As stated in the beginning, playing the guitar can be very rewarding and also very trying. My best advice for you right now is to develop good guitar playing habits. This will save you lots of trouble later on. Take your time and learn your open chords, the corresponding scale, and go slow with chord changes.
Remember, whenever you have to look at your guitar, look down and not over it.
Practice chord changes and progressions till you know them like the back of your hand. Once you have a good feel for your 5 basic chord forms, try the CAGED system. Don't be afraid to sing the chords to yourself while you learn.
Most importantly, relax when you play and have a good time! There's a lot to know and it's not going to happen overnight, but I know if you put your heart into it, you’ll be playing like a pro in no time!
All the best in your Guitar Adventures!
Friday, December 17, 2010
TABLATURE
What is tablature? Tablature, tab for short, is a form of musical notation with an emphasis on fingerings rather than traditional notation. Tablature is commonly used for fretted instruments.
Tablature reading is used most often by novice musicians. The problem with tablature is that it doesn't indicate note length or duration. This is where understanding note values will help as most tablature is written below standard notation.
Tablature is a closer visual representation of your guitar fretboard, thereby making it easier to interpret music. It virtually doesn't require any training to become quite good at reading it.
Tablature takes the guess work out of which fret to play chords or notes. Standard notation has often left this a gray area but in some cases will indicate frets by placing roman numerals below the staff.
Below is a sample of what guitar tablature looks like and how to read it. Some key points to remember are that tablature will be read upside down in comparison to how the strings are on your guitar. If you remember, your strings read from top to bottom EADGBE. Tablature reads from top to bottom EBGDAE.
The chords E, F, and G:
e|---0---1---3---
B|---0---1---0---
G|---1---2---0---
D|---2---3---0---
A|---2---3---2---
E|---0---1---3---
E F G
Each of the single columns represents a chord fingering. The G string is pressed in the 1st fret and the D and A strings are pressed in the 2nd fret. One problem with tablature is that it doesn't indicate correct finger positions for the chords. Correct finger positions are essential as we move into barre chords, commonly known as power chords used in most music.
If you begin reading tablature instead of notation, you'll find yourself able to get through a piece more quickly, but limited in many other ways as tablature lacks musical structure that makes a song beautiful and dynamic.
Tablature reading is used most often by novice musicians. The problem with tablature is that it doesn't indicate note length or duration. This is where understanding note values will help as most tablature is written below standard notation.
Tablature is a closer visual representation of your guitar fretboard, thereby making it easier to interpret music. It virtually doesn't require any training to become quite good at reading it.
Tablature takes the guess work out of which fret to play chords or notes. Standard notation has often left this a gray area but in some cases will indicate frets by placing roman numerals below the staff.
Below is a sample of what guitar tablature looks like and how to read it. Some key points to remember are that tablature will be read upside down in comparison to how the strings are on your guitar. If you remember, your strings read from top to bottom EADGBE. Tablature reads from top to bottom EBGDAE.
The chords E, F, and G:
e|---0---1---3---
B|---0---1---0---
G|---1---2---0---
D|---2---3---0---
A|---2---3---2---
E|---0---1---3---
E F G
Each of the single columns represents a chord fingering. The G string is pressed in the 1st fret and the D and A strings are pressed in the 2nd fret. One problem with tablature is that it doesn't indicate correct finger positions for the chords. Correct finger positions are essential as we move into barre chords, commonly known as power chords used in most music.
If you begin reading tablature instead of notation, you'll find yourself able to get through a piece more quickly, but limited in many other ways as tablature lacks musical structure that makes a song beautiful and dynamic.
MELODIC MINOR SCALES
A melodic minor scale builds off of both the natural and harmonic minor scales. This is accomplished by raising the 6th step ½ step.
Example:
C Natural Minor Scale: C D Eb F G Ab Bb C
C Harmonic Minor Scale: C D Eb F G Ab B C
C Melodic Minor Scale: C D Eb F G A B C
Here's the trick with a melodic minor scale! In classical music theory, a melodic minor scale is only used while ascending. When you go to descend, it switches back to a natural minor scale.
Here's what that looks like: C D Eb F G A B C C Bb Ab G F Eb D C.
Got it? Good!!!
Example:
C Natural Minor Scale: C D Eb F G Ab Bb C
C Harmonic Minor Scale: C D Eb F G Ab B C
C Melodic Minor Scale: C D Eb F G A B C
Here's the trick with a melodic minor scale! In classical music theory, a melodic minor scale is only used while ascending. When you go to descend, it switches back to a natural minor scale.
Here's what that looks like: C D Eb F G A B C C Bb Ab G F Eb D C.
Got it? Good!!!
HARMONIC MINOR SCALES
A harmonic minor scale builds off a natural minor scale. To play a harmonic minor you raise the 7th step of the scale by a ½ step. The formula for this scale is WHWWHWH.
Example:
Natural Minor Scale: C D Eb F G Ab Bb C
Melodic Minor Scale: C D Eb F G Ab B C
Your harmonic minor scales will look like this:
C harmonic minor scale: C D Eb F G Ab B C
G harmonic minor scale: G A Bb C D Eb F# G
D harmonic minor scale: D E F G A Bb C# D
A harmonic minor scale: A B C D E F G# A
E harmonic minor scale: E F# G A B C D# E
B harmonic minor scale: B C# D E F# G A# B
F# harmonic minor scale: F# G# A B C# D E# F#
C# harmonic minor scale: C# D# E F# G# A B# C#
G# harmonic minor scale: G# A# B C# D# E F##(G) G#
Eb harmonic minor scale: Eb F Gb Ab Bb Cb D Eb
Bb harmonic minor scale: Bb C Db Eb F Gb A Bb
F harmonic minor scale: F G Ab Bb C Db E F
Special Note:
You have probably noticed the double sharp in the G# harmonic scale. A double sharp essentially means you raise the note a whole step instead of a ½ step. As indicated above an F## is the same as a G. The same principle applies to a double flat. You would lower a note a whole step. A Bbb would be the same as an A. Again it's the same as math, if you increase by 2 half steps, you have a whole step. If you lower by 2 half steps, you have a whole step. 2 halves equal a whole.
Example:
Natural Minor Scale: C D Eb F G Ab Bb C
Melodic Minor Scale: C D Eb F G Ab B C
Your harmonic minor scales will look like this:
C harmonic minor scale: C D Eb F G Ab B C
G harmonic minor scale: G A Bb C D Eb F# G
D harmonic minor scale: D E F G A Bb C# D
A harmonic minor scale: A B C D E F G# A
E harmonic minor scale: E F# G A B C D# E
B harmonic minor scale: B C# D E F# G A# B
F# harmonic minor scale: F# G# A B C# D E# F#
C# harmonic minor scale: C# D# E F# G# A B# C#
G# harmonic minor scale: G# A# B C# D# E F##(G) G#
Eb harmonic minor scale: Eb F Gb Ab Bb Cb D Eb
Bb harmonic minor scale: Bb C Db Eb F Gb A Bb
F harmonic minor scale: F G Ab Bb C Db E F
Special Note:
You have probably noticed the double sharp in the G# harmonic scale. A double sharp essentially means you raise the note a whole step instead of a ½ step. As indicated above an F## is the same as a G. The same principle applies to a double flat. You would lower a note a whole step. A Bbb would be the same as an A. Again it's the same as math, if you increase by 2 half steps, you have a whole step. If you lower by 2 half steps, you have a whole step. 2 halves equal a whole.
MINOR SCALES
A minor scale is going to have some of the same principles as a major scale. It still consists of 8 steps, some whole steps and some half step. The formula for a minor scale is: WHWWHWW. Memorize it! I must explain real quick, there are three different types of minor scales, natural, harmonic and melodic. The formula above is for a natural minor scale. I will explain the difference between a natural and harmonic minor scale later. It may be easier to understand a natural minor scale by showing the individual steps of the scale. Remember, there are 8 steps to a scale. 1 2 3b 4 5 6b 7b 8. Steps 3,6,7 are lowered ½ step. You may ask yourself, why does it show a whole step for the last step of the formula. If you remember, on a major scale, step 7 to 8 is only a ½ step. If you lower step 7 by a half what is left is a whole step between the two (just like math 2 halves make a whole).
Let's put what we know to work and construct our natural minor scales.
C minor scale: C D Eb F G Ab Bb C
D minor scale: D E F G A Bb C D
E minor scale: E F# G A B C D E
F minor scale: F G Ab Bb C Db Eb F
G minor scale: G A Bb C D Eb F G
A minor scale: A B C D E F G A
B minor scale: B C# D E F# G A B
C# minor scale: C# D# E F# G# A B C#
Eb minor scale: Eb F Gb Ab Bb Cb Db Eb
F# minor scale: F# G# A B C# D E F#
G# minor scale: G# A# B C# D# E F# G#
Bb minor scale: Bb C Db Eb F Gb Ab Bb
Let's put what we know to work and construct our natural minor scales.
C minor scale: C D Eb F G Ab Bb C
D minor scale: D E F G A Bb C D
E minor scale: E F# G A B C D E
F minor scale: F G Ab Bb C Db Eb F
G minor scale: G A Bb C D Eb F G
A minor scale: A B C D E F G A
B minor scale: B C# D E F# G A B
C# minor scale: C# D# E F# G# A B C#
Eb minor scale: Eb F Gb Ab Bb Cb Db Eb
F# minor scale: F# G# A B C# D E F#
G# minor scale: G# A# B C# D# E F# G#
Bb minor scale: Bb C Db Eb F Gb Ab Bb
SOME BASIC MUSIC THEORY
BEGINNING THEORY
Beginning music theory may not sound like a lot of fun or even something you are interested in. It is crucial that you learn the fundamentals of music so that you can start programming your brain to think in terms of music. Music theory will give you a greater understanding of what you are playing and why. This will probably take the longest to learn which is why I gave you some chords to work on first. Most people like to dig in and play and not sit down and study before they begin to play! While you practice the series of chords given, build on in theory.
MAJOR SCALES
Before I begin with how to construct a major scale, know this as a constant, there are only twelve notes in existence. C C#/Db, D, D#/ Eb, E, F, F#/Gb, G, G#/Ab, A, A#/Bb, B, C. This is called a chromatic scale which includes every note known. A chromatic scales consists entirely of half steps. Take special note that there isn't an E# or Fb, B# or Cb.
Example: In ascending order, C to C# is a half step, C# to D is a half step, D to D# is a half step, etc. In descending order, C to B is a half step (note that there isn't a Cb or B#), B to Bb is a half step, Bb to A is a half step, etc.
A scale is comprised of whole (w) and half (h) steps. The term scale comes from the Latin word scala which means ladder. An easy way to remember this is that a scale climbs like a ladder of notes. If we use a C major scale as an example while referencing the chromatic scale, the major scale construct will be easier to understand. A scale is comprised of 8 steps which can be either whole or half steps.
Example: C D E F G A B C. C to D is a whole step, D to E is a whole step, E to F is a half step, F to G is a whole step, G to A is a whole step, A to B is a whole step, B to C is a half step. Notice that the half steps occur where the notes don't exist (E#, Fb, B#, and Cb).
Our major scale formula is this: WWHWWWH. Memorize it!
What are the major scales?
C Major Scale: C D E F G A B C ( 0 sharp, 0 flat)
G Major Scale: G A B C D E F# G ( 1 sharp, f#)
D Major Scale: D E F# G A B C# D ( 2 sharp, f#, g#)
A Major Scale: A B C# D E F# G# A ( 3 sharp, f#, g#, c#)
E Major Scale: E F# G# A B C# D# E ( 4 sharp, f#, g#, c#, d#)
B Major Scale: B C# D# E F# G# A# B ( 5 sharp, f#, g#, c#, d#, a#)
F# Major Scale: F# G# A# B C# D# E# F# ( 6 sharp, f#, g#, c#, d#, a#, e#)
C# Major Scale: C# D# E# F# G# A# B# C#) ( All sharp)
F Major Scale: F G A Bb C D E F ( 1 flab, Bb)
Bb Major Scale: Bb C D Eb F G A Bb ( 2 flat, Bb, Eb)
Eb Major Scale: Eb F G Ab Bb C D Eb ( 3 flat, Bb, Eb, Ab)
Ab Major Scale: Ab Bb C Db Eb F G Ab ( 4 flat, Bb, Eb, Ab, Db)
Db Major Scale: Db Eb F Gb Ab Bb C Db ( 5 flat, Bb, Eb, Ab, Db, Gb)
Gb Major Scale: Gb Ab Bb Cb Db Eb F Gb ( 6 flat, Bb, Eb, Ab, Db, Gb, Cb)
Cb Major Scale: Cb Db Eb Fb Gb Ab Bb Cb ( All flat)
Below is something known as the circle of fifths. This is a wheel of information that will aid you in scale construction, key signatures, and note names. Helpful hints: When you are trying to figure out which note will be sharp, look to the previous note on the wheel beginning with F (F C G A E B). A Gmaj. Scale has 1 # which is F#, etc. When you are trying to figure out which note will be flatted next, look to the next note beginning with B (B E A D G Cb). An F maj. Scale has 1 b which is Bb, etc.
Beginning music theory may not sound like a lot of fun or even something you are interested in. It is crucial that you learn the fundamentals of music so that you can start programming your brain to think in terms of music. Music theory will give you a greater understanding of what you are playing and why. This will probably take the longest to learn which is why I gave you some chords to work on first. Most people like to dig in and play and not sit down and study before they begin to play! While you practice the series of chords given, build on in theory.
MAJOR SCALES
Before I begin with how to construct a major scale, know this as a constant, there are only twelve notes in existence. C C#/Db, D, D#/ Eb, E, F, F#/Gb, G, G#/Ab, A, A#/Bb, B, C. This is called a chromatic scale which includes every note known. A chromatic scales consists entirely of half steps. Take special note that there isn't an E# or Fb, B# or Cb.
Example: In ascending order, C to C# is a half step, C# to D is a half step, D to D# is a half step, etc. In descending order, C to B is a half step (note that there isn't a Cb or B#), B to Bb is a half step, Bb to A is a half step, etc.
A scale is comprised of whole (w) and half (h) steps. The term scale comes from the Latin word scala which means ladder. An easy way to remember this is that a scale climbs like a ladder of notes. If we use a C major scale as an example while referencing the chromatic scale, the major scale construct will be easier to understand. A scale is comprised of 8 steps which can be either whole or half steps.
Example: C D E F G A B C. C to D is a whole step, D to E is a whole step, E to F is a half step, F to G is a whole step, G to A is a whole step, A to B is a whole step, B to C is a half step. Notice that the half steps occur where the notes don't exist (E#, Fb, B#, and Cb).
Our major scale formula is this: WWHWWWH. Memorize it!
What are the major scales?
C Major Scale: C D E F G A B C ( 0 sharp, 0 flat)
G Major Scale: G A B C D E F# G ( 1 sharp, f#)
D Major Scale: D E F# G A B C# D ( 2 sharp, f#, g#)
A Major Scale: A B C# D E F# G# A ( 3 sharp, f#, g#, c#)
E Major Scale: E F# G# A B C# D# E ( 4 sharp, f#, g#, c#, d#)
B Major Scale: B C# D# E F# G# A# B ( 5 sharp, f#, g#, c#, d#, a#)
F# Major Scale: F# G# A# B C# D# E# F# ( 6 sharp, f#, g#, c#, d#, a#, e#)
C# Major Scale: C# D# E# F# G# A# B# C#) ( All sharp)
F Major Scale: F G A Bb C D E F ( 1 flab, Bb)
Bb Major Scale: Bb C D Eb F G A Bb ( 2 flat, Bb, Eb)
Eb Major Scale: Eb F G Ab Bb C D Eb ( 3 flat, Bb, Eb, Ab)
Ab Major Scale: Ab Bb C Db Eb F G Ab ( 4 flat, Bb, Eb, Ab, Db)
Db Major Scale: Db Eb F Gb Ab Bb C Db ( 5 flat, Bb, Eb, Ab, Db, Gb)
Gb Major Scale: Gb Ab Bb Cb Db Eb F Gb ( 6 flat, Bb, Eb, Ab, Db, Gb, Cb)
Cb Major Scale: Cb Db Eb Fb Gb Ab Bb Cb ( All flat)
Below is something known as the circle of fifths. This is a wheel of information that will aid you in scale construction, key signatures, and note names. Helpful hints: When you are trying to figure out which note will be sharp, look to the previous note on the wheel beginning with F (F C G A E B). A Gmaj. Scale has 1 # which is F#, etc. When you are trying to figure out which note will be flatted next, look to the next note beginning with B (B E A D G Cb). An F maj. Scale has 1 b which is Bb, etc.
PRINCIPLES OF MOVEMENT
The next thing I'd like to go over with you are the principles of movement. Our joints work in three different realms of movement. The gist of this is if you put your hand out in front of you and curve the wrist as far left as you can and wiggle your fingers. You should feel tension and pulling in your forearm and wrist. Do the same for the right side. Now keep the wrist in an unbent position and wiggle your fingers. There should be a marked difference in how this feels in comparison to the other two positions.
You also want to keep your fretting arm next to your torso. You don't want it smashed against your rib cage but you also don't want it out there like a chicken wing.
Correct posture is important because as a guitar player, you want to eliminate any excess tension or straining on your body. Believe it or not, real physical conditions can be the result of bad posture. Take the time to be honest about what you need to work on. Bad habits come easy and perfection takes practice.
You also want to keep your fretting arm next to your torso. You don't want it smashed against your rib cage but you also don't want it out there like a chicken wing.
Correct posture is important because as a guitar player, you want to eliminate any excess tension or straining on your body. Believe it or not, real physical conditions can be the result of bad posture. Take the time to be honest about what you need to work on. Bad habits come easy and perfection takes practice.
POSTURE
Posture is also very important. Correct posture will help your overall performance. You need to sit up straight and make sure you have a flat back. You may find a tendency to want lean over the front of your guitar so that you can see what you're doing with your fingerings. Instead of looking over your guitar, use your fret dots to know where your fingers are. Ultimately you want to play without looking at your instrument and fingers.
A lot of novice guitar players will sit anywhere; place the guitar on their right thigh and play. You may wonder why this is a problem. Well, when your posture is completely out of alignment, this will result in sloppy wrist, hand, and finger habits. Also, correct chord formations and scale constructs won't be possible up the entire neck of the guitar.
You’ll want to get yourself a chair that fits your height. When you are getting a chair make sure that when you sit in it, your feet are flat on the ground. You also want to make sure that your lap and knees make a 90 degree angle. Any deviation on this will result in incorrect posture. If your chair is too low, your arm, wrist, and finger movements will be limited. If your chair is too high, the tendency will be to lean over your guitar and the result is incorrect posture. A good measure is to stand next to the chair and it should come up to your knees.
Second, you want to get yourself a foot stool. You will use the foot stool to elevate your left leg. The guitar will rest on your elevated left thigh. I caution at getting a foot stool that is too high. While the foot stool allows for the most secure and correct body posture, it can cause some stress to your lower back.
Third, be sure that you sit at the edge of the chair. Do not slouch. Sit up straight. It's okay to look at the guitar and your hand, but it isn't okay to lean over and look at them. Relax your shoulders and keep them square to your torso. Do not let yourself lean to any side. There are a couple of exceptions to this when you are playing up in the twelfth frets and above.
Once you have finished in those frets, resume posture. Now I'm sure you have the right foot phenomenon. What to do with the right foot? I tuck it under the chair and rest on the ball of my foot. Some like to have it almost completely extended to where it's almost on the heel. You decide what works best for you.
A lot of novice guitar players will sit anywhere; place the guitar on their right thigh and play. You may wonder why this is a problem. Well, when your posture is completely out of alignment, this will result in sloppy wrist, hand, and finger habits. Also, correct chord formations and scale constructs won't be possible up the entire neck of the guitar.
You’ll want to get yourself a chair that fits your height. When you are getting a chair make sure that when you sit in it, your feet are flat on the ground. You also want to make sure that your lap and knees make a 90 degree angle. Any deviation on this will result in incorrect posture. If your chair is too low, your arm, wrist, and finger movements will be limited. If your chair is too high, the tendency will be to lean over your guitar and the result is incorrect posture. A good measure is to stand next to the chair and it should come up to your knees.
Second, you want to get yourself a foot stool. You will use the foot stool to elevate your left leg. The guitar will rest on your elevated left thigh. I caution at getting a foot stool that is too high. While the foot stool allows for the most secure and correct body posture, it can cause some stress to your lower back.
Third, be sure that you sit at the edge of the chair. Do not slouch. Sit up straight. It's okay to look at the guitar and your hand, but it isn't okay to lean over and look at them. Relax your shoulders and keep them square to your torso. Do not let yourself lean to any side. There are a couple of exceptions to this when you are playing up in the twelfth frets and above.
Once you have finished in those frets, resume posture. Now I'm sure you have the right foot phenomenon. What to do with the right foot? I tuck it under the chair and rest on the ball of my foot. Some like to have it almost completely extended to where it's almost on the heel. You decide what works best for you.
HAND AND FINGER BASICS CONTINUED
Before I move on to posture, let's talk about dexterity. What is dexterity? It means skill and grace in physical movement, especially in the use of hand. Finger dexterity is of utmost importance when playing any musical instrument and particularly the guitar. Moving your hands and fingers through chords and different scales requires a lot of practice in dexterity.
If you go to a music store, you will find tools to help exercise and strengthen your hands and fingers while building dexterity. Another highly recommended exercise is to purchase a tennis or racquet ball and squeeze them for several minutes to build hand strength. Here are some excellent finger dexterity practices that don't require you to purchase anything:
Place your hand on a flat surface and lift one finger at a time. Go for accuracy first and gradually build speed. Next, try lifting every other finger and again go for accuracy then speed.
Spread your fingers out and touch the center of your palm with each finger while keeping remaining fingers as straight as possible. This will help with coordination. Go for accuracy and then speed.
Crumple a piece of paper with one hand, and then flatten it back out. Repeat this process several times. Place your fingertips on a flat surface and practice tapping them in order (refer to hand diagram and finger numbers) 1, 2, 3, 4, 4, 3, 2, 1. Go for accuracy and then speed.
If you go to a music store, you will find tools to help exercise and strengthen your hands and fingers while building dexterity. Another highly recommended exercise is to purchase a tennis or racquet ball and squeeze them for several minutes to build hand strength. Here are some excellent finger dexterity practices that don't require you to purchase anything:
Place your hand on a flat surface and lift one finger at a time. Go for accuracy first and gradually build speed. Next, try lifting every other finger and again go for accuracy then speed.
Spread your fingers out and touch the center of your palm with each finger while keeping remaining fingers as straight as possible. This will help with coordination. Go for accuracy and then speed.
Crumple a piece of paper with one hand, and then flatten it back out. Repeat this process several times. Place your fingertips on a flat surface and practice tapping them in order (refer to hand diagram and finger numbers) 1, 2, 3, 4, 4, 3, 2, 1. Go for accuracy and then speed.
HAND AND FINGER BASICS
Let's talk for a moment on hand and finger basics. You will obviously have one fretting hand, which is the hand responsible for creating chords or single notes, and you will have your picking or strumming hand. Both hands are equally important. I believe that anyone can create a chord with their fretting hand, but the real magic happens with your picking hand as there are so many ways to make sounds come out of the strings.
Here is a diagram of your fretting hand and how to refer to your fingers. This will be a great visual aid for correct chord placement. It will be tempting to cheat with finger placement on some of the chords, but there are specific reasons for using specific fingers for constructing the chords.
There is a correct way and an incorrect way to hold a pick with your strumming hand. You'll want to lightly rest the pick between your thumb and forefinger. Your forefinger needs to be arced so that it forms a semi-circle. The pick will rest between the first and second knuckles on the forefinger. Each finger consists of three knuckles, one right above the fingernail, one half way up the finger and the last where the finger meets with the hand. The first and second are referring to the ones right above the fingernail and half way up the finger.
From here you will place your thumb on the pick creating a loose yet stable pressure.
As you become more advanced in your guitar playing, you will learn that there are several ways to hold a pick and all of which will be held between the thumb and forefinger. Do not let yourself fall into the trap of holding the pick with the tips of your thumb, forefinger and middle finger. This is incorrect and is a very bad habit to break. It will not allow for your remaining fingers to have any dexterity.
Here is a diagram of your fretting hand and how to refer to your fingers. This will be a great visual aid for correct chord placement. It will be tempting to cheat with finger placement on some of the chords, but there are specific reasons for using specific fingers for constructing the chords.
There is a correct way and an incorrect way to hold a pick with your strumming hand. You'll want to lightly rest the pick between your thumb and forefinger. Your forefinger needs to be arced so that it forms a semi-circle. The pick will rest between the first and second knuckles on the forefinger. Each finger consists of three knuckles, one right above the fingernail, one half way up the finger and the last where the finger meets with the hand. The first and second are referring to the ones right above the fingernail and half way up the finger.
From here you will place your thumb on the pick creating a loose yet stable pressure.
As you become more advanced in your guitar playing, you will learn that there are several ways to hold a pick and all of which will be held between the thumb and forefinger. Do not let yourself fall into the trap of holding the pick with the tips of your thumb, forefinger and middle finger. This is incorrect and is a very bad habit to break. It will not allow for your remaining fingers to have any dexterity.
TUNING
Tuning your guitar is one of the most important things you can do for yourself while learning to play. I will go over several methods of tuning for you and ways to train your ears while you learn to tune. Once your ear is trained, you won't have to worry about whether or not the batteries work in your digital tuner.
As a beginner with guitar and perhaps music all together, I suggest that you go get yourself a digital tuner. It is fairly self explanatory. I had one of these as well as a pitch pipe. I liked the pipe because I don't have to buy batteries and it helps my ears train instead of relying on the digital tuner, or meter, to show flat or sharp.
Next, I'd like to discuss tuning with your guitar only. You may wish to tune your bottom E string for this. I call this 5th fret tuning. What you do is tune your bottom E (biggest) string with a tuner or pluck both E strings and listen to the “wa, wa's.” If the wa's are fast, you are sharp. If the wa's are slow, you are flat. If you don't have any wa wa's you are in tune. In succession from the top to the bottom, press the low E string in the 5th fret and then pluck your A string. Listen to the wa wa's and adjust your tuning pegs. Next, press A string in the 5th fret and pluck D string. Press D sting in 5th fret and pluck G string. Press G string in 4th fret and B in 5th fret (note: the switch in frets here). Press B string in 5th fret and pluck E string. This particular form of tuning is great for getting your ear ready to hear music.
Last, but definitely not least, is harmonic tuning. I would consider this a bit more advanced, but once you have your ear trained and have a good idea of how to touch the strings, this is an incredibly accurate method for tuning. It goes something like this: From the top to the bottom, lightly touch your E string at the fret line with your fretting hand, do not press the string, and pluck the string at the same time. You must release the touch with your fretting finger so that the note will continue to play. Play 5th fret E string and 7th fret A string, they should be the same pitch. Play 5th fret A and 7th fret D. Play 5th fret D and 7th fret G. Play 7th fret low E and pluck open B. Last, play 5th fret B and 7th fret E.
An important reminder: Be sure that you tune often. Don't just tune at the beginning of a session. Tune several times per session. This will help you hear intonality (when notes aren't in tune) and get your ears trained.
As a beginner with guitar and perhaps music all together, I suggest that you go get yourself a digital tuner. It is fairly self explanatory. I had one of these as well as a pitch pipe. I liked the pipe because I don't have to buy batteries and it helps my ears train instead of relying on the digital tuner, or meter, to show flat or sharp.
Next, I'd like to discuss tuning with your guitar only. You may wish to tune your bottom E string for this. I call this 5th fret tuning. What you do is tune your bottom E (biggest) string with a tuner or pluck both E strings and listen to the “wa, wa's.” If the wa's are fast, you are sharp. If the wa's are slow, you are flat. If you don't have any wa wa's you are in tune. In succession from the top to the bottom, press the low E string in the 5th fret and then pluck your A string. Listen to the wa wa's and adjust your tuning pegs. Next, press A string in the 5th fret and pluck D string. Press D sting in 5th fret and pluck G string. Press G string in 4th fret and B in 5th fret (note: the switch in frets here). Press B string in 5th fret and pluck E string. This particular form of tuning is great for getting your ear ready to hear music.
Last, but definitely not least, is harmonic tuning. I would consider this a bit more advanced, but once you have your ear trained and have a good idea of how to touch the strings, this is an incredibly accurate method for tuning. It goes something like this: From the top to the bottom, lightly touch your E string at the fret line with your fretting hand, do not press the string, and pluck the string at the same time. You must release the touch with your fretting finger so that the note will continue to play. Play 5th fret E string and 7th fret A string, they should be the same pitch. Play 5th fret A and 7th fret D. Play 5th fret D and 7th fret G. Play 7th fret low E and pluck open B. Last, play 5th fret B and 7th fret E.
An important reminder: Be sure that you tune often. Don't just tune at the beginning of a session. Tune several times per session. This will help you hear intonality (when notes aren't in tune) and get your ears trained.
Thursday, December 16, 2010
POWER CHORDS
Power chords are very similar to barre chords. As you remember, barre chords (and other chord formations) are comprised of R-3-5. Power chords are simply R-5. Power chords are not considered true chords since they lack the 3rd and are called dyads. It makes sense, dy meaning 2. Below are some examples of power chords.
A lot of modern rock songs use power chords so you will see them come up in the songs later on. They are much simpler and they sound great. Don't forget to practice your other chord formations though!
A lot of modern rock songs use power chords so you will see them come up in the songs later on. They are much simpler and they sound great. Don't forget to practice your other chord formations though!
STRUMMING PATTERNS
Strumming your guitar can be an interesting challenge as you get started. It may be difficult to get your chords to sound good. All of this will get better with time and practice. A lot of newbie guitar players want to strum the strings to hard. This results in an annoying “twangy” effect. You'll want to avoid this at all costs!
Here are some helpful tips for getting a good sound:
Be sure to hold your pick correctly.
Be sure you don't hold the pick too tightly.In a downward motion, lightly glide the pick over your strings.
Don't try and strum too fast. Go for accuracy then speed!
Practice strumming whole notes, half notes, quarter notes, eighth notes, and sixteenth notes.
Practice note values using a downward strum first.
Practice note values using a down/up pattern (go for accuracy!).
Integrate down down up up using note values.
Strum with your wrist, not your arm
As far as actual patterns are concerned, most will be unique to the song you are playing. Some strumming patterns will be indicated by D (down) and U (up) symbols. Some will be indicated by / (down) and \ (up). And, some will be indicated by actual note values where there will be a combination of whole, half, quarter, eighth and sixteenth notes. This is where some of theory comes in handy!
Here are some helpful tips for getting a good sound:
Be sure to hold your pick correctly.
Be sure you don't hold the pick too tightly.In a downward motion, lightly glide the pick over your strings.
Don't try and strum too fast. Go for accuracy then speed!
Practice strumming whole notes, half notes, quarter notes, eighth notes, and sixteenth notes.
Practice note values using a downward strum first.
Practice note values using a down/up pattern (go for accuracy!).
Integrate down down up up using note values.
Strum with your wrist, not your arm
As far as actual patterns are concerned, most will be unique to the song you are playing. Some strumming patterns will be indicated by D (down) and U (up) symbols. Some will be indicated by / (down) and \ (up). And, some will be indicated by actual note values where there will be a combination of whole, half, quarter, eighth and sixteenth notes. This is where some of theory comes in handy!
ALL PARTS OF THE GUITAR ARE EQUALLY IMPORTANT
All parts of the guitar are equally important, but some of the areas of particular interest are (from the bottom up) the bridge, strings, neck, fret, and tuning pegs.
Let's begin with the bridge. This is where your stings will be changed. There are round pegs at the end of every string. These will need to be pulled out and new stings inserted. You will need to learn the string names.
Beginning from the top (biggest) string to the bottom string (smallest): EADGBE. The top and bottom strings are the same note, just different octaves.
On the neck of your guitar you should notice two things. One, there are going to be a series of metal lines that extend from one end of the neck to the other. These are called frets. Two, if you look down the side of the neck of your guitar you will see dots. The dots are located at frets 3, 5, 7, 9, 12, 15, and 17. Fret 12 has a double dot for which I will explain further once we get to that portion of these lessons.
Let's talk for a minute about the tuning pegs at the top of the guitar on the headstock. This is where the stings end. Before you ever change strings, pay particular attention to which peg each string ends up.
Here is a helpful hint for remembering how the strings are placed into the tuning pegs. If you are holding your guitar in posture (which will be discussed a little later) there will be three pegs pointing toward the ceiling (upright) and three pointing toward the ground (downward). If you are looking at the guitar as the diagram indicates, there will be three pegs on the left and three pegs on the right. Let's work with the latter example. Low E (biggest string) goes into bottom left peg, A goes to middle left peg, D goes to top left peg, G does to top right peg, B goes to middle right peg, high E (smallest string) goes to bottom right peg
Here is an important reminder for you once you have reached this point. Be sure that you thread all strings the same way. What I mean by this is be sure that when you turn the peg clockwise, it tightens the string while counter-clockwise loosens the string. One thing you can try, and I suggest, is that you change out one string at a time. Do not just take out all of the strings and go for it. This is where mistakes happen when trying to get your strings in the correct place and through the tuning pegs. Pay attention to what you are doing so that you don't find your guitar in a mess.
Let's begin with the bridge. This is where your stings will be changed. There are round pegs at the end of every string. These will need to be pulled out and new stings inserted. You will need to learn the string names.
Beginning from the top (biggest) string to the bottom string (smallest): EADGBE. The top and bottom strings are the same note, just different octaves.
On the neck of your guitar you should notice two things. One, there are going to be a series of metal lines that extend from one end of the neck to the other. These are called frets. Two, if you look down the side of the neck of your guitar you will see dots. The dots are located at frets 3, 5, 7, 9, 12, 15, and 17. Fret 12 has a double dot for which I will explain further once we get to that portion of these lessons.
Let's talk for a minute about the tuning pegs at the top of the guitar on the headstock. This is where the stings end. Before you ever change strings, pay particular attention to which peg each string ends up.
Here is a helpful hint for remembering how the strings are placed into the tuning pegs. If you are holding your guitar in posture (which will be discussed a little later) there will be three pegs pointing toward the ceiling (upright) and three pointing toward the ground (downward). If you are looking at the guitar as the diagram indicates, there will be three pegs on the left and three pegs on the right. Let's work with the latter example. Low E (biggest string) goes into bottom left peg, A goes to middle left peg, D goes to top left peg, G does to top right peg, B goes to middle right peg, high E (smallest string) goes to bottom right peg
Here is an important reminder for you once you have reached this point. Be sure that you thread all strings the same way. What I mean by this is be sure that when you turn the peg clockwise, it tightens the string while counter-clockwise loosens the string. One thing you can try, and I suggest, is that you change out one string at a time. Do not just take out all of the strings and go for it. This is where mistakes happen when trying to get your strings in the correct place and through the tuning pegs. Pay attention to what you are doing so that you don't find your guitar in a mess.
FUNDAMENTALS OF YOUR GUITAR
One of the first things you are going to want to do is get familiar with your guitar, guitar part names, and accessory names. Here is a diagram:
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