

Shape 3 (Quite a similar pattern to Shape 1)

G|-4-7-|
D|-5-7-|
A|-5-7-|
E|-5-7-|

Shape 4

G|-7-9--|
D|-7-9--|
A|-7-10-|
E|-7-10-|

Shape 5

G|-9--12-|
D|-9--12-|
A|-10-12-|
E|-10-12-|

Improvising

The Minor Pentatonic May be used for Improvising and possibly Soloing. Making it a good thing to use. You may have noticed I stopped at the Twelth Fret. that's because there are only 12 Notes...

E, F, F#, G, G#, A, A#, B, C, C# D, D#.

To go higher, just repeat those shapes. Also remember that these shapes are in the Key of Emin. To go to G for example, Shape 1 starts on the 3rd Fret, and the rest of the shapes follow after (and repeat behind)

Here are all the Frets you can use using the Shapes.

G|-0-2-4-7--9-12-|
D|-0-2-5-7--9-12-|
A|-0-2-5-7-10-12-|
E|-0-3-5-7-10-12-|

So that means the notes you can use are...
E, G, A, B, D.

Remember to practice those Scales, try improvising with the Pentatonic and enjoy!

Church Modes

2009-06-19T06:35:00.006-07:00

The 'Church Modes' are scales that are generally used to write songs or simply play around with.

The names of each of the 7 scales that I am about to try to explain to you and teach you are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The Ionian and Aeolian are also the Major and minor scales, respectively. The origins of the 'Church Modes' are from various ancient civilizations like: Aeolia (Aeolian mode), Ionia (Ionian mode), Doris (Dorian mode).

A mode can simply be thought of as a set of 7 notes. Each mode is an inversion -starts and ends on a different note of the 7 notes- of the Ionian mode (Ionian scale). We will use the most common major key to learn these modes in. the C major mode is the most common key to learn the modes in.

C major- C, D, E, F, G, A, B, and C (octave)
The inversions of this key -set of notes- make up the modes. For example the modes start with the key (Ionian mode or Major scale) and just rotate which note they start and end on, like this:

C major (Ionian mode)- C, D, E, F, G, A, B, and C (octave)
D Dorian (second mode)- D, E, F, G, A, B, C, and D (octave)
E Phrygian (third mode)- E, F, G, A, B, C, D, and E (octave)
F Lydian (fourth mode)- F, G, A, B, C, D, E, and F (octave)
G Mixolydian (fifth mode)- G, A, B, C, D, E, F, and G (octave)
A minor (Aeolian mode)- A, B, C, D, E, F, G, and A (octave)
B Locrian (seventh mode)- B, C, D, E, F, G, A, and B (octave)
Here are the scales tabbed out:

C Ionian (Major) mode:

e|------------------------------------------10-12-13-|
B|---------------------------------10-12-13----------|
G|-------------------------9-10-12-------------------|
D|-----------------9-10-12---------------------------|
A|---------8-10-12-----------------------------------|
E|-8-10-12-------------------------------------------|
D Dorian mode:

e|----------------------------------------------12-13-15-|
B|-------------------------------------12-13-15----------|
G|----------------------------10-12-14-------------------|
D|-------------------10-12-14----------------------------|
A|----------10-12-14-------------------------------------|
E|-10-12-13----------------------------------------------|
It is very important that you play the "-10-12-14-" pattern using your index, middle, and pinky fingers: index for 10, middle for 12, and pinky for 14. The use of these fingers allow you to play scales in a more efficient way. This arrangement of your fingers also increases your ability to stretch your fingers further apart which can be a vital asset to becoming a "guitar god".
E Phrygian mode:

e|----------------------------------------------13-15-17-|
B|-------------------------------------13-15-17----------|
G|----------------------------12-14-16-------------------|
D|-------------------12-14-15----------------------------|
A|----------12-14-15-------------------------------------|
E|-12-13-15----------------------------------------------|
F Lydian mode:

e|--------------------------------3-5-7-|
B|--------------------------3-5-6-------|
G|--------------------2-4-5-------------|
D|--------------2-3-5-------------------|
A|-------2-3-5--------------------------|
E|-1-3-5--------------------------------|
F Lydian mode can also be played at the 13th fret (the octave of the 1st fret)
G Mixolydian mode:

e|-------------------------------5-7-8-|
B|-------------------------5-6-8-------|
G|-------------------4-5-7-------------|
D|-------------3-5-7-------------------|
A|-------3-5-7-------------------------|
E|-3-5-7-------------------------------|
G Mixolydian mode can also be played at the 15th fret (the octave of the 3rd fret)
A Aeolian (minor) mode:

e|--------------------------------7-8-10-|
B|-------------------------6-8-10--------|
G|-------------------5-7-9---------------|
D|-------------5-7-9---------------------|
A|-------5-7-8---------------------------|
E|-5-7-8---------------------------------|
A Aeolian mode can also be played at the 17th fret (octave of the 5th fret)
B Locrian mode:

e|-------------------------------------8-10-12-|
B|-----------------------------8-10-12---------|
G|----------------------7-9-10-----------------|
D|---------------7-9-10------------------------|
A|--------7-8-10-------------------------------|
E|-7-8-10--------------------------------------|
B Locrian mode can also be played at the 19th fret (the octave of the 7th fret)
As you can see each mode starts on the second note of the previous mode, if you think of them in order. Each scale is like a link in a chain; each link is connected to two other links and all 7 links make one big circle of links (scales). Therefore all 7 scales are connected to each other.

The reason each of these 7 scales are called modes is very simple. When you see Carlos Santana playing Europa you can tell he is playing the intro of the song using the Mixolydian mode (using the way I tabbed the scales). In reality Carlos Santana is using the G Phrygian mode. The reason he is using the Phrygian mode and not the Mixolydian mode is simply because you determine the mode you are in by the note in the key that you emphasize. Carlos Santana emphasizes the Phrygian note G in the key of D# major. Emphasizing a particular note can cause the sound of a scale to sound certain ways. Carlos makes his song Europa sound bluesy with a Spanish flavor sound to it because of emphasizing the Phrygian note in the key he chose to play in.

Learning the scales

2009-06-19T06:35:00.005-07:00

This lesson will explain how the origin of the basic scale came to be and how other scales were "created" using the basic scales. For this lesson I will be using intervals instead of the "Whole Steps"/"Half steps" or "Tones"/"Semi-Tones".

The Root Of All Scales!

When it comes to scales, there is a particular scale which is a "role model" to other scales and it is vital, as this will form other scale if its well manipulated. This particular scale is The major scale. With this scale we can build other scales by varying in the intervals by either flattening them, sharping, or even removing one or more! But there is still a question...How do we build a major scale?

Building A Major Scale (Ionian)

A Major scale has 7 Notes (8th is the octave) and to build a Major scale we need to use the help of the circle of fifths which will aid us and tells us which or how many flats or sharps the major scale has.

The circle of fifth:

#0
b1 C #1
F G
b2 #2
Bb D
b3 #3
Eb A
b4 #4
Ab E
b5 #5
Db B
F#
#6
(Note:I'm sorry if it looks very primitive but I put in a lot of effort to make it look easy to read more circle shaped)

As you can see the circle tell us that C major has no sharps or flats that means it a natural while G Major has 1 sharp which is The F#, the D Major has 2 sharps which is the F# and C# and so on...Using this info we can now build a major scale.

Example 1:

The C major scale

1 2 3 4 5 6 7 [8]
C D E F G A B C
Example 2:

The A major scale

1 2 3 4 5 6 7 [8]
A B C# D# E F# G A
Example 3:

The D major scale

1 2 3 4 5 6 7 [8]
D E F# G A B C# D
But wait we have a small problem...In theory we can only have 1 flat or sharp of the same key? so what will we do for the F# major? The answer is simple we have to "bend" the rules for a bit and name the octave as F instead of F#. So The F# major looks like this:

Example 4:

The F# major

1 2 3 4 5 6 7 [8]
F# G# A# B C# D# E# F
You can also use these methods to help you build the major scales:

Tone, Tone, Semi-Tone, Tone, Tone, Tone, Semi-Tone (T T S T T T S)

or

Whole Step, Whole Step, Half Step, Whole Step, Whole Step, Whole Step, Half Step (W W H W W W H)

Building Basic Scales

Now that we know how to build a major scale we can use it to build other scales and this is where the fun part begins.

Step 1: learn the formula!

Each and every scale has it's unique formula to follow if you learn that you have half of the job done.

Example 1:

Natural Minor scale (Aeolian) formula = 1 2 b3 4 5 b6 b7 [8]

Step 2: Comparing the formula!

Ok to understand what you are doing you must not only learn the formula but also to compare them with the major scale.

Major scale vs Natural Minor scale
1 2 3 4 5 6 7 [8] 1 2 b3 4 5 b6 b7 [8]
Now we learned that to make a Natural minor scale we need to use the major scale but flatten the 3rd, 6th and 7th note!

Step 3: Respect their Keys please!

Ok the next job is to keep in mind that you need to use the aproppriate scale to build a scale which means, to build a C Natural Minor scale you need to use a C Major scale, you CANNOT use a C Major scale to build D Natural Minor Scale or any other Natural Minor scale. So in conclusion use their respectable keys.

3 Examples Of Each Basic Scale

Natural Minor (Aeolia): 1 2 b3 4 5 b6 b7

A Natural Minor

1 2 b3 4 5 b6 b7 [8]
A B C D E F G A
B Natural Minor

1 2 b3 4 5 b6 b7 [8]
B C# D E F# G A B
C Natural Minor

1 2 b3 4 5 b6 b7 [8]
C D Eb F G Ab Bb C

Major Pentatonic: 1 2 3 5 6

A Major Pentatonic

1 2 3 5 6 [8]
A B C# E F# A
B Major Pentatonic

1 2 3 5 6 [8]
B C# D F# G B
C Major Pentatonic

1 2 3 5 6 [8]
C D E G A C

Minor Pentatonic: 1 b3 4 5 b7

A Minor Pentatonic

1 b3 4 5 b7 [8]
A C D E G A
B Minor Pentatonic

1 b3 4 5 b7 [8]
B D E F# A B
C Minor Pentatonic

1 b3 4 5 b7 [8]
C Eb F G Bb C

Blues: 1 b3 4 b5 5 b7

A Blues

1 b3 4 b5 5 b7 [8]
A C D Eb E G A
B Blues

1 b3 4 b5 5 b7 [8]
B D E F F# A B
C Blues

1 b3 4 b5 5 b7 [8]
C Eb F Gb G Bb C
Those are pretty much the basic scales.

On The Road To Mode

This isn't hard, as it follows the same routine as the basic one, So I will refresh you on the steps then move on to the examples.

Step 1: learn the formula!

Step 2: Comparing the formula!

Step 3: Respect their Keys please!

Modes Examples

Phrygian: 1 b2 b3 4 5 b6 b7

A Phrygian Mode

1 b2 b3 4 5 b6 b7 [8]
A Bb C D E F G A
B Phrygian Mode

1 b2 b3 4 5 b6 b7 [8]
B C D E F# G A B
C Phrygian Mode

1 b2 b3 4 5 b6 b7 [8]
C Db Eb F G Ab Bb C

Dorian: 1 2 b3 4 5 6 b7

A Dorian Mode

1 2 b3 4 5 6 b7 [8]
A B C D E F# G A
B Dorian Mode

1 2 b3 4 5 6 b7 [8]
B C# D E F# G# A B
C Dorian Mode

1 2 b3 4 5 6 b7 [8]
C D Eb F G A Bb C

Lydian: 1 2 3 #4 5 6 7

A Lydian Mode

1 2 3 #4 5 6 7 [8]
A B C# D# E F# G# A
B Lydian Mode

1 2 3 #4 5 6 7 [8]
B C# D# E# F# G# A# B
C Lydian Mode

1 2 3 #4 5 6 7 [8]
C D E F# G A B C
Mixolydian: 1 2 3 4 5 6 b7

A Mixolydian Mode

1 2 3 4 5 6 b7 [8]
A B C# D E F# G A
B Mixolydian Mode

1 2 3 4 5 6 b7 [8]
B C# D# E F# G# A B
C Mixolydian Mode

1 2 3 4 5 6 b7 [8]
C D E F G A Bb C
Locrian: 1 b2 b3 4 b5 b6 b7

A Locrian Mode

1 b2 b3 4 b5 b6 b7 [8]
A Bb C D Eb F G A
B Locrian Mode

1 b2 b3 4 b5 b6 b7 [8]
B C D E F G A B
C Locrian Mode

1 b2 b3 4 b5 b6 b7 [8]
C Db Eb F Gb Ab Bb C
Basically thats all to it. Once you get the basic straight the rest is all easy! ihope you guys enjoy the lesson asthis is my first time doing a lesson so enjoy.

The Modes In Order Of Descending Brightness

2009-06-19T06:35:00.004-07:00

This lesson is for anyone having trouble learning the modes of the Major Scale, or just wanting to learn how to enhance their playing. A good majority of the people, including some people that read this, have learned the different modes through the most common way, vertically, in the order of: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. This never made to much sense to me, as the fingering can seem all over the place. This lesson will teach the way I taught myself the different modes. If you are looking for a certain mode, press Ctrl+F and type in the mode name.

First things first, every scale we go over will be shown in the key of C. Please remember that you can move these patterns anywhere on the fretboard to change the key. The C Major Scale is C D E F G A B. C is the root note or first, D is the second, E is the third, and so on, so forth.

The first scale I’ll show you is the Ionian Mode, which is the Major Scale. For the key of C, this would be C D E F G A B, as stated before. In it's most basic form, this would look like:

C D E F G A B C D E F G A B C
|--------------------------------------------7--8--|
|-------------------------------------8--10--------|
|---------------------------7--9--10---------------|
|-----------------7--9--10-------------------------|
|-------7--8--10-----------------------------------|
|8--10---------------------------------------------|

The pattern for the Ionian Mode is:

_ _ _ _ _ _
| |O|O|O| |O|
|_|_|_|_|_|_| + - root note
|+|O| | |O|+|
|_|_|_|_|_|_|
| | |O|O| | |
|_|_|_|_|_|_|
|O|O|+|O|O| |
|_|_|_|_|_|_|

The next mode we’ll go over is the Mixolydian Mode, the fifth mode vertically. The only difference between the Mixolydian Mode and the Ionian Mode is that the Mixolydian has a flatted 7th. In the key of C, this would change the scale from C D E F G A B to C D E F G A Bb. This is played as:

C D E F G A Bb C D E F G A Bb C
|--------------------------------------------6--8--|
|-------------------------------------8--10--------|
|---------------------------7--9--10---------------|
|-----------------7--8--10-------------------------|
|-------7--8--10-----------------------------------|
|8--10---------------------------------------------|

The pattern for the Mixolydian Mode is:

_ _ _ _ _ _
| | | | | |O|
|_|_|_|_|_|_|
| |O|O|O| | | + - root note
|_|_|_|_|_|_|
|+|O|O| |O|+|
|_|_|_|_|_|_|
| | | |O| | |
|_|_|_|_|_|_|
|O|O|+|O|O| |
|_|_|_|_|_|_|

Next up is the Dorian Mode, the 2nd mode vertically. The Dorian Mode is the Mixolydian Mode with an additional flatted 3rd. The notes for the C Dorian Mode are C D Eb F G A Bb. This can played as:

C D Eb F G A Bb C D E F G A Bb C
|---------------------------------------------6--8--|
|--------------------------------------8--10--------|
|----------------------------7--8--10---------------|
|------------------7--8--10-------------------------|
|-------6--8--10------------------------------------|
|8--10----------------------------------------------|

Dorian Pattern:

_ _ _ _ _ _
| |O| | | |O|
|_|_|_|_|_|_|
| | |O|O| | |
|_|_|_|_|_|_|
|+|O|O|O|O|+|
|_|_|_|_|_|_| + - root note
| | | | | | |
|_|_|_|_|_|_|
|O|O|+|O|O| |
|_|_|_|_|_|_|

The next mode we’re gonna go over is the Aeolian Mode, the sixth mode vertically. This is also known as the Natural Minor Scale. The Aeolian Mode has an additional flatted 6th. This would change C Dorian, C D Eb F G A Bb, to C D Eb F G Ab Bb. This would look like:

C D Eb F G Ab Bb C D Eb F G Ab Bb C
|-------------------------------------------6--8--|
|-------------------------------------8--9--------|
|---------------------------7--8--10--------------|
|-----------------6--8--10------------------------|
|-------6--8--10----------------------------------|
|8--10--------------------------------------------|

The pattern for the Aeolian Mode is:

_ _ _ _ _ _
| |O|O| | |O|
|_|_|_|_|_|_|
| | | |O| | |
|_|_|_|_|_|_|
|+|O|O|O|O|+| + - root note
|_|_|_|_|_|_|
| | | | |O| |
|_|_|_|_|_|_|
|O|O|+|O| | |
|_|_|_|_|_|_|

The next mode is the Phrygian Mode, the third mode vertically. This mode has an additional flatted 2nd. This changes the C Aeolian Mode from C D Eb F G Ab Bb to C Db Eb F G Ab Bb. This looks like:

C Db Eb F G Ab Bb C Db Eb F G Ab Bb C
|------------------------------------------6--8--|
|------------------------------------8--9--------|
|--------------------------6--8--10--------------|
|----------------6--8--10------------------------|
|------6--8--10----------------------------------|
|8--9--------------------------------------------|

The scale pattern for this is:

_ _ _ _ _ _
| |O|O|O| |O|
|_|_|_|_|_|_|
| | | | | | |
|_|_|_|_|_|_|
|+|O|O|O|O|+|
|_|_|_|_|_|_|
|O| | | |O| |
|_|_|_|_|_|_|
| |O|+|O| | |
|_|_|_|_|_|_|

Next up is the Locrian Mode. The Locrian Mode is the seventh mode vertically, and it adds an additional flatted 7th. The C Phrygian would change from C Db Eb F G Ab Bb to C Db Eb F Gb Ab Bb. This can be played as:

C Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C
|-----------------------------------------6--8--|
|-----------------------------------7--9--------|
|-------------------------6--8--10--------------|
|---------------6--8--10------------------------|
|------6--8--9----------------------------------|
|8--9-------------------------------------------|

This scale pattern looks like:

_ _ _ _ _ _
| |O|O|O| |O|
|_|_|_|_|_|_|
| | | | |O| |
|_|_|_|_|_|_|
|+|O|O|O| |+|
|_|_|_|_|_|_|
|O|O| | |O| |
|_|_|_|_|_|_|
| | |+|O| | |
|_|_|_|_|_|_|

Now, if we continue to descend, something strange happens. The next note that is flatted is the root note, or 1st. When this happens, all the flats come off, and it goes back to the Ionian Mode again. To create the last mode, the Lydian Mode, the 4th is raised, or sharpened. The Lydian Mode is the basically the Ionian Mode with a raised 4th. So, B Lydian would be B Db Eb F Gb Ab Bb. This looks like:

B Db Eb F Gb Ab Bb B Db Eb F Gb Ab Bb B
|---------------------------------------6--7--|
|------------------------------6--7--9--------|
|------------------------6--8-----------------|
|---------------6--8--9-----------------------|
|------6--8--9--------------------------------|
|7--9-----------------------------------------|

The scale pattern for the Lydian Mode looks like:

_ _ _ _ _ _
| |O|O|O|O| |
|_|_|_|_|_|_|
|+| | | |O|+|
|_|_|_|_|_|_|
| |O|O|O| |O|
|_|_|_|_|_|_|
|O|O|+| |O| |
|_|_|_|_|_|_|
| | | | | | |
|_|_|_|_|_|_|

Remember that these patterns can be moved anywhere on the fretboard to change the key of the scale.

2 Octave Open Position Major Scales For Bass Guitar

2009-06-19T06:35:00.003-07:00

The following is a listing of all the open position Major scales for bass guitar, in two octaves, written in tab.
The reason I decided to post this was because my guitar teacher at my school, Dr. Frank DiBussolo, is teaching my guitar technique class about open scales. He says that they're good to know when soloing. So I figured I would help you to not waste your time and figure them all out like I did by posting them here. Don't forget to comment me and check out my profile.

Their in the order of the Circle of fifths, sharps first then flats.

C Major

G[---------0-2-4-5-7-9-10-12-14-16-17-]
D[---0-2-3----------------------------]
A[-3----------------------------------]
E[------------------------------------]
C D E F G A B C D E F G A B C

G Major

G[---------------0-2-4-5-7-9-11-12-]
D[---------0-2-4-------------------]
A[---0-2-3-------------------------]
E[-3-------------------------------]
G A B C D E F#G A B C D E F# G

D Major

G[-------0-2-4-6-7-9-11-12-14-16-18-19-]
D[-0-2-4-------------------------------]
A[-------------------------------------]
E[-------------------------------------]
D E F#G A B C#D E F# G A B C# D

A Major

G[-------------1-2-4-6-7-9-11-13-14-]
D[-------0-2-4----------------------]
A[-0-2-4----------------------------]
E[----------------------------------]
A B C#D E F#G#A B C#D E F# G# A

E Major

G[-------------------1-2-4-6-8-9-]
D[-------------1-2-4-------------]
A[-------0-2-4-------------------]
E[-0-2-4-------------------------]
E F#G#A B C#D#E F#G#A B C#D#E

B Major (If you call it an open scale, it doesent use any open strings, same thing as Cb Major.)

G[-----------1-3-4-6-8-9-11-13-15-16-]
D[-----1-2-4-------------------------]
A[-2-4-------------------------------]
E[-----------------------------------]
B C#D#E F#G#A#B C#D#E F# G# A# B

F# Major (Again, no open strings, same thing as Gb Major.)

G[-----------------1-3-4-6-8-10-11-]
D[-----------1-3-4-----------------]
A[-----1-2-4-----------------------]
E[-2-4-----------------------------]
F#G#A#B C#D#E#F#G#A#B C#D#E# F#

C# Major (no open strings, same thing as Db Major.)

G[---------1-3-5-6-8-10-11-13-15-17-18-]
D[---1-3-4-----------------------------]
A[-4-----------------------------------]
E[-------------------------------------]
C#D#E#F#G#A#B#C#D#E# F# G# A# B# C#

Bb Major

G[-----------0-2-3-5-7-8-10-12-14-15-]
D[-----0-1-3-------------------------]
A[-1-3-------------------------------]
E[-----------------------------------]
BbC D EbF G A BbC D EbF G A Bb

Eb Major

G[-----0-1-3-5-7-8-10-12-13-15-17-19-20-]
D[-1-3----------------------------------]
A[--------------------------------------]
E[--------------------------------------]
EbF G AbBbC D EbF G Ab Bb C D Eb

Ab Major

G[-------------0-1-3-5-6-8-10-12-13-]
D[---------1-3----------------------]
A[---1-3-4--------------------------]
E[-4--------------------------------]
AbBbC DbEbF G AbBbC DbEbf G Ab

Db Major (no open strings, same thing as C# Major.)

G[---------1-3-5-6-8-10-11-13-15-17-18-]
D[---1-3-4-----------------------------]
A[-4-----------------------------------]
E[-------------------------------------]
DbEbF GbAbBbC DbEbF Gb Ab Bb C Db

Gb Major (no open strings, same as F# Major

G[-----------------1-3-4-6-8-10-11-]
D[-----------1-3-4-----------------]
A[-----1-2-4-----------------------]
E[-2-4-----------------------------]
GbAbBbCbDbEbF GbAbBbCbDbEbF Gb

Cb Major (no open strings, same thing as B Major.)

G[-----------1-3-4-6-8-9-11-13-15-16-]
D[-----1-2-4-------------------------]
A[-2-4-------------------------------]
E[-----------------------------------]
CbDbEbFbGbAbBbCbDbEbFbGb Ab Bb Cb

Penatonic Minor Scale For Starters

2009-06-19T06:35:00.002-07:00

The penatonic scale is a great skill to have when it comes to writing songs, or playing metal or rock. Here is a baisc A minor Penatonic Scale:

e|------------------5-8-5-------------------
B|---------------5-8------8-5---------------
G|------------5-7------------7-5------------
D|--------5-7-------------------7-5---------
A|----5-7---------------------------7-5-----
E|-5-8---------------------------------8-5--

Penatonic scales are probably some of the easiest scales to do. In this tablature,
V = downstroke
U = upstroke

U V (keep alternating)
e|---------------------5-8-5--------------------
B|-----------------5-8-------8-5----------------
G|-------------5-7---------------7-5------------
D|---------5-7----------------------7-5---------
A|-----5-7------------------------------7-5-----
E|-5-8-------------------------------------8-5--

Now try this

e|-----------------------------------------------------------------
B|-------------------------------------5-8b9r8-5-------------------
G|---------------5-7-5-7-----------5-7-----------7-5---------------
D|--------5-7-----------------5-7-------------------7-5------------
A|-----5-7---7-5----------5-7--------------------------7-5---------
E|-5-8----------------------------------------------------8-5/4\5--

That puts a variation into it. Now, try writing your own solo from this A minor penatonic scale!

Construction Of Major, Minor And Pentatonic Scales

2009-06-19T06:35:00.001-07:00

The basis of this lesson is the construction of major scales. The first note is the one which gives it's name to the scale (C major scale is constructed starting from C) and from this one it's goes like this:

full step, full step, half step, full step, full step, full step, half step

I will write "F" for full and "H" for half step. So from the "X" first note yo have this:

X > F > F > H > F > F > F > H > X (one octave higher)

And this looks like this on a tab for the C major scale (stars at 6th string 8th fret, but transpose at any position you want for another scale like 5th fret for A major etc), two octaves in one position:

E|--------------------------------7-8-
B|---------------------------8-10-----
G|--------------------7-9-10----------
D|-------------7-9-10-----------------
A|------7-8-10------------------------
E|-8-10-------------------------------

So now we got the construction of the major scales.
The pentatonic major scale is the same but without the 4th and 7th degre which gives us for the C pentatonic major scale:

E|-------------------------8-
B|--------------------8-10---
G|----------------7-9--------
D|-----------7-10------------
A|------7-10-----------------
E|-8-10----------------------

Back to the major scale we will now build the minor scales: there are three kinds (I discovered them using Guitar Pro, I first thought there was only one): The melodic minor s cale, the harmonic minor scale and the (natural) minor scale.
So first you take the major scale and flatten the 3rd degre to get the melodic minor scale.

E|--------------------------------7-8-
B|---------------------------8-10-----
G|--------------------7-8-10----------
D|-------------7-9-10-----------------
A|------6-8-10------------------------
E|-8-10-------------------------------

Then from this one you also flatten the 6th dege to get the harmonic minor scale.

E|-------------------------------7-8-
B|---------------------------8-9-----
G|--------------------7-8-10---------
D|-------------6-9-10----------------
A|------6-8-10-----------------------
E|-8-10------------------------------

Then you flatten the 7th degre to get the minor scale (also called natural, common or whatever).

E|-------------------------------6-8-
B|---------------------------8-9-----
G|--------------------7-8-10---------
D|-------------6-8-10----------------
A|------6-8-10-----------------------
E|-8-10------------------------------

Finally this is how y get the pentatonic minor scale: Fom the pentatonic major scale you sharpen the 2nd, 3rd and 6th degre, which gives us:

E|--------------------------8-
B|---------------------8-11---
G|----------------8-10--------
D|-----------8-10-------------
A|------8-10------------------
E|-8-11-----------------------

So that was it, I just give yo a little summary of the whole lesson to make it easier for you to remember it all!

1) Major scales : X(1st) > F(2nd) > F(3rd) > H(4th) > F(5th)
> F(6th) > F(7th) > H(1st, 1 octave higher)
2) Pentatonic Major : without 4th and 7th
3) Melodic Minor : Major with 3rd flattened
4) Harmonic Minor : Melodic Minor with 6th flattened
5) Minor scale : Harmonic Minor with 7th flattened
6) Pentatonic Minor : Pentatonic Major with 2nd, 3rd, 5th sharpened

So now that was it, I hope you understood and enjoyed this lesson and that it will help you to remember these scales easier and faster.

Modes Of The Major Scale

2009-06-19T06:35:00.000-07:00

So you hear people talking about modes and you have no idea what they are talking about, or maybe you do but you don't understand them. Well I've decided to write a lesson that will hopfully help bridge the gap between you and modes in a way that I would have wanted it explained to me when I was in your position,

first I'll write some reference material for you then we'll get stuck in.

Here's a useful thing if you don't know the notes all over the fretboard, you can refer to it later on.

E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E
B-C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A-A#-B
G-G#-A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E-F-F#-G
D-D#-E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C-C#-D
A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A
E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C-C#-D-D#-E
0 3 5 7 9 12 15 17 19 21 24

I've number the frets for reference, you can see that the notes only go up to the 12th fret and then repeat themselves.
For this lesson I will be using the key of C, the reason for this is that it's easier for me to write and easier for you to understand.

as you may of may not know, when in the key of C major there are no sharps or flats, as you can see below.

C-D-E-F-G-A-B-C
1 2 3 4 5 6 7 1

I have numbered each notes from 1 to 7, number 1 is the root note and I'll simply call the 2nd note "the 2nd note" and so on. I'm doing this so that you can understand it first before you go really in depth into the subject. And if I was to put these notes on the fretboard with the root note on the low E string. It would look like this

|O| |O| |O| e string
| | |O| |O| B string
| |O|O| |O| G string
| |O|O| |O| D string
|O| |O| |O| A string
|O| |O| |O| E string
8 9 T E 12 <

Note: when the seqence of notes run out they start again and repeat, an example, if you count up the notes starting from 8th fret E you see that it's gets to seven at the 9th fret D string, so the 10th fret D would be 1 again, this is also because it's the same note, you can refer to the notes of the fretboard I wrote for you earlier.
That is the major scale, all other scales are based off it so you should know it.(it should be noted that that scale can be played in that formation anywhere on the neck but then it would be in a different key, for example playing it a the 5th fret would make it the A major scale, but because we are using the key of C i have it at the 8th fret.)

So that's the formality's out of the way, lets begin.

I'll start by telling you the modes and what they mean.

First here's the modes

ionian - 1-2-3-4-5-6-7-1
dorian - 1-2-b3-4-5-6-b7-1
phrygian - 1-b2-b3-4-5-b6-b7-1
lydian - 1-2-3-#4-5-6-7-1
mixolydian - 1-2-3-4-5-6-b7-1
aeolian - 1-2-b3-4-5-b6-b7-1
locrian - 1-b2-b3-4-b5-b6-b7-1
As you may have noticed, the ionian has the same sequence of numbers as I showed you earlier at the start, 1-2-3-4-5-6-7-1, that's because the ionian mode IS! Is the major scale.

Now for the rest, all the other modes are in relation to the major scale, where ever you see a "b", example "b2" it means you flatten the relative on the major scale note by 1 fret(move it down towards the nut), and on the occassion you see a "#" example "#4" you raise the note by 1 fret(towards the bridge).

To show this I'll use the low E string of the box pattern major scale above.

1 2 3 << the 1st second and third position of notes (C, D and E)
|O| |O| |O| << this is the E string
8 10 12 << fret numbers

Now if a certain mode told me to flatten the third (b3) I would have to flatten the 3rd position of the scale, the scale would now look like this

1 2 b3 << the 1st second and third position of notes (C, D and E flattened, which is D#)
|O| |O|O| | << this is the E string
8 10 12 << fret numbers

Here's a #3

1 2 3 << the 1st second and third position of notes (C, D and F)
|O| |O| | |O| << this is the E string
8 10 12 << fret numbers

Here's all the modes in box form
Ionian (major Scale)

|O| |O| |O| e string
| | |O| |O| B string
| |O|O| |O| G string
| |O|O| |O| D string
|O| |O| |O| A string
|O| |O| |O| E string

Dorian

|O| |O|O| | e string
| | |O|O| | B string
|O| |O| |O| G string
|O| |O| |O| D string
|O| |O| |O| A string
|O| |O|O| | E string

Phrygian

|O|O| |O| | e string
| |O| |O| | B string
|O| |O| |O| G string
|O| |O|O| | D string
|O| |O|O| | A string
|O|O| |O| | E string

Lydian

|O| |O| |O| e string
| | |O| |O| B string
| |O| |O|O| G string
| |O|O| |O| D string
| |O|O| |O| A string
|O| |O| |O| E string

Mixolydian

|O| |O| |O| e string
| | |O|O| | B string
| |O|O| |O| G string
|O| |O| |O| D string
|O| |O| |O| A string
|O| |O| |O| E string

Aeolian (minor Scale)

|O| |O|O| | e string
| |O| |O| | B string
|O| |O| |O| G string
|O| |O| |O| D string
|O| |O|O| | A string
|O| |O|O| | E string

Locrian

|O|O| |O| | e string
| |O| |O| | B string
|O| |O|O| | G string
|O| |O|O| | D string
|O|O| |O| | A string
|O|O| |O| | E string

Now of course you could play them anywhere on the fretboard, but then they would be in different keys and seeing that we are working in the key of C we need to work out where to play them, for this I have another diagram for you.

--------------------------------------
/notes of the major scale in all keys \
--------------------------------------------------------
| |
|Ab =Ab-Bb-C-Db-Eb-F-G-Ab |
| |
|A =A-B-C#-D-E-F#-G#-A |
| |
|Bb/A# =Bb-C-D-Eb-F-G-A-Bb |
| |
|B =B-C#-D#-E-F#-G#-A#-B |
| |
|C =C-D-E-F-G-A-B-C |
| |
|Db/C# =Db-Eb-F-Gb-Ab-Bb-C-Db |
| |
|D =D-E-F#-G-A-B-C#-D |
| |
|Eb/D# =Eb-F-G-Ab-Bb-C-D-Eb |
| |
|E =E-F#-G#-A-B-C#-D#-E |
| |
|F =F-G-A-Bb-C-D-E-F |
| |
|Gb/F# =Gb-Ab-Bb-Cb-Db-Eb-F-Gb |
| |
|G =G-A-B-C-D-E-F#-G |
| |
--------------------------------------------------------

If you were to look down the list you would see the notes in C major, but say I wanted to play somewhere else on the neck but still stay in key, well for that I would combine that list with my formulas for the modes of the major scale.
O.k so you sick of playing the box pattern at the 8th fret and lets say you want to play at the 3rd fret, o.k then, so what note is the 3rd fret of the E string?

It's a G, so we now look at our list of keys, and look a the key of G, but wait there's an F# in that key, that means we can't simply play the major scale at the 3rd fret, but we are in luck, if that F# was to be flattened, there would be no sharps are flats, which would make it the same as the C major scale.

So we look at what position the offending note is at.

G-A-B-C-D-E-F#-G
1 2 3 4 5 6 7 1

It's at the 7th position, so we can just look at the list of mode formaulas to find a b7. The mode we can use is the mixolydian because it has a flat 7th in it

Heres the formula

mixolydian- 1-2-3-4-5-6-b7-1

So with the alteration to the major scale made, we can now play this shape at the 3rd fret and still be in the key of C.

Mixolydian

|O| |O| |O| e string
| | |O|O| | B string << there is flattened 7th on this string
| |O|O| |O| G string
|O| |O| |O| D string << there is also a flattened 7th on this string
|O| |O| |O| A string
|O| |O| |O| E string
3 5 7 << fret numbers

I will write down the different position for each of the modes in the key of C.

ionian - 1-2-3-4-5-6-7-1 = 8th fret
dorian - 1-2-b3-4-5-6-b7-1 = 10th fret
phrygian - 1-b2-b3-4-5-b6-b7-1 = 0 (zero) fret \ 12th fret
lydian - 1-2-3-#4-5-6-7-1 = 1st fret \ 13th fret
mixolydian - 1-2-3-4-5-6-b7-1 = 3rd fret \ 15th fret
aeolian - 1-2-b3-4-5-b6-b7-1 = 5th fret \ 17th fret
locrian - 1-b2-b3-4-b5-b6-b7-1 = 7th fret \ 19th fret

You should work these out by yourself in order to undrstand it better, don't just take it for granted.
Note: because the notes repeat themselves after the 12th fret you can play each mode in 2 places.(except were it is impossible due to no frets being left to play on).

Here's another visual representation, both of these are the same thing but I couldn't fit all the names on one fretboard so I've used two, as always key of C.

F lydian B locrian
/ \ / \
|O|X| |O| |O| |X|O| |O| |O|X| |O| |O| |X|O| |O|
|O|X| |O| |O|X| |O| |O| |X|O| |O| |O|X| |O| |O|
|O| |O| |X|O| |O| |O| | |O| |O| |X|O| |O| |O|X|
|O| |O|X| |O| |O| |X|O| |O| |O|X| |O| |O| |X|O|
|O| |X|O| |O| |O|X| |O| |O| |X|O| |O| |O|X| |X|
|O|X| |O| |O| |X|O| |O| |O|X| |O| |O| |X|O| |O|
1 3 5 7^ 9 12^ 15 17 19 21
| |
| |
\C ionian /

G mixolydian D dorian
/ \ / \
|O|X| |O| |O| |X|O| |O| |O|X| |O| |O| |X|O| |O|
|O|X| |O| |O|X| |O| |O| |X|O| |O| |O|X| |O| |O|
|O| |O| |X|O| |O| |O| | |O| |O| |X|O| |O| |O|X|
|O| |O|X| |O| |O| |X|O| |O| |O|X| |O| |O| |X|O|
|O| |X|O| |O| |O|X| |O| |O| |X|O| |O| |O|X| |X|
|O|X| |O| |O| |X|O| |O| |O|X| |O| |O| |X|O| |O|
1 3 ^5 7 9^ ^12 15 ^17 19 21
| | | |
| | | |
\A aeolian/ \E phrygian/

It shows how the shapes fit together, you can ignore the X's if you want, I've just ctrl+v 'ed this in from something else I was doing, the O's are the notes of the A minor pentatonic (which is in the key of C major so don't worry, when you work out the aeolian(minor scale) you will see that it starts at the 5th fret (A).) and the X's are the additional notes that make up the rest of the major scale all over the fretboard.
And that's pretty much it for now, my advice is for you to find the modes for all the other keys by working it out by yourself and try to work between them (I find that improvising is best for this), switching between the different modes, both vertically and horizontally, getting different sounds from each one to suit your style.

And to top it off, you may not realize it but I've also pushed you in the direction of how to find what chords are in what key too, so check out those lessons if you understand this wall of text I've just created.

The Major Scale

2009-06-19T06:34:00.002-07:00

The major scales are not used much in today’s music, but can be very useful to know. By today’s music I mean most metal/hard rock.

Metal, while being mostly inclusive of minor keys, still includes a good deal of use of the major scale. It is a great warm-up and a skill to get you playing faster in no time. The major scale also helps with finger strength.

As you may know the major scales have many great uses in soloing and creating riffs in your own songs. You can also “improvise” a lot easier and quicker with the knowledge of scales.

Here is the basic structure of the scale.

e|------------------------|
B|------------------------|
G|------------------------|
D|----------2-4-5---------|
A|-----2-3-5-----5-3-2----|
E|-3-5----------------3-5-|

That was a “G Major” scale.
The fingering to play the major scales is pretty simple. Start with your middle finger on (in this case) the third fret. Then put your pinky on the fifth. Next, put your first finger on the second fret. Now put your middle finger on the third fret. After that, put pinky on the fifth fret. Next, put your first finger on the second fret. Then, place your ring finger on the Fourth fret, Then your pinky on the fifth. Then just do that in reverse on the way down.

If that was a little confusing, it goes like this

- Middle
- Pinky
- First
- Middle
- Pinky
- Index (first)
- Ring
- Pinky

Speed building in scales can take some time, but with the right practice and enough of it, you will be fast very quickly. I hope that that is the case for you with my teaching.
One way that you all know how to do is to start slow, and work it up to tempo. This way is very boring for most people. But I have some different ways to show you how to get faster – and quickly!

This is an exercise that you can use to get your scales going faster. It just is breaking it down into sections. It is very easy. And if you would like, with each note, say a number starting at “1”. Like this:

1. "1 2 1 1 2 3 2 1 1 2 3 4 3 2 1 1 2 3 4 5 4 3 2 1" ect…

e|---|-------|------------|---------------|--------------------|
B|---|-------|------------|---------------|--------------------|
G|---|-------|------------|---------------|--------------------|
D|---|-------|------------|---------------|--------------------|
A|---|-------|-----2------|-----2-3-2-----|-----2-3-5-3-2------|
E|-3—|-3-5-3-|-3-5---5-3--|-3-5-------5-3-|-3-5-----------5-3--|

e|------------------------|--------------------------|------------------------|
B|------------------------|--------------------------|------------------------|
G|------------------------|--------------------------|------------------------|
D|------------2-----------|---------2-4-2------------|----------2-4-5---------|
A|------2-3-5---5-3-2-----|----2-3-5------5-3-2------|-----2-3-5-----5-3-2----|
E|-3-5----------------3-5-|-3-5----------------5-3---|-3-5----------------3-5-|

As you can see, speed building can be pretty easy if you have the right practice and the right amount of effort and time.
Now, try changing it (putting a “twist” into it) – something like this:

e|----------------------------------|
B|----------------------------------|
G|----------------------------------|
D|----------------5---4---2---------|
A|---2-3-2-5---3--------------5-----|
E|-3---------5------------------3~--|

Now that you know how to do major scales, it will be very easy to write out your own songs, and tabbing out other peoples as well! Hope you enjoyed my lesson!

In-Depth With The Pentatonic

2009-06-19T06:34:00.001-07:00

This lesson will cover three things. First we are going to take a look at the pentatonics, that famous scale you've all heard about.

Second we are going to cross the pentatonics with modes and giving some tips and tricks about how to use them in different keys and modes. Third I am going to show you a weird thing I noticed when drawing some pentatonics on my notebook that might help achieving different tones and playing styles. Okay, first things first.

Note: some basic knowledge on intervals and major scale building is good for this lesson.

The Pentatonic
1. Theory

Pentatonic is a word made up by two words. Penta and tonic, which means it has five tones, five notes. So what exactly is a pentatonic scale? It's nothing more than taking specific 5 notes out of any major scale. Let's see the C Major scale:

C major: C D E F G A B C *1
C PENTA: C D E G A C *2
*1: You take off the IV(F) and the VII(B) notes of the scale, and you've got the pentatonic.
*2: That means the pentatonic is the (I, II, III, V, VI)

Well, then.. If the pentatonic is nothing more than the major scale with less notes, why do we even use it? It's great for beginners and it has a different sounding. They're the stronger notes of the scale.. And plus, you can get the blues scale out of it!

Okay, Clow, I can make major pentatonic scales.. What about minor scales? Let's take a look at the A Minor scale:

A minor: A B C D E F G A *1
A PENTA: A C D E G A *2
*1:Y ou take off the II(B) and the VI(F) notes of the scale, and you've got the pentatonic.
*2: That means the pentatonic is the (I, III, IV, V, VII)

But honestly, memorizing two different ways of getting the notes out for a pentatonic scale can be confusing. That's why I always calculate everything for the major scale, because it will be the same thing for it's equivalent minor. See the C major pentatonic I just shown? It's just the same as the A minor pentatonic. Try doing that, do the major scale and try to find it's minor mode (or Eolic, which I'll explain later). That will also help to find the pentatonic scale for every mode, following the next part.

2. Shapes

Okay, the little bit of theory gone, here's pentatonic shapes for you to practice. Don't worry about fitting them together yet, just practice and get fluent with each one, because that will make it easier to fit them together in the next part of this lesson.

_________________________________________
| Pentatonic Box 1: | Pentatonic Box 2: |
| |-|x|-|x| | |-|x|-|x|-| |
| |-|x|-|x| | |-|x|-|-|x| |
| |x|-|x|-| | |x|-|-|x|-| |
| |x|-|-|x| | |-|x|-|x|-| |
| |x|-|-|x| | |-|x|-|x|-| |
| |-|x|-|x| | |-|x|-|x|-| |
*--------------------*--------------------*
| Pentatonic Box 3: | Pentatonic Box 4: |
| |x|-|-|x| | |-|x|-|x| |
| |-|x|-|x| | |-|x|-|x| |
| |x|-|x|-| | |x|-|-|x| |
| |x|-|x|-| | |x|-|-|x| |
| |x|-|-|x| | |-|x|-|x| |
| |x|-|-|x| | |-|x|-|x| |
*--------------------*--------------------*
| Pentatonic Box 5: |
| |x|-|-|x| |
| |x|-|-|x| |
| |x|-|x|-| |
| |x|-|x|-| |
| |x|-|x|-| |
| |x|-|-|x| |
*--------------------*

Pentatonics And Modes
1. Modes

I'll give a brief explanation on modes, so you know what you are crossing over with the pentatonics. What exactly are modes? They are different scales that derive from the Major Scale. They are, in order:

I : Ionian (the major scale)
II : Dorian
III: Phrygian
IV : Lydian
V : Mixolydian
VI : Eolic (the minor scale)
VII: Locrian

Let's take a look at it in a scale, the C Major:

C major: |C|D | E |F |G|A | B |C|
---------------|I|II|III|IV|V|VI|VII|I|

That means the C is the Ionian root, the D is the Dorian root, the E is Phrygian and so on. The G Mixolydian, for example, is nothing more than the C major scale starting on the G.

G mixolydian: |G|A | B |C|D | E |F |G|
---------------|V|VI|VII|I|II|III|IV|V|

So how are you supposed to improvise if someone plays a progression in the key of G mixolydian? Or F lydian? You play the C major scale starting on the key you want. And that is true for every other scale.
2. Pentatonics Crossing Over With Modes

How the hell do I know what's the pentatonic, for example, for the D Mixolydian?!

All you gotta do is find which one is the Ionian(or Eolic if you prefer) for the D Lydian, which is the A major(or F# minor).

Why do you learn a bunch of pentatonic boxes? If it's just one scale, why does it have five boxes? That's because those five boxes cover the whole fretboard. Yeah, that's right, you practiced the pentatonic scale across the whole fretboard a bit before in this lesson. But how are they connected? That's simple.

Where one box ends, the other one starts. Because pentatonics also have modes. So if you start off the Ionian shape on a pentatonic scale, the next shape that will follow it right up is the Dorian. You can't call them "pentatonic box 1" or "2" anymore, since you know they are actually modes. Here's how they are called:

Locrian-Ionian -> Pentatonic Box 1
Dorian -> Pentatonic Box 2
Phrygian-Lydian -> Pentatonic Box 3
Mixolydian -> Pentatonic Box 4
Eolic -> Pentatonic Box 5

But Clow.. You just told us that we are supposed to take the IV and the VII notes off the major scale to obtain the major pentatonic scale, right?
3. Shapes

Right. It happens that those notes are the Lydian and the Locrian root notes of the major scale. How can we call a box Locrian-Ionian or Phrygian-Lydian, then? That means you'll have to practice those boxes again, now with the Lydian and the Locrian notes! Here's a chart with every note degree. And with the numbers it gets even easier to see where they fit together:

Locrian-Ionian Box:
|---|(1)|---|-2-|
|---|-5-|---|-6-|
|-2-|---|-3-|*4*|
|-6-|---|*7*|(1)|
|-3-|*4*|---|-5-|
|*7*|(1)|---|-2-|

Dorian Box:
|---|-2-|---|-3-|---|
|---|-6-|---|*7*|(1)|
|-3-|*4*|---|-5-|---|
|*7*|(1)|---|-2-|---|
|---|-5-|---|-6-|---|
|---|-2-|---|-3-|---|

Phrygian-Lydian Box:
|-3-|*4*|---|-5-|
|*7*|(1)|---|-2-|
|-5-|---|-6-|---|
|-2-|---|-3-|*4*|
|-6-|---|*7*|(1)|
|-3-|*4*|---|-5-|

Mixolydian Box:
|---|-5-|---|-6-|
|---|-2-|---|-3-|
|-6-|---|*7*|(1)|
|-3-|*4*|---|-5-|
|*7*|(1)|---|-2-|
|---|-5-|---|-6-|

Eolic Box:
|-6-|---|*7*|(1)|
|-3-|*4*|---|-5-|
|(1)|---|-2-|---|
|-5-|---|-6-|---|
|-2-|---|-3-|*4*|
|-6-|---|*7*|(1)|

* 1- Ionian root; 2- Dorian root; 3- Phrygian root; 4- Lydian root; 5- Mixolydian root; 6- Eolic root; 7- Locrian root
4. Tip

If you're using a 6-string guitar with 24 frets, you can only have 2 notes in the same string (I'm not counting open strings). Like two F's on the high-E string, 1st fret and 13th fret, or on the G string, 10th fret and 22th fret:

Fretboard:
E|-F-|---|---|---|---|---|---|---|---|---|---|---|-F-|---|
B|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
G|---|---|---|---|---|---|---|---|---|-F-|---|---|---|---|
D|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
A|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
E|-F-|---|---|---|---|---|---|---|---|---|---|---|-F-|---|
1 2 3 4 5 6 7 8 9 10 11 12 13 14

E|---|---|---|---|---|---|---|---|---|---|
B|---|---|---|---|---|---|---|---|---|---|
G|---|---|---|---|---|---|---|-F-|---|---|
D|---|---|---|---|---|---|---|---|---|---|
A|---|---|---|---|---|---|---|---|---|---|
E|---|---|---|---|---|---|---|---|---|---|
15 16 17 18 19 20 21 22 23 24

That means you could start on, for example, a phrygian note in a string and build the box from there since you can find it in only one box per string. For example, the Lydian in the C major scale, which is the F, in the D string:

Mixolydian Box:
|---|-5-|---|-6-|
|---|-2-|---|-3-|
|-6-|---|*7*|(1)| Pay attention to the !4!
|-3-|!4!|---|-5-|
|*7*|(1)|---|-2-|
|---|-5-|---|-6-|

That means that everytime you hit a Lydian note on the D string, you are on the Mixolydian box.
What about, I don't know, the Phrygian note, if I hit it on the G string?

Locrian-Ionian Box:
|---|(1)|---|-2-|
|---|-5-|---|-6-|
|-2-|---|!3!|*4*| Pay attention to the !3!
|-6-|---|*7*|(1)|
|-3-|*4*|---|-5-|
|*7*|(1)|---|-2-|

Now you're on the Locrian-Ionian box. You can figure out the rest yourself. Those little tricks help you see the whole fretboard covered with the scale you want faster.
Great, now that you've practiced those patterns, you can move them to play in any key. You're still thinking pentatonics, but what you've got there is the whole major scale to play with in a different style! Practice, practice, practice!

In-Depth Pentatonics
1. Theory

I was just checking some stuff on pentatonics once on my notebook while bored, and I ended up finding out something kind of interesting.

For example, let's take the C major scale again:

C major: |C|D | E |F |G|A | B |C|
---------------|I|II|III|IV|V|VI|VII|I|

Ok, the A is the Eolic note, so it's the Minor Scale. It's pentatonic would be A-C-D-E-G-A. That is, how I said before, the same as the major scale without the Lydian and the Locrian root notes. Now let's take a look at a different scale.. Let's say I got the minor scale of the Dorian note:

D minor: |D | E |F|G | A |Bb|C|D |
---------------|VI|VII|I|II|III|IV|V|VI|

and then it's pentatonic: D-F-G-A-C
Now I'll get the minor scale of the Phrygian note:

E minor: |E | F#|G|A | B |C |D|E |
---------------|VI|VII|I|II|III|IV|V|VI|

and then it's pentatonic: E-G-A-B-D
Note: Pay attention, I'm not getting the Dorian scale, or the Phrygian scale.. I'm getting the minor scale of the Dorian root on the C major scale, and the same with the Phrygian root.

Did you notice? The minor pentatonic of the Dorian has the F, which is the Lydian of C.. The minor pentatonic of the Phrygian has the B, which is the Locrian of C. What happens if you add up all those pentatonics? You get the whole C major scale!

The same also happens with the major pentatonic of the Lydian and the major pentatonic of the Mixolydian, adding up respectively, the Lydian(logically) and the Locrian.

F major: |F|G | A |Bb|C|D | E |F|
---------------|I|II|III|IV|V|VI|VII|I|

and then it's pentatonic: F-G-A-C-D

G major: |G|A | B |C |D|E |F# |G|
---------------|I|II|III|IV|V|VI|VII|I|

and then it's pentatonic: G-A-B-D-E
2. On The Fretboard

- Let's take a look at the fretboard with the A minor pentatonic:

Fretboard:
E|---|---|-x-|---|-x-|---|---|-x-|---|-x-|---|-x-|---|---|
B|---|---|-x-|---|-x-|---|---|-x-|---|-x-|---|---|-x-|---|
G|---|-x-|---|---|-x-|---|-x-|---|-x-|---|---|-x-|---|-x-|
D|---|-x-|---|---|-x-|---|-x-|---|---|-x-|---|-x-|---|-x-|
A|---|---|-x-|---|-x-|---|-x-|---|---|-x-|---|-x-|---|---|
E|---|---|-G-|---|-A-|---|(B)|-C-|---|-D-|---|-E-|(F)|---|
1 2 3 4 5 6 7 8 9 10 11 12 13 14

E|-x-|---|-x-|---|---|-x-|---|-x-|---|-x-|
B|-x-|---|-x-|---|---|-x-|---|-x-|---|---|
G|---|---|-x-|---|-x-|---|-x-|---|---|-x-|
D|---|---|-x-|---|-x-|---|---|-x-|---|-x-|
A|-x-|---|-x-|---|-x-|---|---|-x-|---|-x-|
E|-G-|---|-A-|---|(B)|-C-|---|-D-|---|-E-|
15 16 17 18 19 20 21 22 23 24

You can start a whole new minor pentatonic box (that means Eolic) at the D and at the E, Dorian and Phrygian respectively.
You can start a whole new major pentatonic box (that means Ionian) at the F and at the G, Lydian and Mixolydian respectively.

Test them and see how it sounds, adjust them to your style, use the boxes you like the most or just mix them all for the whole C major scale!

The End
Well, if you've read to this point, you've got some pretty good ideas for the pentatonic now... But it's no use if you can't apply them somewhere. Practice boxes in every key! Build a few progressions in different modes and try them with the pentatonic, with the extended boxes or even compose a few licks with the mixed pentatonics! No one can give you everything you need to become a guitar god in a lesson, you gotta try it for yourself and never stop practicing! Cheers.

Major And Minor Pentatonics

2009-06-19T06:34:00.000-07:00

One thing that confuses a lot of guitarists is the use of the minor and major pentatonic scales.

The the minor scales that are outlined below, in the key of "A", are simply patterns that can be moved up and down the neck. Putting these patterns in the key of "A" means that the notes that have an "R" after them, or the root notes, are on an "A" note.

Minor Patterns

Pattern 1
E||----------------------|----------------------|------------3----5R---|
B||----------------------|----------------------|--3----5--------------|
G||----------------------|------------2R---5----|----------------------|
D||----------------------|--2----5--------------|----------------------|
A||------------3----5----|----------------------|----------------------|
E||--3----5R-------------|----------------------|----------------------|

Pattern 2
----------------------|----------------------|------------5R---8----|
----------------------|----------------------|--5----8--------------|
----------------------|------------5----7----|----------------------|
----------------------|--5----7R-------------|----------------------|
------------5----7----|----------------------|----------------------|
--5R---8--------------|----------------------|----------------------|

Pattern 3
------------------------|-----------------------|-------------8----10----|
------------------------|-----------------------|--8----10R--------------|
------------------------|-------------7----9----|------------------------|
------------------------|--7R---10--------------|------------------------|
-------------7----10----|-----------------------|------------------------|
--8----10---------------|-----------------------|------------------------|

Pattern 4
--------------------------|-------------------------|--------------10----12----|
--------------------------|-------------------------|--10R----13-----------
--------------------------|--------------9----12----|--------------------------|
--------------------------|--10----12---------------|--------------------------|
--------------10----12R---|-------------------------|--------------------------|
--10----12----------------|-------------------------|--------------------------|

Pattern 5
--------------------------|--------------------------|--------------12----15----|
--------------------------|--------------------------|--13----15----------------|
--------------------------|--------------12----14R---|--------------------------|
--------------------------|--12----14----------------|--------------------------|
--------------12R----15---|--------------------------|-----------------------
--12----15----------------|--------------------------|--------------------------|

Pattern 6
--------------------------|--------------------------|--------------15----17R---||
--------------------------|--------------------------|--15----17----------------||
--------------------------|--------------14R---17----|-----------------------
--------------------------|--14----17----------------|--------------------------||
--------------15----17----|--------------------------|--------------------------||
--15----17R---------------|--------------------------|--------------------------||
Here you can see that pattern 6 has the same shape as pattern 1 and it's root notes in the same place, but is exactly 12 frets up the fretboard, meaning all the notes in pattern 6 are one octave higher then pattern 1.

The major pentatonic scales use the same patterns but with the root notes in a different place to produce a different tonic "progression", which is basically the music theory way of saying it makes it sound major, instead of minor. Here are the same 6 patterns on the neck but with the roots in different areas.

Major Patterns

Pattern 1
E||----------------------|----------------------|------------3----5----|
B||----------------------|----------------------|--3----5--------------|
G||----------------------|------------2----5R---|----------------------|
D||----------------------|--2----5--------------|----------------------|
A||------------3R---5----|----------------------|----------------------|
E||--3----5--------------|----------------------|----------------------|

Pattern 2
----------------------|----------------------|------------5----8R---|
----------------------|----------------------|--5----8--------------|
----------------------|------------5R---7----|----------------------|
----------------------|--5----7--------------|----------------------|
------------5----7----|----------------------|----------------------|
--5----8R-------------|----------------------|----------------------|

Pattern 3
------------------------|-----------------------|-------------8R---10----|
------------------------|-----------------------|--8----10---------------|
------------------------|-------------7----9----|------------------------|
------------------------|--7----10R-------------|------------------------|
-------------7----10----|-----------------------|------------------------|
--8R---10---------------|-----------------------|------------------------|

Pattern 4
--------------------------|-------------------------|--------------10----12----|
--------------------------|-------------------------|--10----13R---------------|
--------------------------|--------------9----12----|--------------------------|
--------------------------|--10R---12---------------|----------------------
--------------10----12----|-------------------------|--------------------------|
--10----12----------------|-------------------------|--------------------------|

Pattern 5
--------------------------|--------------------------|--------------12----15----|
--------------------------|--------------------------|--13R---15------------
--------------------------|--------------12----14----|--------------------------|
--------------------------|--12----14----------------|--------------------------|
--------------12----15R---|--------------------------|--------------------------|
--12----15----------------|--------------------------|--------------------------|

Pattern 6
--------------------------|--------------------------|--------------15----17----||
--------------------------|--------------------------|--15----17----------------||
--------------------------|--------------14----17R---|--------------------------||
--------------------------|--14----17----------------|--------------------------||
--------------15R---17----|--------------------------|---------------------
--15----17----------------|--------------------------|--------------------------||

Here you can see that the same patterns but the roots have been changed. The change in roots for the patterns isnt very difficult at all. You can take the the pattern for the Minor scale, and root moves up one note.

So in the case of pattern 2, The root note for the minor is on the 5th fret, and the root note for the major is on the 8th fret. So all you are doing is moving the root one note forward in the pattern to change from minor to major.

These major patterns also fall into a different key because there is a change in the root note. These patterns shown above are the C major Pentatonic scales. What?!?! You might think this is strange, but starting at the root note, they have totally different tone feel. So the A minor pentatonic scale and the C major pentatonic scale might be made of the same notes (A C D E G) but depending on what note you start on, you give the scale a whole different feel.

All you need to do is learn the 5 patterns and how the root notes change for major and minor scales and you will be well on your way to being able to improvise a solo over nearly every song your hear. This is one of the most powerful tools for a learning guitarist. So make sure to memorise the patterns and think about how to apply them, use your ears and have fun! Hope this was a good first lesson.

Odd Note Groupings

2009-06-19T00:47:00.004-07:00

A lot of players have problems with feeling odd note groupings and playing them in time. I'd like to share with you some of my tactics that will hopefully make the whole idea a little easier to understand and perform.

First of all - what exactly are odd note groupings? Simply - irregular groups of notes that are meant to be played in the space of a beat. For example, instead of playing regular sixteenth notes (4 notes per beat) to make it more fun you could play five or seven notes per beat (pentuplets & septuplets respectively). You could also play any other weird number of notes but groups of 5 & 7 seem to be the most common. It looks pretty simple on paper but in reality it is a little bit tricky to perform. The problem is that it feels far less natural to play an odd number of notes per beat, but as always, with a little practice, it's nothing you couldn't do.

1. This is a pentatonic pentuplet lick, Eric Johnson style:

e 8p5_____________________________________
b ____8p5___8p5___________________________
g ________7_____7p5___7p5_________________
d __________________7_____7p5___7p5_______
a ____________________________7_____7p5___
e ______________________________________8_

There are four groups of fives in this lick. The first note of each group should fall exactly on the "click" (yes, practising this without the metronome is pretty much useless). Notice there's just one five note pattern which is repeated within the minor pentatonic scale box.
2. A legato pentuplet run:

e _______________________________________
b _______________________________________
g ______________________________2h4p2h4h5
d ____________________2h4p2h4h5__________
a __________2h3p2h3h5____________________
e 2h3p2h3h5______________________________

______________________________5h7p5h7h8
____________________5h7p5h7h8__________
__________4h5p4h5h7____________________
4h5p4h5h7______________________________
_______________________________________
_______________________________________

Again, it's basicaly one pattern that gets repeated on every string. Try playing it descending as well.
3. Ever tried adding a tapped note to a sextuplet lick?

e 15p12p8h10h12p10p8_________________________________________________________
b ___________________15p12p8h10h12p10p8______________________________________
g ______________________________________14p12p9h11h12p11p9___________________
d _________________________________________________________14p12p9h10h12p10p9
a ___________________________________________________________________________
e ___________________________________________________________________________
t t t t

______________________
______________________
______________________
______________________
14p12p9h10h12p10p9____
__________________h12_
t

Seven notes per beat - one pattern. The faster you play it, the easier it gets - just focus on tapping the first note precisely on the beat.
4. Sweeping time! A six string septuplet minor arpeggio:

e __________________12_15p12_______________
b _______________12__________12____________
g ____________12________________12_________
d _________14______________________14______
a ______14____________________________14___
e 12h15__________________________________15
[---------7---------] [---------7---------]

This one's meant to be played in the space of two beats. Again, it feels easier played fast.
Give those licks a little of your practice time and you will soon discover that odd note groupings don't seem odd to you any longer.

Effective Soloing Techniques

2009-06-19T00:47:00.003-07:00

I must apologise in advance for the large amount of writing, but I promise every word is worth reading.

I must stress to everyone who wishes to take these techniques seriously, and as stated many a time during my last lesson.

|----------------------------|
|----ACCURACY THEN SPEED!----|
|--Not The Other Way Around--|
|----------------------------|

Tapping

The first technique I'm going to tell you about is something you've probably all head about and seen, and thought "I've gotta learn to do that."

First I'll show you the basic tapping exercise (You won't need a pick for this). Put your first finger on fret 5 of the 'e' string and your third or forth finger on fret 8, it is your choice which finger goes on fret seven, if your little finger is strong enough use that, if not use your third finger. Use your first finger of your right hand on the 12th fret of the same string.

(This technique requires you to pull off and hammer on. If you are not sure what these two are then I suggest you find out before continuing with this lesson.)

e|---12p8p5---|
B|------------|
G|------------|
D|------------|
A|------------|
E|------------|

It doesn't look like much but that's where tapping for most guitarists start. Play that 8 times at a speed you are comfortable with, then gradually, at your own pace, start to speed up. At first it will sound a bit dodgy but stick with it, it'll be worth it in the end.
When you feel you have gotten that pretty good you can try this, which is not much harder at all, it literally involves adding one more note in.

You may have to use your little finger for this, unless you have a wide stretch with your left hand.

Keep your 1st finger of your left hand on fret 5 and your little finger on fret 8, but this time put your 3rd finger on fret 7, and do the exercise as shown below.

e|----12p8p7p5----|
B|---------------- |
G|----------------|
D|---------------- |
A|----------------|
E|----------------|

The next step is not adding in any more notes you'll be glad to hear. But this time you add in some hammer ons.

e|--12p8p7p5h7h8--|
B|----------------|
G|----------------|
D|----------------|
A|----------------|
E|----------------|

There you have the basics of tapping, the first technique. Getting tapping into a solo can be a tricky business which is why some guitarists use tapping for an entire solo or for a large portion of the solo eg. The Trooper by Iron Maiden.
Do not think that it is only at this fret you can tap like this, I am going to give you the frets which work well with each other for this tapping pattern. The '|' separates the positions. Do not mistake it for a '1'.

e|-8p4p1-|-9p5p2-|-10p6p3-|-11p7p4-|-12p8p5-|-13p9p6-|-14p10p7-|-15p11p8-|

Remember: these Positions Can Be Used On Every String, They Are Not Restricted To The E String.

For those of you who may be more advanced or anyone who wants a bit more of an interesting pattern here is another tapping exercise. It is taken from the intro to 'Roses For The Dead' by Funeral for a Friend.

It doesn't matter if you are not a fan because the into to this song is an amazing example of tapping.

All notes on the 12th and 11th fret are tapped with the right hand, all other notes are tapped with the left hand.

e|------------------------------------------
B|--------------------------12--------------
G|-----12-----11-------------------11/12----
D|---9------9------9-12---9------9----------
A|-7------7------7------7------7------------
E|------------------------------------------

e|------------------------------------------
B|--------------------------12--------------
G|-----12-----11-------------------11/12----
D|---9------9------9-12---9------9----------
A|-7------7------7------7------7------------
E|------------------------------------------

e|------------------------------------------
B|--------------------------12--------------
G|-----12-----11-------------------11/12----
D|---5------5------5-12---5------5----------
A|-3------3------3------3------3------------
E|------------------------------------------

e|------------------------------------------|
B|--------------------------12--------------|
G|-----12-----11-------------------11/12----|
D|---7------7------7-12---7------7----------|
A|-5------5------5------5------5------------|
E|------------------------------------------|

And that brings us to the end of the first Soloing Technique. It's a lengthy section but it's worth it. Experiment with it.

Sweep Picking Or Arpeggios

Welcome to the second Technique, a technique used by the most successful shredders of all time, Michael Angelo Batio, Zakk Wylde, James Hetfield, Kirk Hammett, Randy Rhoads, Darrel 'Dimebag' R.I.P and Slash.

I know that I'm not very good at sweeping but I do know the basics and some simple patterns.

Please be patient with sweeping as it is extremely difficult to get very fast at it quickly.

Lets start off with 2 string sweeping.

e|-----8-12--|
B|--10-------|
G|-----------|
D|-----------|
A|-----------|
E|-----------|

Looks simple hey, well it is, and 2 string sweep picking is the easiest form of sweeping. With sweeping it is important that you remember this, when sweeping a pattern that moves downwards, as the pattern above does, then your pick should be move only down as well. But, the last note must be an up pick. It is hard to explain in writing so if you do not understand you may need to find a video on Youtube of sweep picking.
For two string sweep picking you must remember, "Down, Down, Up." Practice the above until you can play it at a reasonably fast pace. When you can do that it's time to learn some other patterns and put a little solo together.

Try this using the same technique.

e|-----8-12-----8-12-----10-13----10-13----7-10----7-10------8-12----8-12--|
B|--10-------10-------12-------12--------9-------9--------10------10-------|
G|-------------------------------------------------------------------------|
D|-------------------------------------------------------------------------|
A|-------------------------------------------------------------------------|
E|-------------------------------------------------------------------------|

That is great fun when you can do it quickly so keep practising and maybe try changing the order around, just have fun.

3 String Sweep Picking.

Getting a little more advanced now, it isn't as easy to pick up as 2 string but practice makes perfect.

There is a slightly different picking pattern for this.

"Down, Down, Down, Up, Up, Up" Here is your first exercise.

e|------12-17p12------|
B|----13--------13----|
G|--14------------14--|
D|--------------------|
A|--------------------|
E|--------------------|

To make it sound right you must take your finger off the note after you have played it. Make sure that you play the 17 pulled off to the 12 it is an up stroke.
Start slowly and gradually build up speed.

When you can play this comfortably at a reasonably fast pace continue onto the next exercise.

e|------12-17p12----------10-15p10----------7-12p7----------10-15p10------|
B|----13--------13------11--------11------8--------8------11--------11----|
G|--14------------14--12------------12--9------------9--12------------12--|
D|------------------------------------------------------------------------|
A|------------------------------------------------------------------------|
E|------------------------------------------------------------------------|

When you can play that clearly and at a good speed, then and only then will you be ready for 5 string sweeping, so practice that until your fingers bleed.

5 String Sweep Picking.

Picking Pattern, "Down, Down, Down, Down, Down, Up, Up, Up, Up, Up, Down".

e|------------10-15p10------------|
B|----------11--------11----------|
G|--------12------------12--------|
D|------12----------------12------|
A|-10h13--------------------13-10-|
E|--------------------------------|

There is a different technique for this, on the D and G string you must use your third finger, but for this to work you have to make sure you can hit both notes with that one finger, you need to 'roll' your finger to get it smooth.
When you can do that, try this

e|------------10-15p10-----------------------12-17p12------------|
B|----------11--------11-------------------13--------13----------|
G|--------12------------12---------------14------------14--------|
D|------12----------------12-----------14----------------14------|
A|-10h13--------------------13-10-12h15--------------------15-12-|
E|---------------------------------------------------------------|

When you have that at a good fast speed keep practising until it sounds clean. Then you have sweep picking done!
I'm sorry it's taken so long to get all this down, but I hope it's helped and I look forward to your feedback.

All The Sweep Arppegios You'll Ever Need

2009-06-19T00:47:00.002-07:00

What is a sweep arppegio?

Sweeping is an awesome technique that guitarists use to play arpeggios rapidly.

When executed properly, a blazing sweep arpeggio sounds very lethal. In order to sweep properly, it is going to require a lot of time and patience on your part. I will do my best to guide you down the path to becoming a sweep picking monster. Only with discipline, hard work, patience, and lots of practice will you be able to master this technique. So what are we waiting for? Let's get started.

Major Apeggios

First I am gonna teach you the major arppegio, the forumula in making a major arpeggio is 1, #3, 5. So if you were to play an a major arpeggio the notes would be A, C#, E. Or if you wanted to play a E major arpeggio the notes would be E, G#, B. Figure 1 shows an a nice way to play the A Major arppegio with the root on the a string.

S= Slide
h= hammer-on
p= pull-off

Figure 1
e--------9h12p9----------
b------10------10--------
g-----9----------9-------
d---11------------11-----
a-12----------------12---
e------------------------

Another way of playing the A major arppegio would be to play starting on the low e string. Figure 2 shows how you would do that.

Figure 2
e-----------9h12p---------------
b---------10-----10-------------
g------6s9---------9s6----------
d-----7---------------7---------
a----7-----------------7--------
e-5h9-------------------9p5-----

Now since you know how you could play the major arppegio starting on the E and A string what you can do is put them together. Figure 3 shows how you can play them together.

Figure 3
e-----------9h12p----------
b---------10-----10--------
g------6s9---------9-------
d-----7-------------11-----
a----7----------------12---
e-5h9----------------------

As long as you know that a major arppegio is made of 1, #3, 5 out of the key you are playing in you can create tons of your own patterns.

Major 7th arppegio

Now to get a bit more of a interesting sound of the major scale you coud add a 7th to the major arpeggio. So now the arppegio would be made of 1, #3, 5, 7. So the notes in A major would be A, C#, E, G. Figure 4 shows how to play a Major 7th arppegio in the Key of A.

Figure 4
e-----------9h12s15s12p9------------
b---------10------------10----------
g-----9h12----------------12p9------
d---11------------------------11----
a-12----------------------------12--
e-----------------------------------

Usually you probably wont end up using the major 7th arppegio all the time but it has a neat sound.

Minor arppegio

The Minor arppegio is made up of 1, 3, 5 so if you are playing a A minor arpeggio the notes would be A, C, E. The Minor arppegio is used a lot in rock/metal. Fiugre 5 shows the A Minor arppegio on the a string.

Figure 5
e--------8h12p8-----------
b------10------10---------
g-----9----------9--------
d---10------------10------
a-12----------------12----
e-------------------------

Now that you know the pattern starting on the a string now on figure 6 with be the A minor arppegio using all 6 strings.

Figure 6
e-----------8h12p9------------
b---------10------10----------
g------5s9----------9s5-------
d-----7----------------7------
a----7------------------7-----
e-5h8--------------------8p5--

Now that you know to patters on the a and e strings you can now put them together figure 7 shows how you can put the 2 arppegios together.

Figure 7
e-----------8h12p8----------
b---------10------10--------
g------5s9----------9-------
d-----7--------------10-----
a----7-----------------12---
e-5h8-----------------------

Sometimes yu can add notes to arppegios to give them an extra boost to the soud. Figure 8 shows a way you can do that using the a minor arppegio.

Figure 8
e--------8h11h12p11p8--------
b------10------------10------
g-----9----------------9-----
d---10------------------10---
a-12----------------------12-
e----------------------------

Once you get good at using sweep arpeggios you can start tapping notes in them. Figure 9 shows how you can do that. incase you don't know tapping is basically when you hammmer-on a note and then tap on the string with your right hand.
h=hammer-on
p=pull-off
t=tap

Figure 9
e--------8h12t17p8---------
b------10---------10-------
g-----9-------------9------
d---10---------------10----
a-12-------------------12--
e--------------------------

Diminished arpeggios

A diminished arppegio is a arpeggio that repeats itself every 3 frets. If you were playing an a diminished arpeggio you could play it starting on the 2nd fret, 5th, 8th, 11th, and so on. Usually the diminished arppegio is played using 3 strings. Figure 10 shows a way you could play the diminished arpeggio.

Figure 10
e-------8h11p8--------
b-----10------10------
g-8h11----------11p8--
d---------------------
a---------------------
e---------------------

A way that the diminished arpeggio is commonly played is showed in figure 11.

Figure 11
e------2h5s8p5-------5h8s11p8-----------
b----4--------7-----7--------10---------
g-2h5----------8p5h8-----------12p8-----
d---------------------------------------
a---------------------------------------
e---------------------------------------

Putting what you know together

Now that you know the diminished arpeggios, minor arppegios, major and major 7ths you can now put them all together. Figure 12 shows how you can do that using the a diminished and the a minor arpeggios and putting them together.

Figure 12
e------2h5s8p5-------5h8s11p8----------8h12p8--------
b----4--------7-----7--------10------10------10------
g-2h5----------8p5h8-----------12p8s9----------9-----
d-----------------------------------------------10---
a-------------------------------------------------12-
e----------------------------------------------------

Now you know pretty much all the useful arpeggios. Now it's your turn to come up with some of your own patters and ways of playing these arppegios. Hope you learned alot.

Harmonizing Your Leads

2009-06-19T00:47:00.001-07:00

OK! First thing, harmonizing is when one guitar player plays something, and at the same time, another person plays the same thing, just on different frets.

Note: if you have the G1-FX pedal from ZOOM, you can do this by your self. If you don't know how e-mail me and I will tell you how.

Here is a lick you and some one else can practice.

Guitar 1
e|---------10-----------10-----------10-----------10---------------|
B|------------13p10--------13p10--------13p10--------13p10---------|
G|-----12b----------12b----------12b----------12b------------------|
D|-----------------------------------------------------------------|
A|-----------------------------------------------------------------|
E|-----------------------------------------------------------------|

Guitar 2
e|---------13-----------13-----------13-----------13---------------|
B|------------16p13--------16p13--------16p13--------16p13---------|
G|-----15b----------15b----------15b----------15b------------------|
D|-----------------------------------------------------------------|
A|-----------------------------------------------------------------|
E|-----------------------------------------------------------------|

If you didn't know, it's the opening to the first solo in Mr. Crowley Randy!
Now, if you want to harmonize some thing of your own, all you have to do is play it 3 steps higher or lower, or 5 steps higher or lower. If you are more advanced you can try this on different octaves, or just experiment with it.

Just as a note for all of the more advanced players, I always thought that harmonization always sounded good in the phrygian mode.

The songs "Blackened", and "Master of Puppets", by Metallica use harmonization, as well as "The Ripper", by Judas Priest, and "Dawn of the Angry", by Morbid Angel.

If no one will play with you, or you just a one guitar guy, here are some ways to harmonize you leads.

Note: this is the harmonized part from "Blackened" I'll just post the whole intro.

Tabbed by: Sief

e|---------------------------3--3-5-3--3-5-6-5-3-7-----3--3-5-3--3-5-6-5-3-2--|
B|--5--5-7-5--5-7-8-7-5-4-----5--5-7-5--5-7-8-7-5-4-----5--5-7-5--5-7-8-7-5-4-|
G|-------------------------------------------------------------------------4--|
D|----------------------------------------------------------------------------|
A|----------------------------------------------------------------------------|
E|----------------------------------------------------------------------------|

e|--15--15-17-15--15-17-18-17-15-14....|
B|--17--17-19-17--17-19-20-19-17-12....| fade out
G|-------------------------------------|
D|-------------------------------------|
A|-------------------------------------|
E|-------------------------------------|

e--...14-15-17-18-17-15--15-17-15--15--|
B--...12-17-19-20-19-17--17-19-17--17--|
G--------------------------------------|
D--------------------------------------|
A--------------------------------------|
E--------------------------------------|

e----2-3-5-6-5-3--3-5-3--3-----7-3-5-6-5-3--3-5-3--3----------------------------|
B--4-4-5-7-8-7-5--5-7-5--5-----4-5-7-8-7-5--5-7-5--5-----4-5-7-8-7-5--5-7-5--5--|
G--4---------------------------------------------------4------------------------|
D-------------------------------------------------------------------------------|
A-------------------------------------------------------------------------------|
E-------------------------------------------------------------------------------|

The most common form of harmonization, is in many songs, where the guitar plays one thing and the bass mirrors it.
Also, you can go by thirds to harmonize. So if something is in the key of E, you can play it in either, G, or B!

So, that's that! Enjoy!

Pentatonic Sequences For Soloing

2009-06-19T00:47:00.000-07:00

Welcome everyone to my lesson on pentatonic sequences. To start off, i'll explain what a scale sequence is. Basically, all it is is taking the notes of a scale and arranging them into patterns that can be used to go up or down a scale. You've actually probably heard these before but just didn't know what they were.

First, lets start by showing the A minor pentatonic scale in the "root position" on the 5th fret.

e----------------5 8----------------
B-------------5 8---8 5-------------
G----------5 7---------7 5----------
D-------5 7---------------7 5-------
A----5 7---------------------7 5----
E-5 8---------------------------8 5-

Now, you should be pretty comfortable with this already. If you are not, take some time to practice just going up and down this scale to get used to it.
Now assuming you are already using the pentatonic, lets break it up into sequences to make things more fun. This will also help build speed in the pentatonic scale.

The first one we'll go over is GROUPS OF 3. The concept is simply play up the scale 3 notes, then go back to the 2nd note and go up 3 more notes. Then from there, go back to the second note in that group and go up 3 more etc... So think of it as 1 2 3, 2 2 3, 3 2 3, etc...

e------------------------------------------------5---5-8--5---
B-------------------------------------5---5-8-5-8--8-----8--8-5....etc..
G--------------------------5---5-7-5-7--7---------------------
D---------------5---5-7-5-7--7--------------------------------
A----5---5-7-5-7--7-------------------------------------------
E-5-8--8------------------------------------------------------

When starting this, make sure to actually count out "one, two, three, one two, three" and make sure to accent the "one" with your picking. Now where it gets a little tricky is connecting the accending with the deccending(which is what is shown at the top of the example. Continue it down the scale). What I like to do is count the top "three" as the "one" for going back down. So count " one, two, three, two, one, three, two, one," etc...

e-8-5---5---------------------------------------------------
B-----8---8-5-8-5--5----------------------------------------
G-----------------7---7-5-7-5---5---------------------------
D-----------------------------7---7-5-7-5---5---------------
A-----------------------------------------7---7-5-7-5--5----
E-----------------------------------------------------8--8-5

You should practice this starting from the top, go all the way down, and then back up as well as starting from the bottom, going up and then back down.
Next, we'll talk about GROUPS OF 4. Now, there are a couple of ways to do these. Once you go past groups of 3 it becomes easier to change it up a bit. For the sake of usefulness(and so I don't have to write out a few different groups of 4), I will show you the one I use the most. it's quite simple and it's very easy to get up to speed. This one will start to sound more eric johnson like and it should because I got it from watching him play. In this one, instead of going back to the 2nd note, we'll go to the 3rd note. This makes this easier to play than going back to the 2nd note which would involve some rolling.

e--------------------------------5-8----
B-------------------------5-8-5-8----8-5 ...etc..
G------------------5-7-5-7--------------
D-----------5-7-5-7---------------------
A----5-7 5-7----------------------------
E-5-8-----------------------------------

See? Pretty easy. This one is probably the easiest one out of all of them but don't be tempted to rush this one. Take the time to make sure every note is nice and clean before going faster. And again, when you get to the top, count the "four" as the "one" when deccending back down. So "one, two, three, four, three, two one, four, three, two, one," etc...
And starting on the top:

e8-5--------------------------------
B---8-5-8-5-------------------------
G----------7-5-7-5------------------
D-----------------7-5-7-5-----------
A------------------------7-5-7-5----
E-------------------------------8-5-

Again, practice starting from the top, go down and back up as well as start from the bottom, go up then back down.
Now the next one I'm going to show you sounds even more Eric Johnson like and Joe Bonamassa like. Its basically a GROUPS OF 6 pattern, but the way i practice it doesn't start out like a group of 6. And the reason for this is to just get your fingers used to skipping back up or down to the previous string in any area on the neck. so think of it like; 1,2,3,4,1,2,3,4,5,6 etc... instead of 1,2,3,4,5,6,1,2,3,4,5,6.

e-----------------------------------------5-8---5-8---8-5-----------------
B--------------------------------5-8---5-8---5-8---8-5---8-5---8-5--------
G-----------------------5-7---5-7---5-7--------------------7-5---7-5....etc
D-------------5-7---5-7----5-7---------------------------------------------
A----5-7---5-7---5-7-------------------------------------------------------
E 5-8---5-8----------------------------------------------------------------

So as you can see, it's basically a 6 note pattern but it does stray away from it at times to make it easier to play.

e-8-5---8-5-------------------------------------------
B----8-5---8-5---8-5----------------------------------
G-------------7-5---7-5---7-5-------------------------
D----------------------7-5---7-5---7-5----------------
A-------------------------------7-5---7-5---7-5-------
E----------------------------------------8-5----8-5---

And by now i'm sure you know to practice both starting from the top comming down then back up, and starting on the bottom going up then back down.
Another thing to consider is taking these concepts and moving them into the other positions of the pentatonic scale. This way, you can play through all the shapes on the fretboard equally.

Well to wrap this up, I just want to say that I hope this helped you guys out there. I know I wish I knew this when I started out. Another thing you can do is make your own sequences. Obviously I skipped from Groups of 4 to Groups of 6. You could do 5 if you like or even 7. Try going back to different notes too. For example, go up 5, go back to the third note and go up five instead of going to the 2nd.

Anyways, I might do a 2nd part to this to go over other ideas and maybe some examples of licks using sequences in them.

Some Kind Of Soloing Tips In Eminor

2009-06-19T00:46:00.001-07:00

Hi! In this lesson i will teach you about legato, tapping, sweep and other thing like that:

H=Hammer-on
P=Pull Of
B=bend
Rb=Release Bend
S=Slide
T=tapping
V=Vibrato

Legato:

This is a style the Iron Maiden guitarist Dave Murray use oft. He use this style in Aces High and Number of the beast solo and so on.

A exemple is how you can do on the G-sting. It is very easy it is only bend and hammer-on/pull off and slide. Try it slowly and late try it faster and faster. I take it in E-minor

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|16b--16Rb--14h16p14h16s12h14p12h14s11h12p11h12s9h11p9h11s7h9p7h9--9b---
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-9Rb-2v---2h4p2h4-4h5p4h5-5h7p5h7-7h9p7h9-9h11p9h11-11h12p11h12-12h14p-
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-----------------------------------------------------------------------|
B|-----------------------------------------------------------------------|
G|-12h14-14h16p14h16-16h17p16h17-16---19-17-16-19-17-16-19b--19Rb--16----|
D|-----------------------------------------------------------------------|
A|-----------------------------------------------------------------------|
E|-----------------------------------------------------------------------|

Slide:
This is a lick by John Petrucci. It is also a lick you can mix with E-minor

E|----19-------17--------15-------14--------12--------10--------12-------|
B|-17----17S15-----15S13----13S12-----12S10-----10S8------8S10-----------|
G|-----------------------------------------------------------------------|
D|-----------------------------------------------------------------------|
A|-----------------------------------------------------------------------|
E|-----------------------------------------------------------------------|

String Skipping:
This is a few lick inspired by Paul Gilbert but it is also my idea. It is a string skipp you can do when you play in E-minor. If you put all licks togherher it can sounds cool.

Lick 1 Lick 2
E|---------------12------------------|--------------10-------------------|
B|-----------------------------------|-----------------------------------|
G|-----12-14-16-----16-14-12---------|----11-12-14-------14-12-11--------|
D|-14--------------------------14----|-12--------------------------------|
A|-----------------------------------|-----------------------------------|
E|-----------------------------------|-----------------------------------|
Lick 3 Lick 4
E|---------------15------------------|--------------17-------------------|
B|-----------------------------------|-----------------------------------|
G|-----14-16-17-----17-16-14---------|----16-17-19-------19-17-16--------|
D|-17--------------------------17----|-19--------------------------------|
A|-----------------------------------|-----------------------------------|
E|-----------------------------------|-----------------------------------|

Sweep:
This is E-minor sweep's. This licks are very good when you do soloing. If you mix this licks I think it came be awesome

Lick 1
E|-----------------------------------------------12-14-15-----|
B|--------------------------------------12-13-15--------------|
G|-----------------------------11-12-14-----------------------|
D|--------------------11-12-14--------------------------------|
A|-----------10-12-14-----------------------------------------|
E|--10-12-14--------------------------------------------------|

Lick 2
E|-----------------------------------------------14-15-17-----|
B|--------------------------------------13-15-17--------------|
G|-----------------------------12-14-16-----------------------|
D|--------------------12-14-16--------------------------------|
A|-----------12-14-15-----------------------------------------|
E|--12-14-15--------------------------------------------------|

Lick 3
E|-----------------------------------------------15-17-19-----|
B|--------------------------------------15-17-19--------------|
G|-----------------------------14-16-17-----------------------|
D|--------------------14-16-17--------------------------------|
A|-----------14-15-17-----------------------------------------|
E|--14-15-17--------------------------------------------------|

Lick 4(it is a mix of lick 1, 2 and 3 but you go diagonal on the fretboard)

E|-----------------------------------------------19-20-22-----|
B|--------------------------------------17-19-20--------------|
G|-----------------------------16-17-19-----------------------|
D|--------------------14-16-17--------------------------------|
A|-----------12-14-15-----------------------------------------|
E|--10-12-14--------------------------------------------------|

Tapping:
I will learn you open strings tapping in E-minor... It is very easy

T T T T T T T T T T
E|-12-0-8-10-0-7-8-0-5-7-0-3-5-0-2----------------------------------5-0-2-|
B|---------------------------------5-0-2-7-0-3-8-0-5-10-0-7-12-0-8--------|
G|------------------------------------------------------------------------|
D|------------------------------------------------------------------------|
A|------------------------------------------------------------------------|
E|------------------------------------------------------------------------|

Now will I learn something I call Double Pentonic in E. You mix E and A pentonic

T T T T T T T T T T T T
E|--20-15-17-12------------------------------------------------------------|
B|--------------20-15-17-12------------------------------------------------|
G|--------------------------19-14-17-12------------------------------------|
D|--------------------------------------19-14-17-12------------------------|
A|--------------------------------------------------19-14-17-12------------|
E|--------------------------------------------------------------20-15-17-12|

Short Apejo: in E-Minor
This is really hard for a beginner but also for me, but if you training every day I think you can play it clean and fast

E|--15-12----------12-14-10---------10-12-9---------9-10-7-------7-|
B|--------12----12----------10---10---------10---10--------8---8---|
G|-----------12----------------9---------------9-------------9-----|
D|-----------------------------------------------------------------|
A|-----------------------------------------------------------------|
E|-----------------------------------------------------------------|

E|--9-5-------5-7-3-------3-2-------2-3-0-----------|
B|------7---7-------5---5-----3---3-------0---------|
G|--------7-----------4---------2-----------0-------|
D|--------------------------------------------2-----|
A|----------------------------------------------2---|
E|------------------------------------------------0-|

And it was all for me. Sorry for my english (I can't write and speak english so well but I hope this lesson can help you) bye bye!

Soloing The Linear Approach

2009-06-19T00:46:00.000-07:00

Over the years I've heard a few musicians refer to the linear approach to melody but I'd never given it much thought until I heard a guy describing the method he used to learn guitar. This involved having only 1 string.

After he had mastered the single string he graduated to 2, and then 3 and so on.
Although I had no intention of taking 5 strings off my guitar, it did start me wondering how you would go about playing melodies on a single string. I soon discovered that this is a very useful way to approach the scale. It gives you a great sense of the structure, which helps you to appreciate it as it applies to the entire fret board. It forces you to play in a more melodic way and makes shifting position a vital part of the melodic process. This constant shifting of position forces you to leave the security of the fret board; you have to make a 'leap of faith' so to speak. Another benefit of this is that you aren't allowed to hang around on a note longer than is absolutely necessary. This makes your phrasing tidy with none of that mushiness that can happen when you play phrases using a block scale. If you have to leap over 11 frets to make a major 7th there certainly isn't going to be any blurring of the 2 notes. And when you do switch back to a more efficient way of playing, i.e. grabbing notes nearby, you'll find this clearly defined way of playing will remain.

So let's get started. At this point you could of course just go and experiment with scales on 1 string. I wouldn't advise against this; I'm a great believer in the idea that the best exercises are the ones you create yourself. But if you want to stick with this article then here are some of the methods I used and some of the discoveries I made while exploring the single string technique.

One very important thing is to break up the scale into manageable chunks. Something I learned as a direct result of this exercise was that the scale has two halves which are symmetrical. This symmetry might not be obvious at first glance.

w = whole step h = half step

C D E F G A B C
w w h w w w h

This pattern of steps appears unsymmetrical. However, if we split the scale in two with the first piece being from C to F and the second from G to C we find perfect symmetry.

C D E F
w w h
G A B C

Incidentally, if we extended this pattern beyond the F in the top line and the C in the bottom, would the symmetry continue? No. And guess where it falls down? With the B in the top line and the F in the bottom, which when played together form the Diabolus in Musica or Devil's Interval (flattened fifth). All the other pairs form perfect fifths.

C D E F G A (B) C
G A B C D E (F) G

Anyway, back to the point. The first two useful chunks are the four-note halves of C-F and G-C, and it's the symmetry between these two parts which will prove useful when visualizing the scale.
The next set of chunks are made up of three notes and are formed by combining the notes that are in easy reach of the seven scale degrees. These chunks come in three distinct shapes; whole step whole step (w w), whole step half step (w h), and half step whole step (h w). They are as follows:

C d e D e f E f g F g a
(w w) (w h) (h w) (w w)
G a b A b c B c d C d e

Notice the further symmetry of our initial four note halves and the relationships between the groups of three-note chunks.
I like to refer to these three-note chunks using the modal names:

C d e (Ionian)
D e f (Dorian)
E f g (Phrygian)
F g a (Lydian)
G a b (Mixolydian)
A b c (Aeolian)
B c d (Locrian)

Now using these modal names we can look at the above symmetrical table and see that the Ionian, Lydian and Mixolydian share a major 2nd major 3rd tonality. The Dorian and Aeolian share a major 2nd minor 3rd tonality. And the Phrygian and Locrian share a minor 2nd minor 3rd tonality.

At this point you might be thinking "pretty patterns. So what?". Well, being able to visualize the scale in this way can be really useful when it comes to playing the scale in a practical manner. Even though you're sticking to a single string, using these manageable chunks, you're going to be very familiar with the scale from the perspective of all seven degrees. This means you'll know the scale from any note anywhere on the whole guitar!

Okay, as we mentioned practicality, let's start practicing!

As we've been referring to the C major scale, let's stick with that. The string we're going to use is the B string so the root C will be at the first fret and the octave at the 13th.

B|1---3---5---6---8---10---12---13---|
(C D E F) (G A B C)

You can see that if we place our first finger on the C at the first fret, the only notes within easy reach are D and E. This means we're going to be doing a lot of position shifts. Any of the four fingers could be the launching finger and any could be the landing finger.

Exercise 1. Scale Degrees.

Play each note of the scale ascending and descending with the first finger alone. This means you're going to be executing a position shift of one scale degree every time you play a note, and you'll be using the same finger to both launch and land. Repeat this with the second, third and fourth fingers. Launching and landing with the third and fourth fingers will be tricky so take it slow and careful. Concentrate on neatness and accuracy. Forget timing and tempo; they just cause you to play notes before you're ready. Good timing and high tempo are natural bi-products of repetitively accurate finger placement.

Exercise 2. 2nds.

Play through the scale in 2nds, using the first and third fingers for major 2nds (w), and the first and second fingers for minor 2nds (h).

|1-3---3--5---5--6---6--8--|
C d D e E f F g
w w h w
G a A b B c C d
|8-10--10-12--12-13--13-15--|

I have written it out in this way to demonstrate the symmetry element. That's why a d has been added at the 15th fret. The caps denote the start of a position shift and should therefore be played with the first finger. Now come up with as many different ways as you can of fingering these 2nds both ascending and descending.

Exercise 3. 3rds.

Play through the scale in 3rds using the same position shifting as described for 2nds. Note the symmetry of the two halves (C-F) (G-C). Again, try as many different ways of playing the 3rds ascending and descending as you can.

Something else we can do with 3rds is add the middle note (2nd) to form our three-note chunks and play through those.

|1-3--5---3--5--6---5--6--8---6--8--10--|
C d e D e f E f g F g a
(w w) (w h) (h w) (w w)
G a b A b c B c d C d e
|8-10-12--10-12-13--12-13-15--13-15-17--|

In my Guitar Fitness lesson I describe some permutations for these three-note chunks that I use all the time when playing through scales in this way. Although in that lesson I suggest fingering the Tone Tone (w w) chunk with fingers 1,2 and 4. I've since switched to 1, 3 and 4, which is much more natural.

Exercise 4. 4ths.

Unlike the 2nds and 3rds, where we shifted position in order to play the next interval, with 4ths, 5ths, 6ths and 7ths, we'll need to shift position to play the interval itself. This is where the three-note chunks can prove particularly useful. So from here on I will be referring to them using their modal names.

If we take a look at the first 4th (C, F), we might at first try to play this as a stretch. But unless you're playing the two notes very rapidly back and forth, it's better to treat it as a shift. A good way to do this is to think of the C as being the lowest note of the Ionian chunk, and the F as being the highest note of the Dorian. So we play the C in the Ionian position with our first finger, then shift position to the Dorian and play the F with our fourth finger. Remember you've already made this shift lots of times in the previous exercises. You're just shifting your first finger from the C to the D and the fourth finger will naturally fall over the F at the 6th fret. Try playing around with this position shift by playing the C with the first finger and then shifting to Dorian and playing any of the three notes with the correct fingering, i.e. first (D), third (e), and fourth (f).

Next thing to do is play the (D, G) 4th using exactly the same approach. D being the lowest of Dorian and G being the highest of Phrygian. Now play all the fourths in this way.

(C, F) (D, G) (E, A) (F, B)
(G, C) (A, D) (B, E) (C, F)

Did you notice the (F, B) is the odd one out, being as how it's an augmented 4th and all the others are perfect? The devil's interval again. It's back and this time it's inverted!

Exercise 5. 5ths, 6ths And 7ths.

We can approach 5ths, 6ths and 7ths in exactly the same way in which we tackled 4ths; by treating them as a position shift using the three-note chunks as a guide. The 5th (C, G) is the lowest note of Ionian followed by the highest of Phrygian. The 6th (C, A) is the lowest of Ionian and the highest of Lydian and so on. I'm sure you can follow the logic behind this system. It's good to get into the habit of working in this systematic way because it ensures that no element is given any less attention than any other. And if you get tired or just have to go and do something else, at the start of your next session you can pick up where you left off.

Other Key Signatures

If you follow the instructions above then the result should be a thorough appreciation of the C major scale (and it's modes) as it appears on the B string. But why just the B string? You'll find all the same patterns everywhere else!

So we need to turn our attention to the other eleven keys. A good way to do this is to use the circle of fifths to systematically move through the 12 key signatures. We've already done C so the next key is G. I suggest the G string... obviously! Then D, A, E and B using the obvious strings.

For F#/Gb I use the 1st string starting at the 2nd fret.

Db (2nd string 2nd fret)
Ab (3rd string 1st fret)
Eb (4th string 1st fret)
Bb (5th string 1st fret)
F (6th string 1st fret)
C (2nd string 1st fret) back where we began!

When you've mastered all of this you can reward yourself with the addition of a second string! Have fun!

Enhance Your Soloing

2009-06-19T00:44:00.000-07:00

Preface

Surely you’ve read title as well as the introduction and you know what this lesson is about. But before we start I want you to know that I won’t give you the “solution” or “explanation”, for suggestion could change you experience and far more important, one assimilates things better, when finding the “solution” or “explanation” oneself. You are welcome to rate, comment and ask questions.

1. Dynamics

1.1. Theory

Dynamics are a really underrated tool for musical expression. Playing dynamically means, playing the notes at different volumes and creating a feel of "distance" of the notes. Most guitarists would try playing dynamically by hitting the strings harder or softer, but in my opinion there are two better ways to do so:

a) When playing with a pick, first try to hit the string with the very tip o f your pick and then playing every note with a little bit more of the pick, maintaining the same hitting intensity.

b) When finger picking, you should "push" the strings with your picking hand downwards to the sound hole, then angle your finger and let go. Depending on how far you pushed them down your volume will increase.

1.2. Exercise

e--------------------------
h------------6-5--3------
g------2-4-5-------------
D----2-------------------
A--0---------------------
E-------------------------

I want You to play this simple melody at a very low tempo and try to play each note at a different volume while observing, how the individual volumes change the feel of the whole construct. Then try to find "patterns"
Here are two ideas for patterns:

the "sunrise-method"-> start very quietly (morning), incrase volume until you reach the "b"(noon) and than turn quieter again again (evening)

the "tennis-method"->first note loud (ball been hit), second one quieter (when the ball hits the ground) and so on.

2. Rest

2.1. Theory

Everyone whose soli tend to sound very “scaleish” and “overplayed” should pay close attention to the following stuff. In music there are two kinds of rests:

a) not playing anything at all

This concept is very interesting, for in creates space. This, gives the audience time to assimilate what has been played or cause the listeners attention.

b) resting on a note

This again is a very interesting thought, because resting on a note allows ornamentation (vibrato, bending, thrills, glissando, harmonics…) and gives this note a special “meaning”.

2.2. Exercise

e--------------------------
h------------6-5--3-------
g------2-4-5--------------
D----2--------------------
A--0----------------------
E--------------------------

Play this once again but now leave out one note and rest on another for some time, while again observing how it changes the feel of the whole construct. Then start to ornament the note you are resting on by playing it e.g.: as a harmonic, with a thrill, with vibrato…..

3. Tone

3.1. Theory

Sound is produced by your gear (wood, amp, pickups…). Tone is similar, but it can be manipulated by ones play. This can happen by changing the position of play (distance to the neck) and angle of string hitting.

3.2. Exercise

e--------------------------
h---------------6-5-3-----
g--------2-4-5------------
D-----2-------------------
A--0----------------------
E--------------------------

Play this once again. Start picking next to the bridge, your hand, the tip or your pick showing to the neck. Change the angle of the pick When the tip of your pick shows to the bridge, it’s time to move on forwards to the neck and repeat this exercise. Oh, and observe how this changes the sound and feel of every note and the whole.

4. Rhythm

4.1. Theory

Rhythm may be music’s most hypnotic element. Rhythm can be made out of rhythmical figures. There are obvious ones like one quarter note, which can be replaced by two eight notes or four sixteenth notes… There are other figures that include:

a) one-beat figures

a dotted eight and a sixteenth note
a sixteenth note and a dotted eight

a one-beat syncope (sixteenth, eight, sixteenth)

eight and two sixteenth notes
two sixteenth notes and one eight

a one-beat triplet (three notes on one beat)

b) two-beat figures

two one-beat figures each

a dotted quarter note and a eight note
a eight note and a dotted quarter note

a two-beat syncope ( eight, quarter, eight/sixteenth, eight, eight, eight sixteenth….)

a quarter and two eights
two eights and a quarter

a two-beat triplet (three notes on two beats)

c) three-beat figures

rhree one-beat figures
one two-beat figure and one two-beat figure

a dotted half

a three beat syncope (dotted eight, dotted quarter, dotted eight/eight, quarter, quarter eight…)

d) Four-beat figures

two two-beat figures
four one-beat figures
a two-beat figure and two one-beat figures
……..

a dotted half note and a quarter note
a quarter note and a dotted half note

a four-beat syncope (quarter, half, quarter/ eight, quarter, quarter, quarter, eight….)

a half and two quarters
two quarters and a half

a four-beat triplet (three notes on four beats)

4.2. Exercise

e--------------------------
h---------------6-5-3-----
g--------2-4-5------------
D-----2-------------------
A--0----------------------
E--------------------------

Now I want you to take you metronome and play the figure above once again, always altering the rhythmical figures. (try as many as you can)
Now it’s time for the next level: play this figure and combine what you have learned and use your own melodies to do the same.

Tremolo Picking

2009-06-16T07:17:00.000-07:00

Some people say that it is "playing as fast as you can" but that is not true. Tremolo picking can be difficult especially when you adding other techniques such as string skips, sweeps, and hammer on/pull offs.

Tremolo picking can be seen in tabs as this.

E|-0-0-0-0-0-0-0-0-2-2-2-2-2-2-2-2-3-3-3-3-3-3-3-3----------------------
B|----------------------------------------------------------------------
G|----------------------------------------------------------------------
D|----------------------------------------------------------------------
A|----------------------------------------------------------------------
E|----------------------------------------------------------------------

The picking must be tight and in rhythm. Usually, you will see tremolo picking in sets of 4 or 8 note sets. This IS NOT the only way. In fact, I made a riff using tremolo picking using triplets, and it still works.
The first thing to do is play the example above in 4th notes. When your ready, go into 8ths, then into 16ths. The idea is to try and stay in time. You must use a pick if you want to go fast when you first start. Practice holding your pick correctly because if you hold it incorrectly, it may be difficult doing things like string skips while tremolo picking.

Now, the first time I heard of tremolo picking it was from Emperor's album, Into The Nightside Eclipse on there first track Into the Infinity of Thoughts. The beginning of that song uses tremolo picking, with large string skips, and is pretty difficult to pull off.

E|-----------------0-0-0-0----------|-------------------0-0-0-0----------|
B|----------------------------------|------------------------------------|
G|----------------------------------|------------------------------------|
D|---------2-2-2-2----------2-2-2-2-|----------2-2-2-2-----------2-2-2-2-|
A|-0-0-0-0--------------------------|-0-0-0-0----------------------------|
E|----------------------------------|------------------------------------|

|----------------------------------|----------------------------------|
|------------------0-0-0-0---------|------------------0-0-0-0---------|
|----------------------------------|----------------------------------|
|----------------------------------|----------------------------------|
|--0-0-0-0-2-2-2-2---------2-2-2-2-|--0-0-0-0-2-2-2-2---------2-2-2-2-|
|----------------------------------|----------------------------------|

This is just an example so I won't show the entire thing, but feel free to listen to the song if you have not yet heard it yet. String skipping might seem easy, but when you jumping 3 whole strings, it can be extremely confusing and frustrating to do it and keep in time. Practice makes perfect, so start slowly like before, and slowly work up. Most of the time, string skips will not involve 3 strings, so start string skips using both 1 and 2 string skip such as this example.

1-string skip example 2-string skip example

E|---------------------------------|--------------------------|
B|---------------------------------|--------------------------|
G|-----------------5-5-5-5-3-3-3-3-|--------------------------|
D|-0-0-0-0-3-3-3-3-----------------|-----------------4-4-4-4--|
A|---------------------------------|--------------------------|
E|---------------------------------|-0-0-0-0-3-3-3-3----------|

Now, usually tremolo picking refers to one single note. But in cases it can be used in chords as well. In Mayhem's famous song Freezing Moon, the guitarist Euronymous uses power chords in a tremolo picking fashion with unusual chord progressions.

E|--------------------------------------------------------------------|
B|--------------------------------------------------------------------|
G|-----------------------------------9-9-9-9-9-9-9-9------------------|
D|-2-2-2-2-2-2-2-2--8-8-8-8-8-8-8-8--9-9-9-9-9-9-9-9--8-8-8-8-8-8-8-8-|
A|-2-2-2-2-2-2-2-2--8-8-8-8-8-8-8-8--7-7-7-7-7-7-7-7--8-8-8-8-8-8-8-8-|
E|-0-0-0-0-0-0-0-0--6-6-6-6-6-6-6-6-------------------6-6-6-6-6-6-6-6-|

This can also be seen in the song Under A Funeral Moon by Darkthrone.

e|-----------------------------------------------------------------|
B|-----------------------------------------------------------------|
G|-----------------------------------------------------------------|
D|-----------------8-8-8-8-8-8-8-8--9-9-9-9-9-9-9-9--8-8-8-8-8-8---|
A|2-2-2-2-2-2-2-2--6-6-6-6-6-6-6-6--7-7-7-7-7-7-7-7--6-6-6-6-6-6---|
E|0-0-0-0-0-0-0-0--------------------------------------------------|
Remember! These two songs are played using 16th notes! Tremolo picking is not nearly as good if you cannot stay on rhythm. Sure, playing fast is cool, but if you can play fast and stay on rhythm, then your getting somewhere. Tremolo picking is extremely useful when writing black metal and other metal, and maybe used in other genres, however I have only seen it in black metal.

Good luck to all of you and have fun!

Rhythm Guitar For Intermediate To Advanced Players

2009-06-16T07:15:00.000-07:00

Right, first a little bit of background. This is my first lesson I have ever written, and as such I can only hope it meets the standards people are looking for.

I was searching around on UG and other such sites the other day for some information on advance guitar rhythms, being more of a rhythm than a lead guitarist myself. Having been unable to find much that was aimed at the more technically advanced guitarist, I decided to piece together the knowledge I have gained over my few years playing guitar. This article is as such aimed at an intermediate to advanced player, looking to strengthen their right hand, and left-to-right hand synchronisation. Those reading this article should already have a reasonable understanding of metres and timings, such as 16th and 32th notes. This is not a lead guitar lesson! Please don’t read this expecting an article on soloing techniques such as sweeps, alternate picking, legato, and vibrato e.t.c. If this article is received well I may consider other such lessons, but for know I’m going to stick to the rhythm side of playing.

Ok, now we’ve got that out the way, onto our first technique. A rhythm guitarist has a multitude of techniques out there for his use. The first of these, and in my opinion one of the most important and widely used, is the down-stroke (in this article the symbol for down-stroke will be “v”). The following exercise will help to improve your right-hand strength and stamina. Try to play this exercise cleanly and smoothly, with as little slipping or missing of the strings as possible. A metronome may help to keep you in time, but don’t set it too fast to play with, try to find a speed which is comfortable but still challenging, and just go until failure. Punching to far above your ability level will not help to increase your abilities faster, it may in fact hinder your progress.

Key:
C – 1/4 Note
E – 1/8 Note
S – 1/16 Note
T – 1/32 Note
v – Down-Stroke
^ – Up-Stroke

Exercise 1: The Down-stroke (Check out the middle section of Dream Theater’s “Pull Me Under”)

E E E E E E E E E E E E E E E E
|–––––––––––––––––|–––––––––––––––––|
|–––––––––––––––––|–––––––––––––––––|
|–––––––––––––––––|–––––––––––––––––|
|–––––––––––––––––|–––––––––––––––––|
|–––––––––––––––––|–––––––––––––––––|
|–0–0–0–0–0–0–0–0–|–0–0–0–0–0–0–0–0–|
v v v v v v v v v v v v v v v v

So, the exercise above is designed to strengthen your right forearm in preparation for the more complex rhythms ahead. Once you can play this rhythm at around 180bpm for at least 2 minutes solidly without tiring, then you are well on the way to becoming a much better rhythm guitarist.
Exercise 2: Alternate Picking (Check out the intro of Trivium’s “Enter the Conflagration”)

S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S
|–––––––––––––––––––––––––––––––––|–––––––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––––––––––|–––––––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––––––––––|–––––––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––––––––––|–––––––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––––––––––|–––––––––––––––––––––––––––––––––|
|–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–|–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–|
v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^

This second exercise introduces us to another technique commonly used in pretty much every style of music involving a guitar. Each note should be picked cleanly and evenly, alternating between down and up-strokes. I’m not going to insult you by explaining what an up-stroke is, ‘cause if you are reading this then you should already know, right? Anyways, try playing this technique with a metronome again, aiming at around the 180bpm mark for advanced players. Oh, and for those of you who are thinking “Yup, that’s me, I’m amazing, he called me advanced”, just shut up and go back to having no social life, or go for 250bpm, then you can happily boast your asses off. But not here. No one cares.
Exercise 3: The Gallop (Check out the Breakdown to Lamb of God’s “Black Label”)

S S E S S E S S E S S E S S E S S E S S E S S E
|––––––––––––––––––––––––––––|––––––––––––––––––––––––––––|
|––––––––––––––––––––––––––––|––––––––––––––––––––––––––-–|
|––––––––––––––––––––––––––––|––––––––––––––––––––––––––––|
|––––––––––––––––––––––––––––|––––––––––––––––––––––––––––|
|––––––––––––––––––––––––––––|––––––––––––––––––––––––––––|
|–0–0–0––0–0–0––0–0–0––0–0–0–|–0–0–0––0–0–0––0–0–0––0–0–0–|
v ^ v v ^ v v ^ v v ^ v v ^ v v ^ v v ^ v v ^ v

This third technique is widely used in death and speed metal, giving a sharp and aggressive feel to the rhythm of the music. This technique was first popularised by English metal band Iron Maiden, in particular verse and chorus rhythms in their songs involved high speed repetitions of the move. This move should create a one-two-three-rest one-two-three-rest feel to your rhythms. Perhaps start really slow, counting the beats in your head or out loud, to a metronome of course, and gradually up the tempo as you feel more confident. Yet again, do not go too far above your comfortable level, as the faster you go the sloppier you become, and you may develop bad habits. I know I did and so cannot stress this point enough.
Exercise 4 + 5: Adding Complexity (Check out Paul Gilbert’s “Technical Difficulties”)

|–3–| |–3–| |–3–| |–3–| |–3–| |–3–| |–3–| |–3–|
S S S E S S S E S S S E S S S E S S S E S S S E S S S E S S S E
|––––––––––––––––––––––––––––––––-–––|––––––––––––––––––––––––––––––––––––|
|––––––––––––––––––––––––––––––––-–––|––––––––––––––––––––––––––––––––––––|
|––––––––––––––––––––––––––––––––-–––|––––––––––––––––––––––––––––––––––––|
|––––––––––––––––––––––––––––––––-–––|––––––––––––––––––––––––––––––––––––|
|––––––––––––––––––––––––––––––––-–––|––––––––––––––––––––––––––––––––––––|
|–0–0–0–0––0–0–0–0––0–0–0–0––0–0–0–0–|–0–0–0–0––0–0–0–0––0–0–0–0––0–0–0–0–|
v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^ v ^

Yeah, it’s impossible to write triplets in the new version of Word that line up, which kinda sucks. Anyways, this exercise expands on the alternate picking idea, using a more complex rhythm note; the 16th note triplet. Try this at around 150bpm for advanced guys, or maybe 100 - 120bpm for less technically proficient players (Don’t worry, you’ll get there eventually).

S E S E S E S E S S S S S E S E S E S E S S S S
|–––––––––––––––––––––––––-–––|–––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––-–––|–––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––-–––|–––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––-–––|–––––––––––––––––––––––––––––|
|–––––––––––––––––––––––––-–––|–––––––––––––––––––––––––––––|
|–0–0––0–0––0–0––0–0––0–0–0–0–|–0–0––0–0––0–0––0–0––0–0–0–0–|
v ^ ^ v v ^ ^ v v ^ v ^ v ^ ^ v v ^ ^ v v ^ v ^

This is out last technique I’m going to cover today. Don’t know what to call this one, so I’m going to call it the Up-Down Gallop, ‘cause that’s kinda what it is. This is one of my personal favourite rhythms, especially coupled with bouncing notes on the E-String on every 1st note of the couples. This in turn can be combined with hammer-ons and pull-offs, creating a really funky and syncopated rhythm, which sounds and look kinda cool, especially with the constant up-down drill of the right hand. This rhythm may look easy in theory, but is definitely not for the faint hearted, and only those completely secure with the other techniques I have covered should attempt this. Just go for this at any tempo you feel like. There was no tempo I could find which would prove a challenge enough for those who are able to complete all other challenges I have set throughout the text.
This concludes my “Rhythm Guitar for Intermediate to Advanced Players” lesson. I hope you have enjoyed this lesson, and it has helped to push you into new areas of playing and new styles of music. I know these techniques certainly gave me the edge I needed to create far more complex and interesting songs.

Troubleshooting To Guitar Techniques

2009-06-16T07:14:00.002-07:00

Hello metallers, grungers and wannabee slashes. I'm Sion Atkinson. Now you may be wondering 'if I haven't heard of you before how can I be certain that what you are teaching is top notch stuff.

I would answer that by saying that I've practised these techniques and found that I've not got anywhere with them. Until, my teacher taught me how to do them properly. And so I'm writing this to prevent this happening to you. Over the next lessons, I'm going to provide lessons on how to sweep pick, hammer ons and pull offs (groan)and lots of other useful crap.

Hammer Ons And Pull Offs

I know. There are thousands of articles on this subject but many don't know how to execute them properly. When you hammer on and pull off, you want to make sure that the high notes and low notes sound equally loud. Therefore, you have to apply more force with your left hand fingers when they pull off or hammer on than you do when you use a pick to play the notes. If you're hammering on, make sure the string hits the fingerboard as this helps the string vibrate more.

Pull offs are a lot trickier, especially if you're using your 3rd and 4th fingers. When pulling off you want your pull off finger to move in a horizontal direction so you pull your finger off the string. Trust me, the amount of people (myself included) who just lift their finger off the string is enormous. And if you bend the string (which you shouldn't unless told to do so in the tablature), support the string with other fingers so it doesn't move. However if you're pulling off to an open string like so

e 5p0 7p0 8p0 7po
b 5p0 6p0 8p0
g
d
a
e

Try and control how much you pull off. You could pull off earlier instead of dragging the string with your finger by accident.
Another example would be

e 8p5p0h8p5p0h8p5p0h4h7p0h4h7p0
b

This shows how you can mix hammer ons and pull offs together. It shows how important it is to make them loud otherwise the notes will fade out (unless you're using loads of distortion.
Here's an example from one of my own solos

e 12
b 15p12 12 15p12 17p12 14
g 15 15p14p12
d 14
a
e

This includes a pull off from the 4th finger to the 3rd on the last phrase which is quite tricky. Be sure to practise before playing the whole lick.
Even Kurt Cobain used them and he wasn't one of the most proficient players around. Here's the main riff from 'Man who sold the world'

e
b
g 2 2 2 0 2p3p2p0

This would make a great excercise if you moved it by one fret each time until you reached the twelth fret.
Other Examples

You might want to listen and check tabs to the following songs 'Battery' by Metallica, Anything by Alterbridge They also use hammer ons from nowhere. 'Crush day' by Joe Satriani. 'Whiskey in a jar' by the one and only Thin Lizzy. Also check other lessons on the website for excercises. They really do help!

O.K. my work is done. Please post any comments if you'd like to tell me what technique I should write about next which you need help with.

Troubleshooting. Part 2

2009-06-16T07:14:00.001-07:00

Hello to all guitar hungry people out there. Thanks for posting some comments, I'll keep making the naked tabs from now on. I've tried to include two mini lessons into one because
1. I forgot to include something in my last lesson.
2. I'm gonna cover something which appears in these lessons a lot.

Part 1. Hammer Ons From Nowhere

As I mentioned previously, Alterbridge uses a lot of legato (fancy word for hammer ons and pull offs)in their solos. After all, if you are hammering onto notes all the time, why don't you hammer onto strings to save you from getting your picking hand confused?

C major excercise
e
b
g
d LH7h9h10
a LH7h8h10
e LH8 (tap onto the fret 8 with your index finger)h10
The sign LH indicates to hammer on from nowhere with your left hand fingers, and you just have to apply the same rules as you do for normal hammer ons. For those who didn't check out the last lesson, you just tap the string with your fingertip until the string hit's the fingerboard. It will provide enough force to make the note vibrate and therefore you get the note. Just make sure you hammer on on the fret shown after the sign. In a way, it's kinda like a right hand tap (using your middle finger to tap a note which I'll show another time) except on the left hand.

Try this moving this excercise up and down the fingerboard, like so

e
b
g
d LH7h9h10p9
a LH8h9h11p9
e LH9h10h12p10p9

or how about this

e
b
g
d LH5h7h8p7p5
a LH5h6h8 LH8p6p5
e LH5h6h8 LH8p6p5

This will help all your fingers become strong and quick so that your hammer ons and pull offs will sound great. If you've checked other lessons on this site, apply this technique to other excercises on here. It's f--king tricky at first, but you can do it with patience.
Last but not least, make sure you put these ideas into practise and properly. If you don't, you risk practising bad habit's in the future. Tricky techniques like this require patience and repetition, so you should at least do this kind of stuff for 10 minutes every day. It's not long, compared to how much Steve Vai used to practise everyday, and with each day you will notice an improvement if they are done properly. For now, I also suggest you keep the distortion as little as possible until you can do this cleanly. Sorry to nag at you but I'm just trying to help.

All right that's it. Next lesson I'll help with right hand tapping. Keep shredding!

Hendrix Rythm Spice

2009-06-16T07:13:00.000-07:00

Ok first. I'm actually 13 so I'm pretty young and fiddle about with my guitar a lot and been watching a heck of a lot of hendrix vids to realise what he does, lets start.

If you look at the way hendrix plays his chords, there not barre chords but he does play them up the frets, what he does is uses less fingers to cover a chord and have the remaining fingers to "spice" up the rythm with little touches.

Normal A barre

e|--5--
B|--5--
G|--6--
D|--7--
A|--7--
E|--5--

But Hendrix tries to make the same chord but use less fingers the (number) shows the finger to use
A chord (Hendrix Style)

e|--5-(1)-
B|--5-(1)-
G|--6-(2)-
D|--7-(3)-
A|-------
E|-------

If done correctly, your pinky shall be free, woo! This allows you to improvise with your little pinky in many ways and all that.
For example (ok not really a good one but still)

e|--8p5-5-----5-5---5-
B|--5---8/7p5-5-5---5-
G|--6---6-----6-6h7-6-
D|--7---7-----7-7---7-
A|--------------------
E|--------------------

Of course that's pretty cool and simple, I'm pretty mince at it myself but I'm sure all you good players will have no problem jamming and inprovising with this shape (can obviously be moved around just like a barre chord). If your wondering, a minor just takes your 3rd finger away making it 5,5,5,7 (if you get what i mean). After looking at that, you could be wondering how to do a A shaped barre. Or perhaps looking at the first you may have figured the first but here it is anyways.
D barre chord

E|----
B|--7-(barre with just your first finger)
G|--7-
D|--7-
A|----
E|----

Now of course the barre with the first finger doesn't mean you are limited to only 7 and above. You can use the notes on the 5th fret, you can use that to build this jazzy/blues kind of technique... it's hard to explain, look here.

e|------------------
B|------7-----7h8-7-
G|------7-----7---7-
D|------7-----7h9-7-
A|--5-5---7/9-------
E|------------------

You may notice a shape from "wind cries mary" and correct, that is the shape and its a brilliant technique I love to do often.
The minor for this may "seem" obvious now I've explained the aboves but in fact what I do to play the minor is do this.

(D minor hendrix style)
e|-----
B|--10-
G|--10-
D|--12-
A|-----
E|-----

I've moved it up 3 frets and added my 3rd finger on the D string 2 frets up.
I've pretty much coverd what I wanted to share so I hope some of this stuff was somewhat useful and I hope to get feedback.

Speed Guitar Now. Part 1

2009-06-16T07:12:00.002-07:00

We’re flooded with advice on the subject, but is anyone really paying attention to the “SEED”? Furthermore, following it?

My first advice is: Clear your mind, physical exercises are not the first step. Why do you want to play faster?

a) To express something that cannot be expressed slowly?
b) To impress someone?
c) To play a song at its original tempo?
d) Because you don’t want to be limited in your playing?
e) Because it’s cool?
f) Etc.

If “a,” then you’ve probably heard someone expressing something really cool that you couldn’t play. Or maybe you have a melody in your mind that, at slow tempo, would sound weak. Well that’s great; you have a very good reason to increase your speed.

If “b,” then your goal as a result might be disappointing, because once you have achieved your wished speed that person could be not interested at all in your abilities. But, if you’re trying to impress another guitar player, well… you probably know that some guitar players are many times “whinny cretins”, so don’t expect too much of a good response from some of them, even if you’re good.
Better yet, do it and impress yourself! Of course I don’t want to be a downer, there’re people who really are going to be impressed, but don’t take the speed as a guarantee.

If “c,” then you have a good reason, but sometimes is also interesting a song played at a different tempo. And when I say a different tempo I mean slower and faster!

If “d”, that’s great but there’s an issue here, some people don’t know what the limit they want to cross is (more on that ahead). On the other hand, some people think that they’ve reached their limit when they actually haven’t, so keep that in mind.

If “e”, that’s ok, but is this what you really want to do in the long run musically speaking?

So, do you know now why you want more speed? Be honest to yourself.
Ok, if you said yes, then let’s move forward.

My second advice: Now you have to establish the desired speed you want to reach.

If you don’t set certain speed as the goal, you probably won’t strive enough to play faster. This is important, I mean it, don’t have a low opinion of this step or you’ll be fooling around for years.

Ok, this is just the beginning. Don’t underestimate these first steps, a lot of people will and they’re probably the kind of guitar players who always complain and never get any better, don’t be like those downers who think everything is common sense and skip this. On the other hand if you already knew this, then this is a good reminder, now go for it!

I hope you the best, now if you’re a little desperate for the next part and want some free speed exercises with audio just click here. But remember exercises come in second place.

See you later and take care!

Tapping Scales And Arpeggios

2009-06-16T07:12:00.001-07:00

In this lesson we will cover:

01. Tapping on all strings and uting unwanted fret noise
02. Playing and constructing arpeggios
03. Tapping scales
04. Using these techinques to make a lick

Hopefully after this you should have good knowledge of tapping scales and arpeggios, how to make them and use them musically.

Tapping On All Strings And Uting Unwanted Fret Noise
Ok we all know to to tap, on pretty much any string, it can be a fairly simple process, but if your tapping on say the A string and then quickly skip to a tapping lick on the B string and back and forth, this can produce unwanted string noise and/or make the notes not sound clearly.

Lets take this lick first:

#tapped notes are in brackets()

E|-----------------------7h(12)p10p7------------------------------
B|----------------------------------------------------------------
G|-------------7h(12)p9p7-------------7h(12)p9p7------------------
D|----------------------------------------------------------------
A|--7h(14)p10p7---------------------------------7h(14)p10p7-------
E|----------------------------------------------------------------

In this lick, instead of normal tapping where you fret the notes then tap and pull off the rest, we are going to hold the first note, so for this lick the 7th fret which we are going to hammer-on from nowhere, to do this simply press down the fret quickly and then tap the bracketed 14th fret, then hammer-on the next note, the 10th fret and pull off to the 7 again, so like this:
Hold 7th, tap 14th, hammer-on 10 from the 7 and then pull off back to 9th fret.

It sounds confusing but this is the style were going to use as holding down all the frets and pulling them all off will be quite hard to do quickly and efficeintly.

If you try and play this lick you mite notice a few things:

1. The notes aren't all sounded clearly

2. A lot of fret buzz and unwanted noise

3. The notes on the lower strings don't sound clearly

To solve this follow these steps:

1. Make sure each tap is emphasised, especailly on the A string, tap quickly and strongly and make sure you pull off when you tap with your finger.

2. There are 2 main ways to mute the strings, these are the KEY techniques to playing these arpeggios correctly:

Fretting Hand Technique:

This is usefull in all aspects of playing but especailly in tapping, you want to try to place your index finger when playing notes slightly above the fret, so the tip is just making contact with the string above. This means that the string above is now clearly muted without wou worrying about it. As for the string below, with the index finger moved up slightly try and angle your finger so the under bit of your finger is resting on the string, this now mutes the string below. Practice this and eventually you will notice that you wont get much unwanted noise from over strings.

Right Hand Technique:

Allthough you may think the right hand just taps and leaves the fretboard until the next tap, you might want to consider keeping your hand resting near the bridge. Why? This then allows you to mute the strings slightly, don't put too much pressure, just have your hand rite above the strings ready to mute, focus on muting when you jump to a new string. Another good technique I use it to slightly angle my hand, have it so my wrist is aiming downwards slightly when descending and aiming upwards when ascending, this then means your hand is followig your fretting hand and muting behind it was it goes, so every string you leave will be muted and the next string will be free of noise and ready for a clean tap.

With all this advice you should practice a few simple licks to perfect your technique, it doesnt't really matter what you tap, for now, as long as you get your tapping clean. Having quite a bit of gain and mids on your amp will help too. Here are a few simple tapping licks to practice, these aren't any paticular shape or arpeggio, just to help you practice. It doesnt't really matter what finger you use for hammering-on, but I do advise to use your pinky more, you get more reach and it will definnitly help you on the lower strings and with certain shapes.

E|----------------------------5h(12)p8p5--------------------------
B|----------------------------------------------------------------
G|--------------5h(12)p8p5----------------5h(12)p8p5--------------
D|----------------------------------------------------------------
A|--5h(12)p8p5--------------------------------------5h(12)p8p5----
E|----------------------------------------------------------------

E|-------------------------------12h(19)p15p12----------------------------
B|------------------------------------------------------------------------
G|-----------------12h(19)p15p12---------------12h(19)p15p12--------------
D|------------------------------------------------------------------------
A|--12h(19)p15p12-------------------------------------------12h(19)p15p12-
E|------------------------------------------------------------------------

E|-------------------------4h(11)p7p4-----------------------------
B|----------------------------------------------------------------
G|--------------5h(12)p8p5------------5h(12)p8p5------------------
D|----------------------------------------------------------------
A|--6h(13)p9p6-----------------------------------6h(13)p9p6-------
E|----------------------------------------------------------------

# don't forget you don't have to play the A, G and E strings, mix it up, you can tap a note twice, tapping the A string and the E string twice can really make your lick stand out
Playing And Constructing Arpeggios
Now weve got the technique down lets learn how to construct and play tapped arpeggios. Well we all now an arpeggio is just the individual notes of a chord play seperatly, so lets take a A minor chord. This is made up of notes A C and E. So all we do is find these notes on each string and play them like so:

E|--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5------

On the E string the notes are 5 - A 8 - C 12 - E

So in basic forms this is an A minor arpeggio on the high E string. Now all we need to do is work out the notes on the other strings, like so:

E|--0--5--8--12--17--20--24---------------------------------------
B|--1--5--10--13--17--22------------------------------------------
G|--2--5--9--13--17--21-------------------------------------------
D|--2--7--10--13--19--22------------------------------------------
A|--0--3--7--12--15--19--24---------------------------------------
E|--0--5--8--12--17--20--24---------------------------------------

All these notes are A C or E, so any combination of these in a tapped lick would be a A minor arpeggio. So for example:

E|-----------------------5h(12)p8p5-------------------------------
B|----------------------------------------------------------------
G|-------------2h(9)p5p2------------2h(9)p5p2---------------------
D|----------------------------------------------------------------
A|--3h(12)p7p3--------------------------------3h(12)p7p3----------
E|----------------------------------------------------------------

E|----------------------------------------------------------------
B|--------------------------5h(13)p10p5---------------------------
G|----------------------------------------------------------------
D|-------------7h(13)p10p7--------------7h(13)p10p7---------------
A|----------------------------------------------------------------
E|--5h(12)p8p5--------------------------------------5h(12)p8p5----

E|-----------------------------------------------------------------------
B|------------------------------13h(22)p17p13----------------------------
G|-----------------------------------------------------------------------
D|----------------13h(22)p19p13---------------13h(22)p19p13--------------
A|--12h(19)p15p12-------------------------------------------12h(19)p15p12
E|-----------------------------------------------------------------------

Any mixture of these would be a successful A minor arpeggio. You don't have to just use 3 note chords, you can use anything, diminished, major 7th, suss or add chords. All you have to do is know the notes of the chord and find them on the fretboard. So for example a C major 7th has the notes B C E and G. Although we can put these all on one string, it's easier to divide them up accross the strings like so:

E|--0--3--7--8--12--15--19--20--24--------------------------------
B|--0--1--5--8--12--16--17--19--20--------------------------------
G|--0--4--5--9--12--16--17--21------------------------------------
D|--2--5--8--9--14--17--20--21------------------------------------
A|--2--3--7--10--14--15--19--22-----------------------------------
E|--0--3--7--8--12--15--19--20--24--------------------------------

As long as your lick has all of the notes alltogether it will sound right. So an example lick would be:

E|-----------------------------------3h(12)p7p3-------------------
B|----------------------------------------------------------------
G|------------------------4h(12)p7p4------------4h(12)p7p4--------
D|-------------2h(10)p5p2-----------------------------------------
A|----------------------------------------------------------------
E|--3h(12)p7p3----------------------------------------------------

E|----------------------------------------------------------------
B|-----------------------------------5h(12)p8p5-------------------
G|----------------------------------------------------------------
D|--2h(10)p5p2----------------------------------------------------
A|------------------------2h(7)p3p2-------------------------------
E|-------------3h(12)p7p3-----------------------------------------

And there you have a C major 7th tapped arpeggio!
Tapping Scales
Tapping scales is actually a lot easier than it sounds. A bit like the arpeggio, you use the notes of the scale to construct the tapping lick. Here we can see a simple A minor pentatonic tapped scale:

E|--------------------------------------------------------5h(12)p8p5--------
B|---------------------------------------------5h(13)p8p5-------------------
G|----------------------------------5h(12)p7p5------------------------------
D|-----------------------5h(12)p7p5-----------------------------------------
A|------------5h(12)p8p5----------------------------------------------------
E|--5(12)p8p5---------------------------------------------------------------

As you can see we have the simple pentatonic box shape, and the tapped notes are all part of the scale too so it fits. If we wanted to make a C major scale tapping lick, it should be easy, as we know the C major scale has the notes A, B, C, D, E, F, G, we simply use these in this lick, making sure all the notes consist of any combination of these, as long as your lick, no matter how long or short contains all of these notes at least once, it will make a legit scale tapping lick. So heres an example of a C major scale tapping excersise:

E|------------------------------------------------------------9h(15)p12p9---
B|------------------------------------------------9h(15)p12p9---------------
G|------------------------------------7h(14)p10p7---------------------------
D|------------------------7h(14)p10p7---------------------------------------
A|-------------5h(12)p8p5---------------------------------------------------
E|--5h(12)p8p5--------------------------------------------------------------

I could of used notes anywhere as long as the contained all the notes from the scale, you can split this up, descend and ascend and move the shapes an octave along.
Using These Techinques To Make A Lick
Now weve understood these techniques heres a brief description on how to use them musically. it's actually really simple, think of any chord progression you like, now turn it into tapped arpeggios. So we can have anything from a E, D, C progression to a Am, C, G, Em progression, it will work well. For example heres a G major 7th, C major, A minor progression:

G major 7th

E|------------------------------10h(15)p14p10------------------------------
B|-------------------------------------------------------------------------
G|----------------11h(16)p12p11---------------11h(16)p12p11----------------
D|-------------------------------------------------------------------------
A|--10h(17)p14p10-------------------------------------------10h(17)p14p10--
E|-------------------------------------------------------------------------

C major

E|-------------------------7h(12)p10p7----------------------------
B|----------------------------------------------------------------
G|--------------7h(12)p9p7-------------7h(12)p9p7-----------------
D|----------------------------------------------------------------
A|--7h(14)p10p7-----------------------------------7h(14)p10p7-----
E|----------------------------------------------------------------

A minor

E|------------------------5h(11)p8p5------------------------------
B|----------------------------------------------------------------
G|-------------6h(12)p9p6------------6h(12)p9p6-------------------
D|----------------------------------------------------------------
A|--5h(12)p9p5----------------------------------5h(12)p9p5--------
E|----------------------------------------------------------------
Hope this lesson helps you out.

Speed Playing

2009-06-16T07:10:00.000-07:00

In this lesson were going to cover all aspects of playing fast guitar, including speed picked runs, legato phrases and economy picking phrases. Hopefully at the end of this lesson you should have some useful warm up excersises, tips on all picking aspects and lots of excersises to practise with.

This lesson will be split into 5 sections :

1. Warm up excersises
2. Alternative picking
3. Economy picking
4. Legato playing
5. Using these tips musically

Warm Up Excersises
These are a list of simple excersises that are useful for quickly warming up both your hands before playing these excersises. I use these almost everyday and they don't take long but they get your hands all warmed up, getting blood into your hands and getting the muscles pumped into your fingers so after a quick few excersises you feel like youve been playing for hours.

First were going to warm up, were going to give all your fingers are work out. The main focus of warming up fast though is to aim to get your index and pinky fingers warmed up as the rest of the hand will follow. Lets get started:

E|----------------------1h2p1------------------------------------------2h3-
B|------------------1h2-------2p1----------------------------------2h3-----
G|--------------1h2---------------2p1--------------------------2h3---------
D|----------1h2-----------------------2p1------------------2h3-------------
A|------1h2-------------------------------2p1----------2h3-----------------
E|--1h2---------------------------------------2p1--2h3---------------------

E|--3p2-----------------------------------------3h4p3-----------------------
B|------3p2---------------------------------3h4-------4p3-------------------
G|----------3p2-------------------------3h4---------------4p3---------------
D|--------------3p2-----------------3h4-----------------------4p3-----------
A|------------------3p2---------3h4-------------------------------4p3-------
E|----------------------3p2-3h4---------------------------------------4p3---

E|----------------------4h5p4-----------------------------------------5h6---
B|------------------4h5-------5p4---------------------------------5h6-------
G|--------------4h5---------------5p4-------------------------5h6-----------
D|----------4h5-----------------------5p4-----------------5h6---------------
A|------4h5-------------------------------5p4---------5h6-------------------
E|--4h5---------------------------------------5p4-5h6-----------------------

E|--6p5-----------------------------------------6h7p6-----------------------
B|------6p5---------------------------------6h7-------7p6-------------------
G|----------6p5-------------------------6h7---------------7p6---------------
D|--------------6p5-----------------6h7-----------------------7p6-----------
A|------------------6p5---------6h7-------------------------------7p6-------
E|----------------------6p5-6h7---------------------------------------7p6---

This is an excersise which can be replayed with any 2 fingers. To also aide your picking hand you can alternate pick descending ( up, down, up) and sweep (up, up, up) ascending, or mix it up, but don't worry the main aim is to warm up your fretting hand fingers. With this excersise use:
1. Index and middle
2. Middle and ring
3. Ring and pinky

Next:

E|----------------------1h3p1-----------------------------------------2h4-
B|------------------1h3------3p1----------------------------------2h4-----
G|--------------1h3--------------3p1--------------------------2h4---------
D|----------1h3----------------------3p1------------------2h4-------------
A|------1h3------------------------------3p1----------2h4-----------------
E|--1h3--------------------------------------3p1--2h4---------------------

E|--4p2-----------------------------------------3h5p3-----------------------
B|------4p2---------------------------------3h5-------5p3-------------------
G|----------4p2-------------------------3h5---------------5p3---------------
D|--------------4p2-----------------3h5-----------------------5p3-----------
A|------------------4p2---------3h5-------------------------------5p3-------
E|----------------------4p2-3h5---------------------------------------5p3---

E|----------------------4h6p4-----------------------------------------5h7---
B|------------------4h6-------6p4---------------------------------5h7-------
G|--------------4h6---------------6p4-------------------------5h7-----------
D|----------4h6-----------------------6p4-----------------5h7---------------
A|------4h6-------------------------------6p4---------5h7-------------------
E|--4h6---------------------------------------6p4-5h7-----------------------

E|--7p5-----------------------------------------6h8p6-----------------------
B|------7p5---------------------------------6h8-------8p6-------------------
G|----------7p5-------------------------6h8---------------8p6---------------
D|--------------7p5-----------------6h8-----------------------8p6-----------
A|------------------7p5---------6h8-------------------------------8p6-------
E|----------------------7p5-6h8---------------------------------------8p6---

Ok this time use:
1. Index and ring fingers
2. Middle and pinky fingers

Next:

E|--------------------------------1h2h3p2p1---------------------------------
B|--------------------------1h2h3-----------3p2p1---------------------------
G|--------------------1h2h3-----------------------3p2p1---------------------
D|--------------1h2h3-----------------------------------3p2p1---------------
A|--------1h2h3-----------------------------------------------3p2p1---------
E|--1h2h3----------------------------------------------------------3p2p1----

E|--------------------------------2h3h4p3p2---------------------------------
B|--------------------------2h3h5-----------4p3p2---------------------------
G|--------------------2h3h4-----------------------4p3p2---------------------
D|--------------2h3h4-----------------------------------4p3p2---------------
A|--------2h3h4----------------------------------------------4p3p2----------
E|--2h3h4----------------------------------------------------------4p3p2----

E|--------------------------------3h4h5p4p3---------------------------------
B|--------------------------3h4h5-----------5p4p3---------------------------
G|--------------------3h4h5-----------------------5p4p3---------------------
D|--------------3h4h5-----------------------------------5p4p3---------------
A|--------2h4h5----------------------------------------------5p4p3----------
E|--3h4h5----------------------------------------------------------5p4p3----

E|--------------------------------4h5h6p5p4---------------------------------
B|--------------------------4h5h6-----------6p5p4---------------------------
G|--------------------4h5h6-----------------------6p5p4---------------------
D|--------------4h5h6-----------------------------------6p5p4---------------
A|--------4h5h6----------------------------------------------6p5p4----------
E|--4h5h6----------------------------------------------------------6p5p4----

E|--------------------------------5h6h7p6p5---------------------------------
B|--------------------------5h6h7-----------7p6p5---------------------------
G|--------------------5h6h7-----------------------7p6p5---------------------
D|--------------5h6h7-----------------------------------7p6p5---------------
A|--------5h6h7----------------------------------------------7p6p5----------
E|--5h6h7----------------------------------------------------------7p6p5----

This time use:
1. Index ,middle and ring fingers
2. Middle ,ring and pinky fingers

Next:

E|--------------------------------1h2h4p2p1---------------------------------
B|--------------------------1h2h4-----------4p2p1---------------------------
G|--------------------1h2h4-----------------------4p2p1---------------------
D|--------------1h2h4-----------------------------------4p2p1---------------
A|--------1h2h4----------------------------------------------4p2p1----------
E|--1h2h4----------------------------------------------------------4p2p1----

E|--------------------------------2h3h5p3p2---------------------------------
B|--------------------------2h3h5-----------5p3p2---------------------------
G|--------------------2h3h5-----------------------5p3p2---------------------
D|--------------2h3h5-----------------------------------5p3p2---------------
A|--------2h3h5----------------------------------------------5p3p2----------
E|--2h3h5----------------------------------------------------------5p3p2----

E|--------------------------------3h4h6p4p3---------------------------------
B|--------------------------3h4h6-----------6p4p3---------------------------
G|--------------------3h4h6-----------------------6p4p3---------------------
D|--------------3h4h6-----------------------------------6p4p3---------------
A|--------3h4h6----------------------------------------------6p4p3----------
E|--3h4h6----------------------------------------------------------6p4p3----

E|--------------------------------4h5h7p5p4---------------------------------
B|--------------------------4h5h7-----------7p5p4---------------------------
G|--------------------4h5h7-----------------------7p5p4---------------------
D|--------------4h5h7-----------------------------------7p5p4---------------
A|--------4h5h7----------------------------------------------7p5p4----------
E|--4h5h7----------------------------------------------------------7p5p4----

This one uses:
1. Index ,middle and pinky

Next:

E|--------------------------------1h3h4p3p1---------------------------------
B|--------------------------1h3h4-----------4p3p1---------------------------
G|--------------------1h3h4-----------------------4p3p1---------------------
D|--------------1h3h4-----------------------------------4p3p1---------------
A|--------1h3h4----------------------------------------------4p3p1----------
E|--1h3h4----------------------------------------------------------4p3p1----

E|--------------------------------2h4h5p4p2---------------------------------
B|--------------------------2h4h5-----------5p4p2---------------------------
G|--------------------2h4h5-----------------------5p4p2---------------------
D|--------------2h4h5-----------------------------------5p4p2---------------
A|--------2h4h5----------------------------------------------5p4p2----------
E|--2h4h5----------------------------------------------------------5p4p2----

E|--------------------------------3h5h6p5p3---------------------------------
B|--------------------------3h5h6-----------6p5p3---------------------------
G|--------------------3h5h6-----------------------6p5p3---------------------
D|--------------3h5h6-----------------------------------6p5p3---------------
A|--------3h5h6----------------------------------------------6p5p3----------
E|--3h5h6----------------------------------------------------------6p5p3----

E|--------------------------------4h6h7p6p4---------------------------------
B|--------------------------4h6h7-----------7p6p4---------------------------
G|--------------------4h6h7-----------------------7p6p4---------------------
D|--------------4h6h7-----------------------------------7p6p4---------------
A|--------4h6h7----------------------------------------------7p6p4----------
E|--4h6h7----------------------------------------------------------7p6p4----

This one uses:
1. Index ,ring and pinky fingers.

Last one now:

E|------------------------------------------1h2h3h4p3p2p1----------------
B|----------------------------------1h2h3h4---------------4p3p2p1--------
G|--------------------------1h2h3h4-------------------------------4p3p2p1
D|------------------1h2h3h4----------------------------------------------
A|----------1h2h3h4------------------------------------------------------
E|--1h2h3h4--------------------------------------------------------------

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|--4p3p2p1-------------------------------------------------2h3h4h5------
D|----------4p3p2p1---------------------------------2h3h4h5--------------
A|------------------4p3p2p1-----------------2h3h4h5----------------------
E|--------------------------4p3p2p1 2h3h4h5------------------------------

E|----------2h3h4h5p4p3p2------------------------------------------------
B|--2h3h4h5---------------5p4p3p2----------------------------------------
G|--------------------------------5p4p3p2--------------------------------
D|----------------------------------------5p4p3p2------------------------
A|------------------------------------------------5p4p3p2----------------
E|--------------------------------------------------------5p4p3p2-3h4h5h6

E|----------------------------------3h4h5h6p5p4p3------------------------
B|--------------------------3h4h5h6---------------6p5p4p3----------------
G|------------------3h4h5h6-------------------------------6p5p4p3--------
D|----------3h4h5h6-----------------------------------------------6p5p4p3
A|--3h4h5h6--------------------------------------------------------------
E|-----------------------------------------------------------------------

E|----------------------------------------------------------4h5h6h7------
B|--------------------------------------------------4h5h6h7--------------
G|------------------------------------------4h5h6h7----------------------
D|----------------------------------4h5h6h7------------------------------
A|--6p5p4p3-----------------4h5h5h7--------------------------------------
E|----------6p5p4p3-4h5h6h7----------------------------------------------

E|--7p6p5p4--------------------------------------------------------------
B|----------7p6p5p4------------------------------------------------------
G|------------------7p6p5p4----------------------------------------------
D|--------------------------7p6p5p4--------------------------------------
A|----------------------------------7p6p5p4------------------------------
E|------------------------------------------7p6p5p4----------------------

You can pretty much guess what fingers are required here. Now you should be very warmed up, as mentioned earlier some of these hammer-ons and pull offs are quite hard and instead just pick the notes if it's easier.
Alternative Picking
Alternative picking is probably the hardest, used by players like Michael Angelo and Buckethead, this picking style involves picking up and then down repeatly. Even if your changing strings you will have to have a constant up, down, up, down pattern. Alternative picking gives an aggressive, attacking sound when played. Below is a small excersise and we will discuss tips on getting your alternative picking accurate:

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-----------------------------------------------------------------------
D|-----------12-13-12----------------12-13-12----------------12-13-12----
A|--12-14-15----------15-14-12-14-15----------15-14-12-14-15-------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U

This is a simple repeat lick excersise, you can play this sort of thing almost anywhere to feel comfortable but we will use this one now for starters. Play this lick constantly using the up, down, up, down motion. So the main issue I'm sure you'l find here is the upstroke on the string change down and the downstroke on the string change up. Practise this likc super slow and build up speed then try these:

E|--8-7-------------------7-8-7-------------------7-8-7------------------
B|------8-7-----------7-8-------8-7-----------7-8-------8-7--------------
G|----------8-7-5-7-8---------------8-7-5-7-8---------------8-7-5--------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U D U D U D U D U D

E|--------------------12-14-15-14-12----------------------------------12-
B|-----------12-14-15----------------15-14-12----------------12-14-15----
G|--12-14-15----------------------------------15-14-12-14-15-------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U D

E|-----------10----------------10----------------10----------------10----
B|--------11----11----------11----11----------11----11----------11-------
G|-----12----------12----12----------12----12----------12----12----------
D|--11----------------11----------------11----------------11-------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U

That last one may seem tricky, as it's so tempting to sweep/economy pick it, but if you can pull it off it's very useful for training your picking hand. Remeber the key to this picking style is the ability to hit a new string below on an upstroke and a string above on a downstroke.
Economy Picking
Economy picking is a bit like alternative picking, up and down, but when you change string you pick in the direction of the change. So if you going to change to a string down you down stroke and a string up you upstroke. Try this example using economy picking:

E|---------------------------------------------------------------------
B|---------------------------------------------------------------------
G|---------------------------------------------------------------------
D|---------------------------------------------------------------------
A|----------9-12-10-9-10-12------------9-12-10-9-10-12------------9----
E|--9-10-12-----------------12-9-10-12-----------------12 9-10-12------
D U D D U D U D U U D U D D U D U D U U D U D D

Notice how your up and downpicking but on the string change you follow the direction of the strings, it's seems easier than alternative picking and gives are a more smooth, flowing sound, players like Yngwie Malmsteen use this technique a lot and it sounds great with legato playing. Try these out:

E|-----------12-14-15-17-15-14-12-------------12-14-15-17-15-14-12-------
B|--12-14-15----------------------15-12-14-15----------------------15----
G|-----------------------------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D D U D U D U D U D U D D U S U S U D U

E|--------12-10-------------12-10-------------12-10-------------12-10----
B|-----13-------11-------13-------11-------13-------11-------13------11--
G|--14-------------12-14-------------12-14-------------12-14-----------12
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D D D U U U D D D U U U D D D U U U D D D U U U

E|--------12-15p12---------12-15p12----------12-15p12----------12-15p12--
B|-----13---------13----13----------13----13----------13----13-----------
G|--12---------------12----------------12----------------12--------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D D D U U D D D U U D D D U U D D D U

Last one look familiar, it's a sweep picking shape. Economy picking is often refered to as sweep picking. So remeber, alternative pick on one string, pick with the direction of the string change when you change.
Legato Playing
Allthough technically not a picking style, it's is useful in playing fast. Some players don't prefer using legato and accuse it of "cheating". Legato is just as technical and useful in fast playing as any other of the techniques were using. Joe Satriani uses a lot of legato playing in his songs and they're incredibly fast. Legato is latin for "smoothly" and this technique does give an incredible smooth sound when played right. When hammer-ing on, make sure you hammer the string quickly and firmly, a lot of players only really use their middle or ring finger for this, but if you can train your pinky to do it you can reach whole new areas and create interesting licks. For pulling off, one of the main flaws players have is that when they pull off the accidently bend the string that they're pulling off to downwards, this makes the pull off sound out of tune. Make sure the finger your pulling off to holds the string firmly in place and your pulling finger to pluck strick forcefully to get a loud, full pull off.Try these licks out:

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-----------------------------------------------------------------------
D|-------9-7h9------9-7h9------9-7h9------9-7h9------9-7h9------9 7h9----
A|--10p7-------10p7-------10p7-------10p7-------10p7-------10p7----------
E|-----------------------------------------------------------------------

E|--12h13p12h13-------------------------------------12h13p12h13----------
B|--------------12h13p12h13-------------12h13p12h13----------------------
G|--------------------------10h13p10h13----------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|----------7p5--------------7p5-------------7p5-------------------------
B|-----------------------------------------------------------------------
G|------5h7-----7p5------5h7-----7p5-----7p5-----7p5---------------------
D|-----------------------------------------------------------------------
A|--5h7--------------5h7-------------5h7-------------5h7-----------------
E|-----------------------------------------------------------------------

For the first excersise a good technique is to barre the A and D strings with your first finger and then use your pinky and/or ring fingers to handle the hammer-ons and pull offs. As for the last excersise many players have difficulty changing to a lower string for a pull off, remeber to firmly place your first finger on the 5th fret and pluck the 7th fret downwards with your other finger to get an accurate pull off.
Using These Tips Musically
So we have warmed up, learnt pciknig styles and legato playing, now what? Well if you wanna play a fast lick, a lot of players simply use small licks like the excersises together, a combination of a few licks you've used can create a large, fast solo. As long as your playing is in key with the song you can make lots of speedy solo's using these small repeat excersises, like so:

E|--------------------12-14-15-14-12----------------------------------12-
B|-----------12-14-15----------------15-14-12----------------12-14-15----
G|--12-14-15----------------------------------15-14-12-14-15-------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|--14-15-14-12-------------------------------------14h15p14h15----17b(19)
B|--------------15-14-12-----------------12---------------------14-------
G|-----------------------15-14-12--12h14----15b(17)----------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-----------17-15-14----------------------------------------------------
B|--17-15-14-------------------15-14-12----------------------------------
G|--------------------15-14-12-------------------14-12-10----------------
D|--------------------------------------14-12-10-----------------12-10-9-
A|--------------------------------------------------------12-10-9--------
E|-----------------------------------------------------------------------

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------15p12-
G|-----------------------------------------------------------15p12-------
D|------------------------------------------------9-10-12-14-------------
A|----------------9-10-12-10-9------------9-10-12------------------------
E|--12-10-9-10-12--------------12-9-10-12--------------------------------

E|--15p12----------------------------------------------------------------
B|--------15b(17)--------------------------------------------------------
G|----------------9h12---------9h12---------9h12---------9h12---------9--
D|---------------------12-9h12------12-9h12------12-9h12------12-9h12----
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-------9-12p9---------9-12p9---------9-12p9---------9-12p9-------------
B|----10--------10---10--------10---10--------10---10--------10b(12)-10--
G|--9--------------9--------------9--------------9-----------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

As you can see all I did was use small licks together to create a large solo, now make your own.

Speed Playing. Part 2

2009-06-16T07:09:00.000-07:00

In Speed Playing 2 were going to look at some more advanced speed playing techniques to expand your skills and help you shred till your fingers bleed. As before there will be plenty of excersises and tips to help you along the way.

This lesson will be split into 4 sections:

1. Neo-Classical Playing
2. Sweep Picking
3. String Skipping
4. Using these techniques musically

Neo-Classical Playing
Ok so maybe you've heard of this, neo-classical basically means new-classical, as neo in latin meand new. Yngwie Malmsteen uses this style a lot, this style focus on fast paced playing, highly technical phrases and repeat(pedal) licks. Before we start lets just look at 2 scales which neo-classical players use frequently.

Harmonic Minor
A B C D E F G# - 1 2 3 4 5 6 #7

As you can see this simply is an A minor scale with a raised 7th.

Melodic Minor
A B C D E F# G# - 1 2 3 4 5 #6 #7

This is the same A minor scale with a raised 6th and 7th.

The harmonic minor is quite simple, yet the melodic minor is a strange scale because you play it normal ascending, but lower the 6th descending, so it convertes back to the harmonic minor. As you can see in the example below:

E|------------------------------5----------------------------------------
B|--------------------------6-9---9-6------------------------------------
G|--------------------5-7-9-----------9-7-5------------------------------
D|--------------6-7-9-----------------------9-7-6------------------------
A|--------5-7-8-----------------------------------8-7-5------------------
E|--5-7-8-----------------------------------------------8-7-5------------

This is simply the A harmonic minor scale, as you can see its just a copy of the minor scale with a raised 7th.

E|------------------------------5----------------------------------------
B|--------------------------7-9---9-6------------------------------------
G|--------------------5-7-9-----------9-7-5------------------------------
D|--------------6-7-9-----------------------9-7-6------------------------
A|--------5-7-9-----------------------------------8-7-5------------------
E|--5-7-8-----------------------------------------------8-7-5------------

This the A Melodic minor scale, it has a raised 6th and 7th descending and then only a raised 6th descending, or in other words it changes to the harmonic minor scale.
Here are a couple of pedal licks, they seem quite simple but most players play them very fast:

E|--12-11-8----8-11-12-11-8----8-11-12-11-8----8-11-12-11-8--------------
B|----------11--------------11--------------11--------------11-----------
G|-----------------------------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-----13-15-13----13-17-13----13-17-13----13-17-13----13-17-13----------
B|--14----------14----------14----------14----------14----------14-------
G|-----------------------------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|--17----------------17----------------19----------------19-------------
B|-----17-19-20-19-17----17-19-20-19-17----19-20-22-20-19----19-20-22----
G|-----------------------------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

As you can see, these licks sound quite classical and played at high speeds can sound great in solos. That last one will be quite tricky as its so high on the neck ,if you're struggling try it an octave lower.
Lets look at a couple of examples from other songs so you can get an idea of what neo-classical licks can sound like:

Michael Angelo Batio - No Boundaries:

E|--------12----13-12-------------15----12-------------------------------
B|-----13----13-------15-13-12-15----15----15-13h15p13p12-------13----15-
G|--14----------------------------------------------------14-12----14----
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-----------------------------12----------------------------------------
B|--13-12h13p12-------------12----15-13h15p13p12-------------------------
G|--------------14-13----13----------------------------------------------
D|--------------------14-------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

Steve Vai - Eugenes trick bag

E-----------------------------17-15-13------------|
B-----13-17-13----15-17-15-13----------17-15-13---|
G--14----------16-------------------------------16|play this
D-------------------------------------------------|part twice
A-------------------------------------------------|
E-------------------------------------------------|

E--------------17-15-13----------19-17-15---------|
B-----14-17-14----------17-14-15----------18-17-15|
G--14---------------------------------------------|
D-------------------------------------------------|
A-------------------------------------------------|
E-------------------------------------------------|

E-----------------------------17-15---------------|
B--------15----18-17-15-------------18-17-15------|
G-----16----16----------16-17----------------17-16|
D--17---------------------------------------------|
A-------------------------------------------------|
E-------------------------------------------------|

E-------------------------------------------------|
B--------------18-17-15----------18---------------|
G-----14-17-14----------17----16----19-17---------|
D--15----------------------18-------------19------|
A-------------------------------------------------|
E-------------------------------------------------|

As you can see from these 2 licks, there played very fast and high up the neck, usually grouped together but the using the same kind of minor progression.
One last thing were going to look at in neo-classical playing is diminished arpeggios.These are simply a triad but with a minor second and minor (diminished) third. So a C diminished chord would be C, Eb, Gb. These small 3 string arpeggios are a shape which can be repeated on the neck so for example:

E|-----------13h16p13----------------13h16p13----------------10h13p10----
B|--------15----------15----------15----------15----------12----------12-
G|--13h16----------------13h16p13----------------13/10h13----------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|--------------10h13p10--------------7h10p7------------7h10p7-----------
B|-----------12----------12---------9--------9--------9--------9-------4-
G|--10h13p10----------------10/7h10------------7h10p7------------7/2h5---
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|--2h5p2-----------2h5p2------------------------------------------------
B|--------4-------4-------4----------------------------------------------
G|----------2h5p2-----------5p2------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

These can be tricky arpeggios, the intial hammer on is quite off putting but you don't have to play them too fast. Diminished can sound good in neo-classical playing but use them sparingly, the occasional one or 2 together with minor or major arpeggios can sound good, but a whole series of them wont.

Sweep Picking
A technique everyone loves, there's so many lessons on UG about this so I'll just break it down into a few small vital tips:

1. The main focus of sweep picking is synchronisation. Sometimes your fretting hand will move to fast and sometimes your picking hand will move too fast. Remember to play very slowly and follow both hands equally, it's much better to play slow accurate arpeggios than fast sloppy ones.

2. Muting. One of the most annoying things when you but some distortion on sweep picking is unwanted noise. Your fretting hands needs to fret the note exactly as you play it and leave as soon as the note is heard. Your picking hand can aslo slighlty drag down gently on the bridge to mute as you go. Don't mute heavily ,just a slight mute especailly on the lower strings.

3. Emphasing the lowest and highest note. Especially with 5 string and minor arpeggios, making sure the lowest and highest note is heard clearly will make your arpeggios sound nicer. Focus on hearing that first downstroked note and hit that pull off loud and clean, this gives your arpeggio a rich, noticable sound which stands out.

Major Arpeggios

Ok we know an arpeggio consists of the notes of a traid, so a C major will have the notes C, E, G. So how do we find arpeggios quickly on the fret board and use them. Heres how:

E|--------12h15p12----------12h15p12-------------------------------------
B|-----13----------13----13----------13----------------------------------
G|--12----------------12----------------12-------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

This is a C major, we have a G, then a C, then an E followed by a G. This exact shape can be played anywhere. How do you find the arpeggio? Find the root note on the B string. So heres:

D major
E|--------14h17p14----------14h17p14-------------------------------------
B|-----15----------15----15----------------------------------------------
G|--14----------------14-------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

A major
E|-------9h12p9---------9h12p9-------------------------------------------
B|----10--------10---10--------------------------------------------------
G|--9--------------9-----------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E major
E|--------16h19p16----------16h19p16-------------------------------------
B|-----17----------17----17----------------------------------------------
G|--16----------------16-------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

This simply shape works perfectly anywhere. What about minor arepggios? They are a bit more tricky but not too far off this style:

A minor
E|--------12h17p12----------12h17p12-------------------------------------
B|-----13----------13----13----------------------------------------------
G|--14----------------14-------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

As you can see, the root will be on the G string this time now, but the end note will be the same as the root:

C minor
E|-------15h20p15----------15h20p15--------------------------------------
B|----16----------16----16----------16-----------------------------------
G|-17----------------17----------------17--------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

D minor
E|--------17h22p17----------17h22p17-------------------------------------
B|-----18----------18----18----------18----------------------------------
G|--19----------------19----------------19-------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

F minor
E|-------8h13p8--------8h13p8--------------------------------------------
B|-----10-------10---10-------10-----------------------------------------
G|--10------------10------------10---------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

As you can see, a slight different shape but finding it now should be easy.
5 string sweeps and sweep taps:

The 5 string versions of these aren't too difficult and the way to find them is just as easy:

C major
E|--------------12h15p12----------------------12h15p12-------------------
B|-----------13----------13----------------13----------------------------
G|--------12----------------12----------12-------------------------------
D|-----14----------------------14----14----------------------------------
A|--15----------------------------15-------------------------------------
E|-----------------------------------------------------------------------

This time the root is not only on the B string but the initial A string note, here are some more:

D major
E|--------------14h17p14----------------------14h17p14-------------------
B|-----------15----------15----------------15----------------------------
G|--------14----------------14----------14-------------------------------
D|-----16----------------------16----16----------------------------------
A|--17----------------------------17-------------------------------------
E|-----------------------------------------------------------------------

E major
E|--------------16h19p16-----------------------16h19p16------------------
B|-----------17----------17-----------------17---------------------------
G|--------16-----------------16----------16------------------------------
D|-----18-----------------------18----18---------------------------------
A|--19-----------------------------19------------------------------------
E|-----------------------------------------------------------------------

A major
E|-------------9h12p9--------------------9h12p9--------------------------
B|----------10--------10--------------10---------------------------------
G|--------9--------------9----------9------------------------------------
D|-----11------------------11----11--------------------------------------
A|--12------------------------12-----------------------------------------
E|-----------------------------------------------------------------------

Now for the minor shapes, the same applies with the 3 string versions, the initial note will be the root:

C minor
E|-----------------15h20p15----------------------------15h20p15----------
B|--------------16----------16----------------------16-------------------
G|-----------17----------------17----------------17----------------------
D|--------17----------------------17----------17-------------------------
A|--15h18----------------------------15h18p15----------------------------
E|-----------------------------------------------------------------------

D minor
E|-----------------17h22p17----------------------------17h22p17----------
B|--------------18----------18----------------------18-------------------
G|-----------19----------------19----------------19----------------------
D|--------19----------------------19----------19-------------------------
A|--17h20----------------------------17h20p17----------------------------
E|-----------------------------------------------------------------------

F minor
E|----------------8h13p8--------------------------8h13p8-----------------
B|-------------10--------10--------------------10------------------------
G|----------10--------------10--------------10---------------------------
D|-------10--------------------10--------10------------------------------
A|--8h12--------------------------8h12p8---------------------------------
E|-----------------------------------------------------------------------

That last one will be especailly tricky, the finger rollling is tricky, using your 3rd finger will be the best option. You'l need to place the very tip of your finger on the D string as you sweep, then roll your finger down so the flesh of your finger gradualy spreads down the 3 strings.
As for the sweep tapping, the main key is to ready your middle finger and move your picking hand slightly closer to your fretting hand. Then as you hammer-on the E string note, move your hand over and tap the string.

C major
E|--------------12h15h20p15p12-------------------------------------------
B|-----------13----------------13----------------------------------------
G|--------12----------------------12-------------------------------------
D|-----14----------------------------14----------------------------------
A|--15----------------------------------15-------------------------------
E|-----------------------------------------------------------------------
T
E major
E|--------------16h19h24p19p16-------------------------------------------
B|-----------17----------------17----------------------------------------
G|--------16----------------------16-------------------------------------
D|-----18----------------------------18----------------------------------
A|--19----------------------------------19-------------------------------
E|-----------------------------------------------------------------------
T

As you can see, the tapped note is always the root note. One of the main issues here will be getting your picking hand ready to sweep up the strings again, but if you just focus on getting the downward sweep and tap nailed slowly, youl be fine.

String Skipping
String skipping basically means playing a sequence on a string, then changing to a new one thats 2 strings away, so your skipping a string. Players like paul Giblert use licks like these a lot. Here are a few scale string skips:

A minor
E|------------------------------------------5h9p5-----5h9----------------
B|--------------------------6h8-----6h8----------------------------------
G|------5h7p5-----5h7p5-----------------7h9-------7h9--------------------
D|----------------------7h9-----7h9--------------------------------------
A|--5h7-------5h7--------------------------------------------------------
E|-----------------------------------------------------------------------

C Phrygian
E|------------------------------------------8h11p8-----------------------
B|------------10h11p10----------------10h11------------------------------
G|-------8h10--------------------------------------10p8------------------
D|---------------------10p8------8h10------------------------------------
A|--8h10------------------------------------------------8h10p8-----------
E|--------------------------9h11-----------------------------------------

E Dorian
E|--------------------------0h2--------------------02p0------------------
B|----------2h3----------------3p2---------3p2---------------------------
G|----------------------2h4--------4p2---------2h4-----------------------
D|------0h4-----4p0------------------------------------------------------
A|------------------2h4----------------4p2-------------------------------
E|--0h2-------------------------------------------------0h2--------------

All I've done here is chosen a few notes at random from a few scales. Next we'll do a couple of arpeggios:

G major 7th
E|--------------10h14p10-------------------10h14p10----------------------
B|-----------------------------------------------------------------------
G|--------11h12----------12p11-------12p11----------12p11----------------
D|-----------------------------------------------------------------------
A|--10h14----------------------10h14----------------------10h14----------
E|-----------------------------------------------------------------------

C major
E|-----------7h10p7--------------7h10p7----------------------------------
B|-----------------------------------------------------------------------
G|-------7h9--------9p7------7h9--------9p7------------------------------
D|-----------------------------------------------------------------------
A|--7h10----------------7h10-----------------10p7------------------------
E|-----------------------------------------------------------------------

A minor
E|----------5h8p5-------------5h8p5--------------------------------------
B|-----------------------------------------------------------------------
G|------6h9-------9p6-----6h9-------9p6----------------------------------
D|-----------------------------------------------------------------------
A|--5h9---------------5h9---------------5h9------------------------------
E|-----------------------------------------------------------------------

This is a series of arpeggios played melodicaly, I used the same example in my tapping lesson, but the same can apply here. Like sweep picking, you must let go off the strings exactly after youve played them, you can also keep your picking hand's palm close to the bridge to mute those annoying lower strings that always ring out.

Using These Techniques Musically
Ok heres a few licks for you to try out. First a neo-classical lick:

E|--------------------------------12----12h15----------------17-15-13----
B|-----12-15-12----12-16-12----13----13-------13----12-14-16----------17-
G|--13----------13----------14-------------------11----------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|--------------------------------------------------19-17-15-------------
B|--15-13----------------16----------------19-17-15----------17-15-------
G|--------17-15-14----17----17-19-17----19------------------------10h13--
D|-----------------16----------------18----------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-----10h13p10----------13-11-10-------------------13h19p13-------13-17-
B|--12----------12----------------13-11-10-------15-------------15-------
G|-----------------10h13-------------------13h16-------------16----------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

Next is a sweep picking lick:

E|--------------16h19p16-------------------------10h14p10----------------
B|-----------17----------17-------------------12----------12-------------
G|--------16----------------16-------------11----------------11----------
D|-----18----------------------18-------12----------------------12-------
A|--19----------------------------19/14----------------------------14/17-
E|-----------------------------------------------------------------------

E|-----------14h17p14------------------------9h12p9----------------------
B|--------15----------15------------------10--------10-------------------
G|-----14----------------14-------------9--------------9-------------12--
D|--16----------------------16-------11------------------11-------14-----
A|-----------------------------17/12------------------------12/15--------
E|-----------------------------------------------------------------------

E|-----12h15p12----------------------7h10p7----------------------14b(17)-
B|--13----------13-----------------8--------8-----------------15---------
G|-----------------12------------7------------7------------14------------
D|--------------------14-------9----------------9-------16---------------
A|-----------------------15/10--------------------10/17------------------
E|-----------------------------------------------------------------------

Now the two combined! :

E|-----------------10h15p10-------------------------------15h20p15-------
B|--------------11----------11-------------------------16----------16----
G|-----------12----------------12-------------------17----------------17-
D|--------12----------------------12-------------17----------------------
A|--10h13----------------------------10h13/15h18-------------------------
E|-----------------------------------------------------------------------

E|-------------------------8h13p8------------------------------13h17p13--
B|----------------------10--------10------------------------15-----------
G|-------------------10--------------10------------------15--------------
D|--17------------10--------------------10------------15-----------------
A|-----15h18/8h12--------------------------8h12/13h17--------------------
E|-----------------------------------------------------------------------

E|----------------------------6h11p6------------------------11h15--------
B|--15----------------------8--------8-------------------12-------12-----
G|-----15-----------------8------------8--------------11-------------11--
D|--------15------------8----------------8---------12--------------------
A|-----------13h17/6h10--------------------6h10/13-----------------------
E|-----------------------------------------------------------------------

E|-----12h15p-------------------------14h17h20p17p14---------------------
B|--12--------12-------------------15----------------15------------------
G|---------------13-------------14----------------------14-------------12
D|------------------14-------16----------------------------16-------14---
A|---------------------15/17----------------------------------17/15------
E|-----------------------------------------------------------------------

E|----12----------------13h19p13----13h16----------14b(17)--------------
B|-13----13----------15----------15-------15----15-----------------------
G|----------12/13h16-------------------------14--------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

Hope this helps.

Ska Continuation

2009-06-16T07:08:00.000-07:00

Now that you have seen the very basics (ka chords, the offbeat rythm and barre chords), I will show you some slightly more complex techniques.

Using Different Rythms In Ska:

The very basic ska beat is played like this:

e x5x5x5x5x7x7x7x7x3x3x3x3x5x5x5x5
B x5x5x5x5x8x8x8x8x3x3x3x3x5x5x5x5
G x5x5x5x5x7x7x7x7x4x4x4x4x5x5x5x5
A
E

This rythm above is very simple, and normally has 3 chords returing to chord 1 for the end. However, you can use several different rythms to get a more interesting sound:

Rancid- Time Bomb
-----------x-------x-------x-------4---4---x---4---x---4---x---4
---3---3---x---3---x---3---x---3---5---5---x---5---x---5---x---5
---4---4---x---4---x---4---x---4---4---4---x---4---x---4---x---4
---4---4---x---4---x---4---x---4--------------------------------
---2---2---x---2---x---2---x---2--------------------------------
----------------------------------------------------------------

although it is still very simple, you can use the technique of 2 chords to quicken thwe tempo. Another example of this is Take Warning by operation ivy

E|-----x---------------x--------x-------x----------------------||
B|---5-x-5-----------5-x-5----4-x-4---4-x-4--------------------||
G|---6-x-6-----------6-x-6----4-x-4---4-x-4--------------------||
D|---6-x-6-----------6-x-6----4-x-4---4-x-4--------------------||
A|-4-4-x-4---------4-4-x-4--2-2-x-2-2-2-x-2--------------------||
E|-----x---------------x--------x-------x----------------------||

However, this uses single notes instead of chords. Another technique that is not only used in ska is double scratching. For example:

E --x-x-1---x---1---x-x-1---x---1-----------|
B|--x-x-1---x---1---x-x-1---x---1-----------|
G|--x-x-2---x---2---x-x-2---x---2-----------|
D|--x-x-3---x---3---x-x-3---x---3-----------|
A|------------------------------------------|
E|------------------------------------------|

The first scratch is on the downstroke, the next on the upstroke.
Lead Guitar:

Although ska is more well known for the rythm part, lead guitar does exist. Many off the riffs and solos are just interprataions of blues scales. For example:

Bad Fish- Sublime:
E|------------------------------------------------------|
B|------------------------------------------------------|
G|-2~~~~2-2/4--------2-4--1h2p1-------------------------|
D|--------------2h4-------------2-2/4-------------------|
A|-------------------------------------2p0-2h4~~~~------|
E|------------------------------------------------------|

E|---------------------------5----------------|
B|-----------------------------7--------------|
G|--------------2p1--------------6-4-2h4-2~~~-|
D|-----2h4-4-2------2-2h4---------------------|
A|-2h4----------------------------------------|
E|--------------------------------------------|
fairly easy, but sounds good.

Freeze Up- Operation Ivy Solo:
E-----5-5-----5-5-----5-5-----5------------------------------------
B-----5-5-----5-5-----5-5-----5------------------------------------
G---------7b9-----7b9-----7b9----7-5-3vib.-------------------------
D------------------------------------------------------------------
A------------------------------------------------------------------
E------------------------------------------------------------------

E-----------8-8-------8-8-------8-----------10-10------------------
B-----------8-8-------8-8-------8-----------10-10------------------
G-----10b12-----10b12-----10b12-------------------12-10------------
D-------------------------------------------------------12vib.-----
A------------------------------------------------------------------
E------------------------------------------------------------------

E----------------------------------------------------------------
B----------------------------------------------------------------
G-----7b9-7b9-7b9-7p5vib.---5b7-5b7-5b7-5p3vib.------------------
D----------------------------------------------------------------
A----------------------------------------------------------------
E----------------------------------------------------------------

E----------------------------------------------------------------
B----------------------------------------------------------------
G-----------------5-5-5h7----------------------------------------
D-----------5-7s8------------------------------------------------
A-----3-5s7------------------------------------------------------
E----------------------------------------------------------------

For writing your own solo, I would recommend using the key you are ins pentatonic scale, and just improvising, play around with it and and some pitch bends. If you are in a ska band, and you have a trombone player, get them to play the scales and you can work it over the chords.
Bass

Ska bass is easily recognisable. It often uses the walking bass line style, and rarely uses root notes. To play a walking bass line, imagine a jazz style bass. Find the chords that are being played by the guitarist, and work around the root notes playing little patterns. If the chords you werre using were a minor d minor and g minor something like this:

E
B
G
D 553 2
A 003h5 532 455555553 3543333
E 304h5 32552

|G|----------------------------------------------------------------------------------|
|D|----------------------------------2-2-4-4-5-5-4-4-----------------2-2-4-4-5-5-4-4-|
|A|--0-0-2-2-3-3-0-0-2-2-4-4-5-5-4-4-----------------0-0-2-2-3-3-5-5-----------------|
|E|----------------------------------------------------------------------------------|

This riff is from Superman by Goldfinger.

Some scales to base solos around:
|15---------------------------------|---------------------------------17|
|---17-15---------------------------|---------------------------17-20---|
|---------16-14---------------------|---------------------16-19---------|
|---------------17-14---------------|---------------17-19---------------|
|---------------------17-14---------|---------17-19---------------------|
|---------------------------17-15-12|15-17-19---------------------------|
based around e minor
--------------------------------5--8----
--------------------------5--8-----------
-------------------5--7------------------
-------------5--7------------------------
------5--7-------------------------------
-5-8-------------------------------------
or starting from 17t fret (1 octave higher) a minor pentatonic
Ska Live:

Ska is always entertaining and fun 2 watch live. Instead of mosh pits and circle pits you get at punk, metl and rock gigs, the norml dancing is "skanking".skanking invloves moving along with nthe beat, swaying your feet and arms. It is difficult to describe, but prety easy 2 pick up.

Anyway enjoy, hope this was helpful 4 you, leave a comment if you want me 2 edit ny of it.

Simple Triads

2009-06-16T02:19:00.002-07:00

Major And Minor Chords
I’ll start with a little bit of theory. A triad is a 3 note chord. This chord is made of the 1st, 3rd and 5th of the scale tones. So basically, a C Major Triad would be - C E G. I hope that makes sense. If you don’t understand it, look at some of the lessons on basic chord construction. Anyway, enough theory. I’ll show you the basic shapes.

Major Triad Shapes
C D E F G A B
e |----------------------|
B |----------------------|
G |-0--2--4--6-----------|
D |-2--4--6--8---0--2--4-|
A |-3--5--7--9---2--4--6-|
E |--------------3--5--7-|

Minor Triad Shapes
Cm Dm Em Fm Gm Am Bm
e |---------------------------|
B |---------------------------|
G |-0---2---4---6-------------|
D |-1---3---5---7---0---2---4-|
A |-3---5---7---9---1---3---5-|
E |-----------------3---5---7-|

The main trick with these chords is that you have to make sure you only play the strings which you have fingers on, or which are meant to be played open. Otherwise it can sound pretty bad. Here’s a little picking tab using these chords:

Bm G Em A
e |--------------------------------------------------|
B |--------------------------------------------------|
G |------------------------------4-----4-------------|
D |-----4-----4-----0-----0----5-----5-------2-----2-|
A |---5-----5-----2-----2----7-----7-------4-----4---|
E |-7-----7-----3-----3------------------5-----5-----|

Combined with power chords, these chords can make your playing sound a lot fuller.
1st Inversions: Major And Minor Triads
An inverted chord is where the root note of the chord is played somewhere else in the chord (i.e. instead of C E G, the chord would be played E G C [1st Inversion] or G E C [2nd Inversion]). For now I’ve only done the 1st inversions, but I’m thinking/planning on making another lesson with more inversions/string sets and crap like that.

Major Triad Shapes (1st Inversion):
C D E F G A B
e |----------------------|
B |-1--3--5--7-----------|
G |-0--2--4--6---0--2--4-|
D |-2--4--6--8---0--2--4-|
A |--------------2--4--6-|
E |----------------------|
Minor Triad Shapes (1st Inversion)
Cm Dm Em Fm Gm Am Bm
e |---------------------------|
B |-1---3---5---7-------------|
G |-0---2---4---6---1---3---5-|
D |-1---3---5---7---0---2---4-|
A |-----------------1---3---5-|
E |---------------------------|

Alright, now I get a little more complicated. If you are into music styles which use more complicated chords than majors or minors.
Augmented And Diminished Chords
Augmented triads are pretty easy to play. All the notes are close together on the fret-board.

Augmented Triad Shapes
C+ D+ E+ F+ G+ A+ B+
e |---------------------------|
B |---------------------------|
G |-1---3---5---7-------------|
D |-2---4---6---8---1---3---5-|
A |-3---5---7---9---2---4---6-|
E |-----------------3---5---7-|

Diminished Chords make for a bit of stretch, but it’s possible.

Diminished Triad Shapes
DÂ° EÂ° FÂ° GÂ° AÂ° BÂ° CÂ°
e |----------------------------|
B |----------------------------|
G |-1---3---5---7--------------|
D |-3---5---7---9----1---3---5-|
A |-5---7---9---11---3---5---7-|
E |------------------5---7---9-|

Jazz Chords

2009-06-16T02:19:00.001-07:00

This lesson will be about common jazz chords, how they are written, and common ways to play them. And common practices to sightread them. I highly recommend reading my other lesson, "Identifying Intervals", I use a lot of that information in this lesson.

The Dominant Seventh.
The dominant 7th chord is the most used chord in jazz. A dominant seven is a flatted 7th. A dominant 7th chord consists of the Root note, the Major 3rd, an optional 5th, and the dominant 7th. A Dominant (or minor 7th). 7th can be identified when you have a note on the same fret, two strings above. It is sometimes called a "Major Minor" chord.

C7
|--8---------|
|--8-----5---|
|--9--3--3---|
|--8--2--5---|
|--10-3--3---|
|--8---------|

The Major Seventh Chord.
This can be a really nice sounding chord if played and used correctly. The Major 7 chord consists of the root note, the major 3rd, an optional 5th (makes the chord sound fuller in this case), and the Major Seventh. The major seventh is a step below the octave. The major 7th chord is usually notated in jazz as a maj7, because if it just said 7, it would imply Dominant. This chord is sometimes referred to as a "Major Major" chord, or a Delta chord.

Cmaj7
|--8-----3---|
|--8-----5---|
|--9--4--4---|
|--9--2--5---|
|--10-3--3---|
|--8---------|

The Minor Seventh Chord.
This chord is also extremely common in a lot of forms in music. The -7 Chord consists of the root, the minor 3rd, optional 5th, and the minor/flat seven. A common way to notate this in jazz sheet music is either like -7, m7, or min7.

Cm7
|------------8--|
|--8---4-----8--|
|--8---3--3--8--|
|--8---5--1--8--|
|------3--3-----|
|--8------------|

9th Chords.
A 9th chord comes in a few different ways. The 9th is a compound Second interval. It can be an added voice to either a minor or dominant 7th chord. The 9 ALWAYS implies the 7th in the chord unless it is written ass an add9 chord. When simply stated as a C9, it consists of the 1, M3, P5, m7, M9. The -9, m9, or min9 chords are the same thing, but with a minor 3rd.

C9
|------------|
|-----3------|
|--7--3------|
|--8--2------|
|--7--3------|
|--8---------|

Cm9
|--10--------|
|--8---3-----|
|--7---3-----|
|--8---1-----|
|--10--3-----|
|--8---------|

b5 or Half Diminished Chords.
Flat 5 chords are all too common in jazz. Almost in every jazz song in a minor key. The ii chord in a ii v i progression is half diminished. The b5 chord is played like a Minor 7 chord, but the 5th is flat. When playing in a combo or ensemble, it almost 100% necessary to add the b5 in this chord. It can also be notated as a circle with a slash through it, meaning half diminished.

Cm7(b5)
|------------|
|------4-----|
|--8---3-----|
|--8---4-----|
|--9---3-----|
|--8---------|

Diminished Chords.
Fully Diminished chords are used a lot in fast paced jazz. It's the same thing as the Half Diminished chord, only the 7th is boubly flat. bb7, if you will. It's very complicated to play, I'll admit. In the third example, the root is in the high voice. This chord is not the most beautiful thing ever. Sometimes notated as just a small circle.

Cdim
|---------8--|
|------4--7--|
|--8---2--8--|
|--7---4--7--|
|--9---3-----|
|--8---------|

13th Chords.
13th chords have a little debate going on with guitarists. In classical music and technical theory, a true 13 chord consists of the 1, 3, 5, m7, 9, 11, and 13. But in classical writing, You only need the 1, 3, 5, m7, and 13, because there aren't enough parts, or fingers to have the 9 and 11. So, for what were learning here, you should only voice the 1, 3, 5, m7, and 13. And maybe omit the 5, it's sorta redundant at this point. The 13 is a compound 6th.

C13
|------5------|
|--10--5------|
|--9---3------|
|--8---5------|
|------3------|
|--8----------|

6th Chords.
Simply put, the 1, 3, 5, and 6. A happy little chord.

C6
|-----5------|
|--8--5------|
|--9--5------|
|--7--5------|
|--7--3------|
|--8---------|

Minor Delta Chords.
Okay, in the key of Harmonic minor, which is natural minor with a raised 7th, means your tonic chord would be this awkward, relatively bad sounding chord. So, basically its a minor chord, but with a Major 7th, it's a relatively uncommon chord, but hey, it's out there. Sometimes called a Minor Delta, or a Minor Major chord. It can be notated like I have it, or a minor chord, with a triangle, which stands for Delta.

Cm(maj7)
|-8---3-------|
|-8---4-------|
|-8---4-------|
|-9---5-------|
|-10--3-------|
|-8-----------|

Altered Chords.
Altered chords are pretty much self explanatory. They pretty much alter the chord slightly to give different feels, or to create chromatic voicings from other chords. Like if a chord says Cm7(b9), You'd play the 1, m3, 5, m7, and b9. Not too much to cover on this, you just have to figure out the voicings for yourself on the spot, there are way to many to Cover.
Altered Bass Chords.
Altered bass chords are also self explanatory. Most of the time, guitarists do not have to worry about them because it usually means the bass is hitting the note. Basically, in an altered bass chord, it is signified with a slash, with another note next to it which should be in the bass. Same thing with these go with altered chords, you have to figure out the voicings yourself because there are just to many to cover in a lesson.

How To Use These Shapes
Okay, so you got all this down, but you still can't keep up in your jazz band with the chords because you don't have them all "memorized". Well, all you really need to know is how to form most of these shapes, and move them around on the neck. All of these chords are movable. They are all different forms of C chords, of you move them all up a whole step, they will become different forms of D chords. That should be simple. So, all you really need to do is find your fifth and sixth string roots of the chords, and place the root note on the correct note.

My words of advice: you don't need to memorize the entire fretboard for this, I'd just get extremely familiar with the 6th and 5th strings, where most of these chords should be played. It's bad to play a 6th string root F chord, because it's so close to the nut and not all the notes are clear as you'd like them to be. It's also not the best idea to play a 5th string root G, because that’s really high up there and the guitar will stick out a lot more than you'd like it too in a combo. A comfortable spot to play these chords is from a 6th string G and the 5th string G. (in standard tuning, of course).

When looking at a piece of sheet music with chords on it. The most common strumming pattern would be to follow a "2 and 4" type pattern, accent the second, and fourth beats, and hit the bass note on 1 and 3. Hitting the bass note on 1 will give you an extra beat to get your fingers ready for the rest of the chord.

It takes a long time to get used to sightreading chords like this, I still have trouble myself. When I first started in a high school jazz band, I was completely lost, nobody to help me. I learned that the easiest way I could sightread was to play powerchords on the root of the chord being played. This got me familiar with the 5th and 6th string notes and how jazz patterns usually move. Although this sounded really really really bad in the music, it was start and helped me down the line with fluency. Then I played the basic bar chords after I could comprehend dominant, major, and minor 7 chords. This is fine if you can play it like this. It is a really good thing to leave out the 5 of the chords, because it only makes chords more filled out, which isn't really jazzy in my opinion, which is the only part of bar chords I don't like. Once you get used to the voicings that do not require the fifth, you will notice the difference.

It takes a lot of time, practice, experience, and the will to learn in order to become a fluent chord reader. Do not expect to get these as you read them. Print them out, look over a page in "The Real Book" or any other sheet of music, look through it, practice sightreading over it, and go to the next one, and repeat.

That’s it for now, I hope somebody learned something from this.

Chords: Everything You Need To Know

2009-06-16T02:15:00.000-07:00

Table of Contents

1. Introduction
2. How to read chord charts
3. Basic open chords
4. Basic barre chords
5. Other ways to view chords
6. Power chords
7. Octaves
8. Slash chords

1. Introduction
Hey Matt, are you ready for the next installment of “Grant’s Craptastic Guitar Learning E-Mail Newsletter?” Well, ready or not, here it is. And darn it, you better learn this crap! You need to learn your chords if you ever want to be a rhythm guitarist in a band (rhythm = chords, barre chords, power chords, octaves, slash chords, etc). Well, I think I’m going to add the power chord and octave stuff from my other lesson in this one. Heck, why not. If you haven’t already noticed, I’m not too sure of what I’m going to do in this lesson. Instead of making a rough draft on paper for this lesson like the other one I sent you, I’m just doing this one on the fly and hoping it goes nicely. Anywho! Here’s all the crap you need to know for all your chord needs.

Basically all a chord is is 3 or more notes played at the same time through strumming (as I’m sure you know, strumming is just when you brush your pick over the strings of a stringed instrument to make a sound). Dictionary.com calls a chord “a combination of three or more pitches sounded simultaneously.” Now that you know what chords are, it’s time to learn the chords, but first, you must learn how to read chord charts.

2. How to read chord charts
In this lesson, I’m gonna make my own chord charts so I can tell you exactly how you should play them (at least how I feel you should play them). The chord charts will look like this:

0 1 2 3 4 5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

In case your not aware, the letters to the left of the chart are the note names of the strings. The little e is the highest string (skinniest) and the big E is the lowest string (the thickest). And then all the letters in between are the strings in between. Just think of it as reading tabs just slightly altered. Here is what everything symbolizes:

0 1 2 3 4 5 <-fret #’s (the 0 is an open string)

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
^---^-frets ^---^-space in between frets
^ strings

Here’s an example of a chord:

C7

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|---|-4-|---|---|
D|-|---|-2-|---|---|---|
A|-|---|---|-3-|---|---|
E|x|---|---|---|---|---|

The C7 above the chart is the name of the chord. The 1, 2, 3, and 4 on the chord chart tells you what finger to put on the certain string. The number 1 is your index finger, 2 is your middle finger, 3 is your ring finger, and 4 is your pinky. The “o” in the 0 fret column means the string is played open, or you don’t put a finger on the string but you play it anyway. The “x” in the 0 fret column means you don’t put a finger down on that string but you don’t play that string either. You can either just not pick it or mute it by partially laying a finger down on the string. You can either lightly place a finger on the muted string with a finger that is already pushing down another string (in this case it would be the 3rd finger on the A string) or place your thumb barely on the muted string by bringing it over the neck and lightly touching the string.
3. Basic open chords
There are 8 “basic” open chords. I’m sure you know, but there are more than 8, but 8 of them are the major and minor chords, and we’ll call the major and minor chords the “basic” ones. Alrighty then, it’s time to learn the basic open chords (note: not all of these chords are how I play them, but it’s how you should play them in the most economical way). We’ll start with the major ones:

A

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|-|---|-4-|---|---|---|
G|-|---|-3-|---|---|---|
D|-|---|-2-|---|---|---|
A|o|---|---|---|---|---|
E|x|---|---|---|---|---|

C

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|o|---|---|---|---|---|
D|-|---|-2-|---|---|---|
A|-|---|---|-3-|---|---|
E|x|---|---|---|---|---|

D

0 1 2 3 4 5

e|-|---|-2-|---|---|---|
B|-|---|---|-3-|---|---|
G|-|---|-1-|---|---|---|
D|o|---|---|---|---|---|
A|x|---|---|---|---|---|
E|x|---|---|---|---|---|

E

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|o|---|---|---|---|---|
G|-|-2-|---|---|---|---|
D|-|---|-4-|---|---|---|
A|-|---|-3-|---|---|---|
E|o|---|---|---|---|---|

G

0 1 2 3 4 5

e|-|---|---|-4-|---|---|
B|-|---|---|-3-|---|---|
G|o|---|---|---|---|---|
D|o|---|---|---|---|---|
A|-|---|-1-|---|---|---|
E|-|---|---|-2-|---|---|

Ok, these are the major open chords. If a chord doesn’t have anything after it’s main letter (like in the C chord, it is just C, not Cm or Cm7 or Cadd9 or something like that) then it’s a major chord. Ok, time to learn the minor open chords. They are:

Am

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|-|-2-|---|---|---|---|
G|-|---|-4-|---|---|---|
D|-|---|-3-|---|---|---|
A|o|---|---|---|---|---|
E|x|---|---|---|---|---|

Dm

0 1 2 3 4 5

e|-|-1-|---|---|---|---|
B|-|---|---|-3-|---|---|
G|-|---|-2-|---|---|---|
D|o|---|---|---|---|---|
A|x|---|---|---|---|---|
E|x|---|---|---|---|---|

Em

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|o|---|---|---|---|---|
G|o|---|---|---|---|---|
D|-|---|-2-|---|---|---|
A|-|---|-3-|---|---|---|
E|o|---|---|---|---|---|

Hey! Why is there an “m” after every chord name? Well, that signifies that the chord is a minor chord. So if you see a chord that is an A but has an m after it, making it “Am”, then, you know that the chord is an Am chord. Got it?
4. Basic barre chords
Well, this segment is probably going to be a challenge to write so you can understand it. A barre chord (pronounced “bar”) is just a chord that uses your whole index finger to press down, or “barre” down, 5 or 6 strings so that your other 3 fingers can play other notes (told you this was hard to explain!) The beauty of barre chords is that they have a few basic shapes, and you can move those shapes up and down the fretboard to get different chords and different sounds, opposed to open chords which can only can played in one position. Just a note, but try using the bony inside part of your index finger to barre the chord down and give you a better sound. Ok, first, you’re going to learn your 5 string barre chords.

There are 4 main shapes to 5 string barre chords: the major, minor, seventh, and minor seventh positions. You’re only going to learn the major and minor positions in this lesson though, seeing to which the 7 and m7 (seventh and minor seventh) positions aren’t used very often, and especially aren’t used very often in the type of music we might play together. Here are the 2 shapes:

5 string major barre chord shape

0 1 2 3 4 5

e|-|---|-1-|---|---|---|
B|-|---|---|---|-4-|---|
G|-|---|---|---|-3-|---|
D|-|---|---|---|-2-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

5 string minor barre chord shape

0 1 2 3 4 5

e|-|---|-1-|---|---|---|
B|-|---|---|-2-|---|---|
G|-|---|---|---|-4-|---|
D|-|---|---|---|-3-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

Wait a second, darn it! That looks just like the A and Am chords, just moved down the fretboard! What the poo is happening here? Yes, you are right. The 5 string major and minor barre chord positions are just the A and Am chords moved down the fretboard. In this case, they are just moved down 2 positions to make a B and Bm chord. But, how did I figure that out? Look closely at the fretboard:

0 1 2 3 4 5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

It has 6 strings, all which have their own note names and sound different from other strings. So, that must mean that each fret has its own note name, too. If you take a string (in this case, let’s take the A string since it is the beginning of the music alphabet, A-G#) and move 1 fret down the fretboard, then you have another note. So, from the open A string to the first fret, you have a difference of one note, from A to A#. Then, from the 1st fret to the 2nd fret, you have from A# to B. Then from B to C (in the musical alphabet, there is no B#/Cb or E#/Fb. Don’t know why, don’t ask why). Anywho, borrowing that knowledge, here’s is what the fretboard looks like through 5 frets:

0 1 2 3 4 5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

Now, as I’m pretty sure you haven’t noticed, every chords root note (like in G the root note would be G, and in Am the root note name would be A) is also the lowest note in the chord. Like in the G chord:

0 1 2 3 4 5

|-|---|---|-G-|---|---|
|-|---|---|-D-|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
|-|---|-B-|---|---|---|
|-|---|---|-G-|---|---|

Or in the Am chord:

0 1 2 3 4 5

e|o|---|---|---|---|---|
|-|-C-|---|---|---|---|
|-|---|-A-|---|---|---|
|-|---|-E-|---|---|---|
A|-|---|---|---|---|---|
E|x|---|---|---|---|---|

The bolded notes are the root notes of the chords. Almost every chord’s root note is also the same as it’s name (except in slash chords, and we’ll get to those later). The same goes for barre chords. Let’s look at the 5 string barre chord examples I used earlier:

0 1 2 3 4 5

e|-|---|-1-|---|---|---|
B|-|---|---|---|-4-|---|
G|-|---|---|---|-3-|---|
D|-|---|---|---|-2-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

0 1 2 3 4 5

e|-|---|-1-|---|---|---|
B|-|---|---|-2-|---|---|
G|-|---|---|---|-4-|---|
D|-|---|---|---|-3-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

Now, let’s also look at their notes:

0 1 2 3 4 5

|-|---|-F#|---|---|---|
|-|---|---|---|-D#|---|
|-|---|---|---|-B-|---|
|-|---|---|---|-F#|---|
|-|---|-B-|---|---|---|
|x|---|---|---|---|---|

0 1 2 3 4 5

|-|---|-F#|---|---|---|
|-|---|---|-D-|---|---|
|-|---|---|---|-B-|---|
|-|---|---|---|-F#|---|
|-|---|-B-|---|---|---|
|x|---|---|---|---|---|

The first chord (due to its root being a B and it being in a major barre chord shape) is a B chord. And the second chord (due to its root being a B and it being in a minor barre chord shape) is a Bm chord. You can also make these chords into C and Cm chords (although you should play the C in the open chord way) by simply moving the chords down the fretboard. Here is what they would look like:

C (barre chord style)

0 1 2 3 4 5

e|-|---|---|-1-|---|---|
B|-|---|---|---|---|-4-|
G|-|---|---|---|---|-3-|
D|-|---|---|---|---|-2-|
A|-|---|---|-1-|---|---|
E|x|---|---|---|---|---|

Cm

0 1 2 3 4 5

e|-|---|---|-1-|---|---|
B|-|---|---|---|-2-|---|
G|-|---|---|---|---|-4-|
D|-|---|---|---|---|-3-|
A|-|---|---|-1-|---|---|
E|x|---|---|---|---|---|

And, these are C and Cm chords for 2 reasons:
1. They are in either a major barre chord shape or a minor barre chord shape
2. They have a C root note

Ok, now on to 6 string barre chords! Here are the 2 basic 6 string barre chord shapes, major and minor. Like 5 string barre chords, 6 string ones also use a certain open chord shape but just move it down the fretboard. In this case, it is the E and Em chords. Here’s what they look like:

6 string major barre chords

0 1 2 3 4 5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|-2-|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

6 string minor barre chords

0 1 2 3 4 5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|-1-|---|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

If you look at the notes again, you will see that the root notes of both of those chords is F. So, that means that the chords are F and Fm. Here’s another example:

G

0 1 2 3 4 5

e|-|---|---|-1-|---|---|
B|-|---|---|-1-|---|---|
G|-|---|---|---|-2-|---|
D|-|---|---|---|---|-4-|
A|-|---|---|---|---|-3-|
E|-|---|---|-1-|---|---|

Gm

0 1 2 3 4 5

e|-|---|---|-1-|---|---|
B|-|---|---|-1-|---|---|
G|-|---|---|-1-|---|---|
D|-|---|---|---|---|-4-|
A|-|---|---|---|---|-3-|
E|-|---|---|-1-|---|---|

The root notes of these chords is a G. So, these are G and Gm chords. Once again, play the G like I said above, not like it is in this barre chord example. Here are all of the basic major and minor barre chords:

B

0 1 2 3 4 5

e|-|---|-1-|---|---|---|
B|-|---|---|---|-4-|---|
G|-|---|---|---|-3-|---|
D|-|---|---|---|-2-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

F

0 1 2 3 4 5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|-2-|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

Bm

0 1 2 3 4 5

e|-|---|-1-|---|---|---|
B|-|---|---|-2-|---|---|
G|-|---|---|---|-4-|---|
D|-|---|---|---|-3-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

Cm

0 1 2 3 4 5

e|-|---|---|-1-|---|---|
B|-|---|---|---|-2-|---|
G|-|---|---|---|---|-4-|
D|-|---|---|---|---|-3-|
A|-|---|---|-1-|---|---|
E|-|---|---|---|---|---|

Fm

0 1 2 3 4 5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|-1-|---|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

Gm

0 1 2 3 4 5

e|-|---|---|-1-|---|---|
B|-|---|---|-1-|---|---|
G|-|---|---|-1-|---|---|
D|-|---|---|---|-4-|---|
A|-|---|---|---|-3-|---|
E|-|---|---|-1-|---|---|

Remember! Try to barre these chords with the bony inside of your left hand index finger. It will be very hard at first, but you get used to clamping it down after a while and it will become easier, just keep practicing. Also remember that you can make any chord by simply taking one chord shape and moving the chord farther down the next. You can make a Gm by just taking the Em shape and moving it 3 positions down the fretboard and making the Gm.
5. Other ways to view chords
If you know all the ways to view chords then just skip to section 6. Now, these chord charts are not the only way to view chords. There are a few other ways. You can read them through what I call the “straight line” chord chart which looks like this:

0
1
0
2
3
x

This chord would be a C chord. Look closer. The numbers represent which fret to press down. Here’s a guide to realizing what they mean:

e 0 <- play this string open (highest sounding string)
B 1 <- put your finger on the 1st fret
G 0
D 2 <- put your finger on the 2nd fret
A 3 <- put your finger on the 3rd fret
E x <- mute or don’t play this strong (lowest sounding)

This guide will not tell you which finger to press down each fret with, but it really doesn’t matter which finger you put on each fret as long as you have the chord sounding right.
Ok, another way is just through tabs. It will look basically the same as the way represented above but with all the lines that tab has:

|-0-|
|-1-|
|-0-|
|-2-|
|-3-|
|---|

The only difference between this way to view chords and the way shown above is that tab normally doesn’t show an x if your not supposed to play something.
6. Power chords
Power chords are the basis of rock music. It’s hard to find a rock song that doesn’t have at least one power chord in it. Power chords are made to sound big with little or no distortion. Power chords have 1 basic shape. The shape looks like this:

|---------------|
|---------------|
|---------------|
|-2--3--4--5--6-| and so on down the fretboard
|-2--3--4--5--6-|
|-0--1--2--3--4-|

There are also power chords that use the ADG strings. They look like this:

|---------------|
|---------------|
|-2--3--4--5--6-|
|-2--3--4--5--6-| and so on down the fretboard
|-0--1--2--3--4-|
|---------------|

To play power chords (the Kurt Cobain way), you put your 1st finger (index) by the fret that is the lowest sounding and your 3rd finger (ring) on the two frets that are the same. Like this:

I = Index
M = Middle
R = Ring
P = Pinky

0 1 2 3 4 5
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|-R-|---|---|
A|-|---|---|-R-|---|---|
E|-|-I-|---|---|---|---|

Another very common (probably the most common) way to play power chords is with your 1st (index), 3rd (ring), and 4th (pinky) fingers like this:

0 1 2 3 4 5
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|-P-|---|---|
A|-|---|---|-R-|---|---|
E|-|-I-|---|---|---|---|

Pretty simple, huh?
7. Octaves
Octaves are a lot like power chords, but you just mute the string between the top and bottom strings your playing. Octaves are just two of the same notes, only one note is higher than the other. Octaves look like this. Played on the EAD strings (rarely played on these strings):

|---------------|
|---------------|
|---------------|
|-2--3--4--5--6-|
|-x--x--x--x--x-|
|-0--1--2--3--4-|

They also are played on the ADG strings like this (mostly played on these strings):

|---------------|
|---------------|
|-2--3--4--5--6-|
|-x--x--x--x--x-|
|-0--1--2--3--4-|
|---------------|

The "x" you see means that you mute that string so you can barely hear it. You mute this string with your 1st finger by laying it over the string that needs to be muted. You then play the highest string with your 3 finger. If you look at what the notes on the frets your playing are, then you'll find that they are the same notes, only one note is higher than the other. This example should show you:

|---| |---| |---| |---|
|---| |---| |---| |---|
|-2-| or |-A-| also... |-9-| or |-E-|
|-x-| |-x-| |-x-| |-x-|
|-0-| |-A-| |-7-| |-E-|
|---| |---| |---| |---|

Here’s a better way to look at them. A C octave would use these chords then mute the string in between:

0 1 2 3 4 5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

And an F octave would look like this:

0 1 2 3 4 5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

8. Slash chords
The most common chords that don’t have a root note that is the same as the rest of the note. In fact, that’s what makes them slash chords. They are called slash chords because they have a “/” in them basically. Yeah, don’t really know why that happened, but oh well. Ok, now I will better explain them.

Slash chords are just normal chords that have a different bass note in them, or root note. The letter to the left of the slash is the chord shape your supposed to play and the letter to the right of the slash is the bass note of the chord. An example of a slash chord would be a D/F#, one of the most common slash chords. You would call this a D over F#. Let’s break it down, break it down now!

D/F#- The letter to the left of the slash is the name of the chord, so this is a D chord.

D/F#- Slash

D/F#- The letter you see to the right of the slash is the bass note, or lowest sounding note of the chord. Normally in a D chord the lowest sounding note is D. But in a D/F# chord, the lowest sounding note is an F#.

Allright, so how do you play this chord? Well, let’s look at the basic D chord shape:

D

0 1 2 3 4 5

e|-|---|-2-|---|---|---|
B|-|---|---|-3-|---|---|
G|-|---|-1-|---|---|---|
D|o|---|---|---|---|---|
A|x|---|---|---|---|---|
E|x|---|---|---|---|---|

Now let’s look at the F# note (there are 2 of them low enough to work):

0 1 2 3 4 5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

The way I feel you should play a D/F# is using the lower of the 2 F#’s. So, the new D/F# chord would look like this:

D/F#

0 1 2 3 4 5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

Note: I put a T there because I just bring my thumb over the neck to play this chord. You could play it differently, but this way is easy and pretty cool too, so do it like this.
Here are some of the basic slash chords, but there are many others too. But, now that you know your chords, you can easily play them anyway. Here they are:

A/C#

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|-|---|-3-|---|---|---|
G|-|---|-2-|---|---|---|
D|-|---|-1-|---|---|---|
A|-|---|---|---|-4-|---|
E|x|---|---|---|---|---|

C/E

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|o|---|---|---|---|---|
D|-|---|-2-|---|---|---|
A|-|---|---|-3-|---|---|
E|o|---|---|---|---|---|

C/G

0 1 2 3 4 5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|-2-|---|---|---|
D|o|---|---|---|---|---|
A|-|---|---|-4-|---|---|
E|-|---|---|-3-|---|---|

D/F#

0 1 2 3 4 5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

G/B

0 1 2 3 4 5

e|-|---|---|-4-|---|---|
B|-|---|---|-3-|---|---|
G|o|---|---|---|---|---|
D|o|---|---|---|---|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

Chords: Discover New Voicing. Part 1

2009-06-16T02:14:00.000-07:00

Building a usable chord vocabulary can be an extremely long and frustrating process for a guitarist. Anyone who has written music can tell you how long it can take to find that perfect chord to fit within a phrase. One of the things that both works for and against the guitarist is the fretboard's organization. The fact that you can play the same exact note (basically) several different ways is something unheard of on wind and brass instruments.

For instance here are six different ways you can play the same E. Going from the E string to the A string, you would have to move 5 frets down to get the same E. From the A string to the D string, another 5 frets down. From D to G, another 5. But, from G to B, you only move 4 frets down to reach the next E.

Moving from the B string to the E string, you go back to another 5 frets down. The discrepancy between the G string to the B string is an important fact to remember.

E-0-------------------------------
B------5--------------------------
G------------9--------------------
D------------------14-------------
A------------------------19-------
E------------------------------24-

Now let's take a look at the way octaves are organized on the neck, again using E as our reference note.

E--0----------------12-------------------24-
B---------5-------------------17------------
G----------------9--------------------21----
D-----2------------------14-----------------
A-------------7-------------------19--------
E--0----------------12-------------------24-

Can you see the organization? Look at the diagonal shapes and really analyze how you can reach the next E. Start with the E at the 12th fret on the low E string. You would reach the next highest E if you stayed on the same string and moved 12 frets higher to the 24th fret. But, because of the organization of the fretboard that's not the only way you can reach the next E. You could also move 1 string up and 7 frets higher to get to the 19th fret on the A string.
Another way is to move 2 string up and 2 frets higher to get to the 14th fret on the D string. You could also move 3 strings up and 3 frets down to reach the 9th fret on the G string.

This method of organization isn't uniform on all the strings, thanks to the difference in tuning from G to B that we talked about above. Take for instance the 9th fret on the G string. On the same string, you would still move 12 frets up. But to reach the octave on the next string, you would have to move 8 frets up instead of 7, like we do on all the other adjacent sets of string. Two strings up, you would move 3 frets up instead of 2.

Another distinction to make is how we reach the next octave 3 strings up. Take for example the 14th fret on the D string. If you wanted to move 3 strings up to reach the next highest E note, you would have to move 2 frets down rather than 3 frets down. The same is true of movement between the A and B strings: three strings up and 2 frets down. Become aware of every possible way that you can reach the octave of the E's on your neck, and remember that that organization can be applied to any note.

That seeemed like a long introduction to this lesson, but now is when we're going to start talking about manipulating chords, and you'll see that being able to move notes up and down an octave is an extremely useful tool in your trickbag. Let's start with an Emaj7 chord, which contains the notes E(1), G#(3), B(5), and D#(7):

E--12---
B--12---
G--13---
D--13---
A--14---
E--12---

Now, to play this same chord on a different set of strings, move each note individually 1 string across and either 4 or 5 frets down depending on the strings that you're moving between. The E on the high E string is going to be eliminated, and you'll be left with this shape:

E--7---
B--9---
G--8---
D--9---
A--7---
E------

Perform the same process again to put your root(E) on the D string. The B on the high E string will be dropped. You should get this shape, which is going to be the basis for all our manipulations:

E--4---
B--4---
G--4---
D--2---
A------
E------

This next section is the most important section of the article, because it's the formula that you can use to figure out (almost) any voicing of a chord. First, take the G# on the E string and move it down an octave to the 6th fret on the D string. Move the D# on the B string down 1 string and up 4 frets to place it at the 8 fret on the G string. Now, move both the E and the B up an octave to place them at the 5th fret on the B string and the 7 fret on the E string, respectively to get this shape:

E--7---
B--5---
G--8---
D--6---
A------
E------

Don't worry if it's hard to play at first. The ability to play all of these chords will come with time and practice. To get to the next voicing, perform the same process. Move the B on the E string down an octave to the 9th fret on the D string. Move the E on the B string across 1 string and up 4 frets to the 9th fret on the G string. Lastly, move both the G# and D# up an octave to the 9th fret on the B string and the 11th fret on the E string, respectively, to get this shape:

E--11---
B--9----
G--9----
D--9----
A-------
E-------

To get to the next voicing, perform the same process. Move the D# on the E string down an octave to the 13th fret on the D string. Move the G# on the B string to the 13 fret on the G string. Move both the B and the E to the 12 fret on the B string and the 12th fret on the E string to get the first shape below. Then, realize that since D# and E are only a semitone away from each other and are at the bottom and top of the voicing, it would be very easy to move them up and down an octave, respectively, to get the second voicing below:

E--12---11-
B--12---12-
G--13---13-
D--13---14-
A----------
E----------

You can then perform the same process again, or you can realize that the next voicing is the first voicing an octave higher:

E--4---16---
B--4---16---
G--4---16---
D--2---14---
A-----------
E-----------

The true beauty of four-note chords on the top four strings is that if you know one voicing, than you know at least one other voicing. First, realize that your 1st and 6th strings are both tuned to the note E, so a note played on the 12th fret of the the high E string is the same note as one played on the 12th fret of the low E string. Move the note on the high E string to the low E string on each of the above voicings to get these:

E--4--X-----7--X-----11--X------12--X------11--X---
B--4--4-----5--5-----9---9------12--12-----12--12--
G--4--4-----8--8-----9---9------13--13-----13--13--
D--2--2-----6--6-----9---9------13--13-----14--14--
A-----X--------X---------X----------X----------X---
E-----4--------7---------11---------12---------11--

Now, what I want you to do is move these voicings to different sets of strings by moving the notes individually across 1 string and up or down 4 or 5 frets. You can get these voicings (since some of the voicings are very high on the fretboard, I moved them down an octave while keeping them on the same strings):

E--4------------7--------------11-------------------12--0-----------------
B--4--9---------5--12----------9---16--4------------12--0--17--5----------
G--4--8--13-----8--9---16--4---9---13--1--20--8-----13--1--16--4--21--9---
D--2--9--13-----6--13--14--2---9---14--2--18--6-----13--1--18--6--21--9---
A-----7--14--------11--18--6-------14--2--19--7------------18--6--23--11--
E--------12------------16--4--------------19--7-------------------23--11--

---11-----------------
---12--16--4----------
---13--16--4--20--8---
---14--18--6--21--9---
-------19--7--23--11--
--------------24--12--

Now, let's take those voicings that have already been manipulated, and move them to different sets of strings.

E--X---11------7------X--0--12------11-----X---4--------X---7--------X---7-----
B--16--12--12--5------5--4--16--16--9------9---5--5-----12--9--9-----12--9--9--
G--16--9---9---X------8--1--13--13--X------9---4--4-----13--8--8-----13--9--9--
D--14--X---X---6------6--X--X---X---9------9---X--X-----13--X--X-----14--X--X--
A--X---11--11--6------X--2--14--14--7------X---6--6-----X---7--7-----X---6--6--
E--16------11---------7---------12---------11-----4-----12-----7-----11-----7--

Some of these might seem impossible to finger, and some of them might be really awkward, so in the cases where this is true, try doubling one of the notes to simplify the fingering. Here's an example with the doubled note in parantheses:

E----------
B--5---5---
G--4---4---
D--x--(6)--
A--6---6---
E--4---4---

Keep in mind that even though there are a lot of voicings here, there are still a good number that aren't included. It's up to the guitarist to experiment as much as possible. By figuring the chords out on your own, you will remember them much better than if you were just reading them from a chord book. Also, I realize that some of the voicings don't sound very good, and truth be told, in a band setting, you would probably play those only rarely.

Chord Shape Formula

2009-06-16T02:13:00.000-07:00

Today, we will be diving into a rather simple yet very effective peice of theory. This crucial part of music will strengthen your writing abilities 10 fold. It does not have an official name, however, I call it the "Chord Shape Formula", or "CSF" for barre chords. Lets begin.

Okay, so lets say you want to use an E Major Chord, but the chord before it is simply just too far away on the fretboard to get to it fast enough for a smoothe change. The way this can be tackled is by changing one of these chords into a different Voicing, meaning that you aren't changing the notes in the chord but you are changing the position and tone in which you are playing it, making it easier to have a smoothe transition in between chords. Let's stick with an E Major Chord right now.

For this lesson "*" will mean the root note of the chord.

E Major
|-0---------|
|-0---------|
|-1---------|
|-2---------|
|-2---------|
|-0*--------|
This chord is very basic and commonly used. Now back to the scenario; the chord before the E Major is an C# Minor...

C# Minor
|-4----------|
|-5----------|
|-6----------|
|-6----------|
|-4*---------|
|------------|
... and you find it too difficult to to switch from one chord to another. By changing the voicing of either chord, it can make it easier to transistion between chords.

E Major(E Form) E Major(A Form)
|-0---------| |-7---------|
|-0---------| |-9---------|
|-1---------| |-9---------|
|-2---------| |-9---------|
|-2---------| |-7*--------|
|-0*--------| |-----------|
Before After
Now, this is the results of changing the chord. Play this.

C# Minor(A Form) E Major(A Form)
|-4----------| |-7----------|
|-5----------| |-9----------|
|-6----------| |-9----------|
|-6----------| |-9----------|
|-4*---------| |-7*---------|
|------------| |------------|
which is much easier of a change than...

C# Minor(A Form) E Major(E Form)
|-4----------| |-0----------|
|-5----------| |-0----------|
|-6----------| |-1----------|
|-6----------| |-2----------|
|-4*---------| |-2----------|
|------------| |-0*---------|
Now, about the Forms. there are 6 Different forms that you can change a chord into, making it possible to switch chords easier. Usually, using the same form on every chord is easier, but there are exceptions( If you are a Theory-Nut like me, think of it as the 4ths and 5ths from the chord-root being easier to switch to a different form).

This is an example of the 6 different Forms of an E Major Chord.

E Maj(E Form) E Maj(A Form) E Maj(F Form) E Maj(C Form) E Maj(D Form)
|-0---------| |-7---------| |-0---------| |-4---------| |-4---------|
|-0---------| |-9---------| |-0---------| |-5---------| |-5---------|
|-0---------| |-9---------| |-1---------| |-4---------| |-4---------|
|-2---------| |-9---------| |-2*--------| |-6---------| |-2*--------|
|-2---------| |-7*--------| |-----------| |-7*--------| |-----------|
|-0*--------| |-----------| |-----------| |-----------| |-----------|

E Maj(G Form)
|-12---------|
|-9----------|
|-9----------|
|-9*---------|
|------------|
|------------|
Now, to break it down for you, these are the "Shapes" on a fretboard position. all of these chords are moveable abling you to have free reign over your guitar and letting your creativity spill out with ease.

Major Forms

E Form A Form C form F Form D Form
_____________ _x___________ _x___________ _x_x_________ _x_x_________
|X|-|-|-|X|X| |-|X|-|-|-|X| |-|-|-|X|-|X| |-|-|-|-|X|X| |-|-|X|-|-|-|
|-|-|-|X|-|-| |-|-|-|-|-|-| |-|-|-|-|X|-| |-|-|-|X|-|-| |-|-|-|-|-|-|
|-|X|X|-|-|-| |-|-|X|X|X|-| |-|-|X|-|-|-| |-|-|X|-|-|-| |-|-|-|X|-|X|
|-|-|-|-|-|-| |-|-|-|-|-|-| |-|X|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|X|-|
|-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-|
|-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-|

G Form
_____________
|-|-|X|X|X|-|
|-|-|-|-|-|-|
|-|-|-|-|-|-|
|-|-|-|-|-|X|
|-|-|-|-|-|-|
|-|-|-|-|-|-|
Minor Forms

E Form A Form C form F Form D Form
_____________ _x___________ _x_________x_ _x_x_________ _x_x_________
|X|-|-|X|X|X| |-|X|-|-|-|X| |-|-|-|X|-|-| |-|-|-|X|X|X| |-|-|X|-|-|-|
|-|-|-|-|-|-| |-|-|-|-|X|-| |-|-|X|-|X|-| |-|-|-|-|-|-| |-|-|-|-|-|X|
|-|X|X|-|-|-| |-|-|X|X|-|-| |-|-|-|-|-|-| |-|-|X|-|-|-| |-|-|-|X|-|-|
|-|-|-|-|-|-| |-|-|-|-|-|-| |-|X|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|X|-|
|-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-|
|-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-| |-|-|-|-|-|-|

G Form
_____________
|-|-|X|-|-|-|
|-|-|-|-|-|-|
|-|-|-|-|-|-|
|-|-|-|X|X|X|
|-|-|-|-|-|-|
|-|-|-|-|-|-|
This concludes my Lesson on the Chord Shape Formula. If you have any questions, just comment on this, or send me a message.

Chord Theory

2009-06-16T02:12:00.000-07:00

So maybe you think "Chord Theory" is a waste of time? Well let me tell you, chord theory is worth your time! Have you ever noticed when you're trying to figure out a certain chord in a particular song that all of a sudden you arrive at the right chord, but for some reason it just doesn't sound exactly like the one being played? Something about it just seems to sound different. Well it's a good chance that the reason for this is because a different "voicing" is being used. The term voicing is just anoter way to describe all the different fingerings and places that chord can be played on the fretboard.

So as you become familiar with the different chord voicings that are used by today's rock guitarists it will become a lot easier to figure out songs and also your composition skills will greatly improve when you have some chord theory skills under your belt.

Before we get to those "rock chords", let's get into some basic chord theory. For starters, those of you who are not sure of the difference between sharps and flats, let's clear that up right now. A sharp (#) raises a note's pitch one half step. A half step is equal to one fret on the guitar. The note A# is one fret higher than an A note on the guitar. A flat lowers (b) lowers a note by a half step. The note Ab is one fret lower than the A note on the guitar. A note is natural when it is neither sharp or flat.

All natural notes are separated by a sharp note and a flat note, execpt for B and C, and E and F. A# and Bb are actually the same note with two different names. The same is true for C# and Db, D# and Eb. The key is what determines whether a note is considered sharp or flat. Since most rock and metal progressions mostly center around major and minor chords, most of this lesson is based on those chord types.

So what is a major chord? The first thing you need to know about any chord is that it is constructed from the major scale of the same letter name. Any type of C chord, whether it is C major, C minor, C7 etc., will be constructed from the C major scale.

The next thing to realize is that every chord has it's own formula. The formula for a major chord is 1, 3, 5. This means that the major chord consists of the first degree (or root), third degree, and fifth degree of it's major scale. Below is a C major scale. All the scale degrees have been numbered.

By using the major chord formula with the C major scale, we get the notes C, E, G. This type of three note chord is called a triad, a major triad. There are four types of triads: Major, Minor, Augmented, Diminished. The notes in this triad can be arranged in any order: C, E, G - E, G, C - G, C, E - etc. Remember that term voicing? Well it refers to the actual order of the notes.

When writing or refering to chord voicings, the notes are named in order from lowest to highest in pitch. If a chord is "voiced" with it's root note as the bass note (lowest pitch note), this would be what is considered root position. If the chord's third degree is the bass note, then it would be what is called a first inversion. If the fifth degree is in the bass, then we call it a second inversion.

Any of the notes in a given triad may be repeated. If there are more than three notes present (ex: C, E, G, C), then we call it a chord instead of a triad. In this case however, the example I just gave you would still be considered a triad because it contains the first, third, and fifth degrees only. So you are probably starting to see that there are a lot of options you have when it comes to variations, or voicings for the same chord.

The formula for a minor chord is 1, b3, 5. The only difference between a major chord and a minor chord is the third. The major chord contains a natural (unaltered) third of it's major scale, and a minor chord contains a flatted (lowered) third. By using the minor chord formula with the C major scale, we get the notes C, Eb, G. This is a C minor triad.

Although major and minor chords contain the root, third (or flatted third), and fifth degrees, it is very common in Rock and Metal for these chords to be played using the root and fifth only. This is what is known as a "Power Chord". This chord gives you a very strong and powerful sound, hence the name power chord.

The power chord is neither major or minor because it contains no third. So when put into a progression it can function as either a major or minor chord. This is why the power chord is so popular.