Learning Guitar Theory – First 5 Steps
June 21, 2009 by rserpe
Filed under Beginner Acoustic Guitar, Guitar Music Theory
By Mike Beatham
Learning guitar can be split into two main categories – the physical and the theoretical. The physical aspects of learning guitar are the finger exercises and techniques you use to manifest your theoretical knowledge on the fretboard. As you can probably see, one cannot exist without the other. Once you’ve learned those first few chords, basic strumming/picking patterns and scale fingerings, and you begin to focus more closely on things like harmony and tonality, there is often an overwhelming feeling that there is much more to learning guitar than just “where to put your fingers”.
The first thing to note is that 
music theory can get very deep and complex. It takes years to fully grasp many theoretical elements. Therefore, right from day 1, you need patience! You also need to be prepared to get your head down to read and study diagrams with the same rigor as you would if studying at college/university. This is what puts off a lot of guitarists with a “quick-fix” mentality. Devote practise time to both physical and theoretical elements every day and the two will marry naturally over time. You’ll see!
So, where to begin?
1) Know what intervals are and how they work on guitar
You may have already learned a few scale fingerings, but do you know how specific intervals make up the unique tonal structure of that scale? Scale intervals, the spaces between each of the scale’s tones, are measured in “half steps/semitones” and “whole steps/whole tones”, and a sequence of whole steps and half steps in different combinations creates different scales. Intervals are, quite literally then, the building blocks of scales. For example, the major scale’s intervals are (where W = whole step and H = half step):
1 W 2 W 3 H 4 W 5 W 6 W 7 H 1… (repeat from 1 again)
So, first you need to learn how whole step and half step intervals work on the fretboard, both on a single string and in the relationship between two strings. For example, a major 3rd interval is made up of two notes, two whole steps apart. You could either map this interval out across one string (half step = 1 fret space, whole step = 2 fret space) or across two strings. Mastering intervals prepares you for knowing your way around scales like the back of your hand.
2) Know the major scale right across the guitar fretboard
The major scale is seen as the elementary scale western music is referenced against. Even minor scales are notated against the major scale’s note positions. For example, a minor third is symbolised as “b3 (flat 3rd)” because the 3rd has been flattened/lowered a half step from its original, major scale position. If you come across the symbol “#5 (sharp 5th)” that refers to the tone being sharpened/raised a half step from its original major scale position.
When learning the major scale, it’s important to get used to seeing the 1st tone – 1 – as the “root note”. The note of this root note defines the key center of the scale. To change key, simply move the root note and the interval structure with it. This is why scale patterns can simply be shifted up and down the fretboard to change key without changing their form/fingering. You can apply this root note/key concept to all other scales you learn.
Once you’re comfortable with how intervals work, using the major scale as your foundation, you have a few choices for that next logical step – you can either use your major scale knowledge to build chords or start looking at modal theory, which itself expands into several areas. Let’s look at chords first…
3) Chord theory and scale equivalents
The major scale is the foundation scale from which we build and notate/symbolise chords. Starting with that all important root note, we can stack up tones from, and modified from, the major scale. This creates a chord shape on the fretboard – where several tones of the scale are fingered/played at once, across several strings. So, if you know the major scale right across the guitar’s fretboard, you can identify a root note in several positions and build the chord from each, depending on the type of voicing you want (e.g. high or low?)
Chords can be built in the following core forms:
Major triad – root, 3rd, 5th
Minor triad – root, flat 3rd, 5th
Diminished triad – root, flat 3rd, flat 5th
Augmented triad – root, 3rd, sharp 5th
Suspended triad – where the 3rd of the major or minor triad is replaced with another tone, usually the 2nd or 4th.
Once you’ve mastered building those 3-note chords, you can move onto “7th chords” (4 note chords) and then “extended chords” (more than 4 notes), both of which simply add to those existing core triads.
What’s great about learning how to build chords from scratch is how that same knowledge can then be applied to building scales. When harmonising over a chord as a lead guitarist, it’s helpful to know which tones make up the chord you’re playing over so you can then draw those same tones for use in your lead harmony/solo. Chords and scales are drawn from the same source – intervals.
When you begin to see chords and scales as essentially the same thing, that’s when the big picture begins to reveal itself and you start to see how music works much more clearly.
4) Modal theory
Modes are often misunderstood and are actually, I believe, made to sound more complex than they actually are. After following steps 1-3, you should be ready to explore modal “systems”.
Modes are referred to as “modes of the …. scale”, for example “modes of the major scale”. This immediately tells us that we need to first know that core scale from which its modes are derived.
Let’s briefly introduce the modes of the major scale. Each note of the major scale – 1 2 3 4 5 6 7 – represents the root of a new mode. You can find out why they have weird names later, but it’s more cultural/geographic/historical than musical:
1 – Ionian
2 – Dorian
3 – Phrygian
4 – Lydian
5 – Mixolydian
6 – Aeolian
7 – Locrian
So, to play any of the modes from 2 – 7 (since 1 is the same root as the major scale) it’s like starting the major scale from a note other than its root, meaning you’re still essentially playing the notes of the major scale, but because the root has been moved up the scale to a new position, it adopts a new key center and it takes on a new sound and form/pattern on the fretboard.
Each of those modes, like scales, is built from a sequence of intervals that give them unique flavours and moods. However, they have another function which classifies them as modes. They work over particular chord sequences within that same scale (the major scale in this case). So, once you’ve learned the modes individually, as scales, it’s time to see how certain chord movements naturally complement them.
5) Modal chord progressions
Again, working with the major scale, we learned that each note represents the root of a new mode. Well, since each mode is essentially its own scale with its own sequence of intervals, we can also build chords around those same intervals, using the tones of the mode. For example, Mixolydian is a major mode/scale and uses a flat 7th (b7), so its chord equivalent would be major (see major triad from earlier) with a flat 7th. Think of it like superimposing the chord shape over the scale shape.
So there’s a task right there – learn the chord equivalents of each mode.
Ionian – major
Dorian – minor
Phrygian – minor
Lydian – major
Mixolydian – major
Aeolian – minor
Locrian – diminished
As we have 7 modes, we also have 7 equivalent chords, creating a chord scale, which will therefore use the same major scale intervals as its modes! It’s all connected. From this chord scale we can pull different chord sequences to create modal chord progressions.
For example, one chord progression could be: I ii V, or 1 2 5, which means we are using the equivalent chords of Ionian, Dorian and Mixolydian.
The big picture…
This is a lot to take in at once, I know, and this is why it’s essential to progress logically, using the 5 steps in this article. I hope you will continue to reference this “check list” as you progress.
Once you’ve accomplished “stage 5″, you’ll be ready to explore more freely, relying more on your musical intuition, that will have developed through those early stages. It’s all about building stable foundation knowledge which you can continue to build upon as your playing develops.
I hope this article has at least left you feeling more confident about the path you can take to mastering guitar/music theory. Then, finger placement will be less of a guessing game and more of an informed creative process, which is especially what the art of improvisation requires, when you come to it.
Enjoy the journey!
Mike Beatham runs a free, easy to follow guitar lessons site with backing tracks, tools and exercises to help you develop your own unique playing style. To learn more about the techniques discussed in this article, visit http://www.fretjam.com
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6 Essential Elements To Getting The Best Rock Guitar Tone
June 15, 2009 by rserpe
Filed under Guitar Genres, Rock Guitar Lessons
By Eric Stein
1. Big Frets – While some people would disagree with me, especially because Les Paul’s are known for not having huge frets, while some custom models have awesome, fat, big frets, big frets are essential for many players to play precisely and get the tone of rock guitar. Big, high frets give you a lot of space for your fingers to grip the strings, manipulate, move, bend, slide, tap and caress the strings. This is why many rock, shred machine guitars have big, high frets… Ibanez’s, Jackson’s, Stevie Ray Vaughan Strat’s, BC Rich’s, etc… because high frets are good for rocking and shredding on, simple as that. The fret size that has been known through time as fat, juicy frets is the Dunlop 6105 Jumbo Frets.
2. Big Strings – Big strings are essential to big rock guitar tone because they contain the more mass, therefore move more air, creating a larger magnetic field, resulting in the speakers moving more, in essence, rocking more! Big, fat, juicy strings bring out the lows of the guitar and also make your high’s more precise, louder and evenly balanced in volume to the other strings. Bigger strings also give you more grip, allowing you more control and manipulation over the guitar strings. Big strings are even more essential on guitars that are de-tuned… once you de-tune a guitar, the strings slack a lot and when you strike the strings hard they go out of tune, so most rock guys who de-tune most of the time; like down to D, C, B, A should use some pretty heavy strings. My recommendation is use at least 13’s if you are tuning down crazy low. However, if you are a regular or Eb tuner, try to use 10’s or 11’s on your guitar, they won’t rip your hands apart and will give you much better tone. For your info, Stevie Ray Vaughan used 13’s and it is said he used to have to super glue his fingertips on after shows… that’s rocking!
3. Humbuckers – You want humbuckers on your guitar for a couple reasons. The main one is that is produces more sounds, it is 2 magnets, not just 1, so there is more sustain, tone, and most of all, when pushed, create more distortion… hoo ray! We love distortion here! Another thing that makes humbuckers cooler than single coils is that they are quite. Don’t you hate how single coils buzz? Isn’t it really annoying when you think there is someone in the room with you, but it is just the buzz of your neck pickup? I know you have… admit it… anyways, humbuckers are quite, produce more sound, more distortion, killer sustain and most of all look cool! Go out and get some humbuckers for your axe today. It’s ok, you won’t be dissapointed. Even the cool mini humbuckers that fit into a single coil slot sound great and if you really don’t want to miss your single coil twang, you can get a coil splitter or a push-pull volume or tone control to switch your mini humbucker into a single coil. Aren’t humbuckers great?
4. Locking Tremolo System (aka Floyd Rose) – Why do you need a locking tremolo system? You need it because to do all the cool airplane whammy divebombs, kitten purrs, and extreme harmonic divebombs you need a locking tremolo system. Why? because they do 2 things, the first is stay in tune during all this chaos and abuse you put your poor guitar through, but also because these systems are the only ones designed for these kind of advanced guitar, and musical maneuvers, attempted by many, but successful and perfected by few. If you want to see some cool stuff on guitar divebomb whammy’s check out Van Halen, Steve Vai, Joe Satriani or some unknown guys on YouTube who are really great! Go have a ball going crazy on your new locking tremolo system equipped guitar, and have a smile on your face after because your beauty if still in tune, ready to rock on… wherever you take it!
5. Distortion – What is distortion? Why is it important in the equation of getting good rock guitar tone? Well, distortion is the crackling of sound. You probably know that, but just in case, the question now becomes, what is a ‘good’ crackling of sound. The secret is in the ear of the beholder, so really only you can decide what good distortion is. Try lots of pedals and different amps and try to figure out what kind of distortion makes you sound best. Some people like bluesy, overdriven type of distortion, while some people like total chaos, fire-breathing inferno distortion, and let me tell you, if you are looking for it, it is out there, in some strange colored pedal. Distortion helps us cover up our mistakes, but not only that, but it makes you feel cooler inside, sustain notes and make them breathe, and much more. Try to do some research on guitarist that you like their tone, and see if you can find what kind of pedal and amps they use.
6. Feeling – If there is one thing that you need have to get the best rock guitar tone you are capable of, it is to put all your feeling, attention and focus on what you are doing. Once, back when I was in music school, a well respected musician said to me, was “Once you are done learning all that stuff, you have to learn to forget it and then the magic starts to happen!” So, feel the music, feel it in your heart… take everything you know and touch the celestial, play the things you really want to, let the music take control and just give it all your energy letting the spirit of music flow through row body, into the strings, through the cord, into the amp and making the speakers wail! Feeling… it is a beautiful thing
Eric Stein has played guitar over 16 years, taught guitar for 4 or so years of his life at Offbeat Music in Lake Zurich, he taught a lot of people how to play guitar. Eric runs MonkFunk Music Community giving independent bands and musicians free music enhanced websites. His new site How To Play Rock Guitar .com is going to be an amazing guitar website unlike any others and will help teach more people guitar than Eric ever could have on a personal level, please check it out: How To Play Rock Guitar .com
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20 Essential Acoustic Guitar Tips for the Beginner
May 18, 2009 by rserpe
Filed under Beginner Acoustic Guitar
Acoustic guitar lessons online are not difficult to come by. There are many sites offering free tips and lessons for the beginner, but it can be rather difficult sifting through pages of content to find direct answers to some of the most basic questions beginners have. I researched many of the frequently asked questions that beginners have and created this list of quick acoustic guitar lessons and tips to make life a bit easier for you. I do hope this helps.
1 – Learn how to play the acoustic guitar with both your fingers and your pick. Practice using both. This will make you a more versatile player.
2 – Learn how to use a capo. A capo is a clamp that you can apply to different frets of your guitar to change the pitch. You will definitely need to become familiar with this wonderful tool. If you do not already own one, head out to your local music store and buy one today.
3 – Make sure you choose the right guitar for your size. Guitars come in different sizes from classic to jumbo. It is very important that you find a guitar size that you are comfortable playing.
4 – Learn how to change your strings and change them often. If you do not know how to change your guitar strings yet, stop what you are doing and search for articles and videos online right now. This is very important.
5 – Wash your hands before you play and clean your strings after you play. Dirt and oils from your fingers and hands can wear down your strings.
6 – Build up those calluses. Many beginners complain of pain in their fingertips when first starting out. This is normal and will go away after you have been playing for a little while and start to form calluses. The more often you practice the faster you will build up calluses.
7 – Learn how to tune your guitar. Make sure your guitar is in tune before you start every practice session. Tuning your guitar is really quite easy. You can either purchase one of those small battery powered guitar tuners, or you can tune your guitar online. Just do a search at your favorite search engine using the key phrase “online guitar tuner” and you will find many helpful sites on this topic.
8 – Use YouTube to find free acoustic guitar lessons. Everyone is now familiar with the site YouTube. They have a huge variety of free lessons. Two providers of free lessons that I recommend you check out are: “Next Level Guitar” (goes by the user name “rockongoodpeople“) and “Justinguitar.com” (goes by the username “JustinSandercoeSongs“). They offer some of the best free online acoustic guitar lessons. Highly recommended.
9 – Find a good guitar teacher. While it is possible to learn at your own pace at home using free lessons online, books and home study courses, nothing will replace a guitar teacher. A guitar teacher will help keep you from forming bad guitar playing habits and praise you when you are making progress.
10 – Stretch and warm up your hands and fingers before each playing session. This is important. Proper warm up and stretching exercises are essential in helping you avoid injury and improving your guitar playing. For more information on stretching and warm up exercises, do a search on Google using the key phrase: “guitar warm up”. You will find plenty of tutorials on this subject.
11 – Learn music theory. I know music theory can be boring and difficult, but it is essential learning if you want to become a good guitar player.
12 – Learn about the parts of your guitar. Spend as much time as possible familiarizing yourself with all the various parts of your guitar and how it is constructed.
13 – Learn how to practice. This may seem obvious, but you would be surprised how many guitarists are not practicing correctly. There is definitely a right and a wrong way to practice. Make sure you understand how to make the best out of your practice sessions.
14 – Keep your finger nails on your fretting hand trimmed. Your fingernails on your fretting hand must be kept short. If not, they will most certainly make playing more difficult as they will prevent your fingers from pushing down the strings properly.
15 – Don’t over do it. If you are experiencing any pain or discomfort during your playing or practice session, then stop and take a break.
16 – Try and learn something new. If you continually do the same thing, day after day, then your guitar playing will become stagnant and you will not progress.
17 – Join discussion forums online. Search for guitar discussion forums online and begin discussions with experienced and professional guitarists.
18 – Listen to a variety of different music. Not just your favorite styles either. You would be surprised at how much this can influence your guitar playing.
19 – Learn alternate ways to tune your guitar. Not every song is played in standard tuning.
20 – Go to live performances. This will give you a chance to get up close and personal with the musicians enabling you to see first hand how a professional plays.
When Playing Guitar, Don’t Forget Your Thumb
May 14, 2009 by rserpe
Filed under Acoustic Guitar Practice, Beginner Acoustic Guitar
By Keith Dean
In terms of playing guitar, the thumb is like the “red headed step child” of the playing hand. More neglected than even the “pinky” finger (but that’s for another article).
The focus of our playing hand, the hand that attacks the fret board, is typically centered on the first three fingers. These are the easiest to use. They are stronger, longer and faster than the pinky or thumb, so they face the call to action much more than their “weaker” siblings.
But as guitar players, we would be wise to make full use of all of our appendages when playing. In fact, we might be surprised to find that the effort that goes in to incorporating the use of the thumb into our playing technique will result in making some tasks on the guitar neck even easier!
Here are some uses for the thumb when playing guitar:
1. Walk Downs
2. Chord Formations
3. Muting
4. Added Pressure
5. Playing Lead
Let’s take a look at some of these:
1. Walk Downs – The thumb can be put to good use when playing a “walk down”. This is when you start on one chord and “walk down” to a resolution chord, typically by way of a “passing” chord in between.
When the bass notes of a walk down occur on the 6th string (low E in standard tuning), it is often easier to use the thumb to play some or all of those bass notes, rather than trying to use the fingers.
A good example would be the commonly used walk down from an open G chord, down to an Em. The passing chord between these two chords is normally a D/F# (D over F#). The easiest way to play this chord is to form an open D chord as normal, then wrap the thumb up on to the 2nd fret of the 6th string (F#). This method makes for a smooth transition.
2. Chord Formations – The thumb can also be used to assist in the formation of chords. Many chords are conducive to using the thumb. For example, a minor 7th chord could just as easily be played with the thumb.
Jimi Hendrix was known for making use of the thumb to form chords where most of us would use barre chords. Rather than “barring” the 1st finger across a fret to make a standard barre chord, he would often use his thumb to play the bass note, form the rest of the chord like normal, and then play the remaining notes as necessary with the first finger.
Try this next time you pick up the guitar. Play an A barre chord at the 5th fret. Now lift off your 1st finger that is making the “barre”. Then take your thumb and use it to play the A root note on the 5th fret of the 6th string. Finish by placing your 1st finger in the 5th fret of the 1st and 2nd strings. You are playing the same identical notes as the barre chord version, just with a different hand formation. Try this with minor barre chords as well. It can be a little liberating once you get used to it!
3. Muting – The thumb is a great tool to use for muting strings when strumming rhythm patterns. For example, an F chord in the open position is normally played using only the first four strings. It would be difficult to perform some aggressive strumming maneuvers without striking the 5th and 6th strings. Using the thumb to lightly mute these two strings will solve the problem. The same can be said for many open chords that do not use all six strings, such as the C, D and Am chords in the open position.
4. Added Pressure – There is a natural tendency when playing guitar to keep the thumb in a position that is wrapped over the top of the neck. There are times, however, when you may need some extra finger pressure on the strings to form a chord or play a lick. That extra pressure can often be found by bringing the thumb down to a position where the ball of the thumb is planted firmly on the middle of the back of the guitar neck. This increases the amount of pressure for the fingers and provides extra pivoting power.
In terms of conventional guitar instruction, this thumb placement position is often considered to be the accepted way to play guitar.
5. Playing Lead – There are some players who incorporate the thumb into playing lead runs and solos. It is really a matter of personal preference and what you get used to. I have never mastered this approach to playing leads but have seen other players use it effectively.
Regardless of your guitar playing style or approach, there are probably times when using your thumb when executing chords and licks might make good sense, and, make life a little easier. So when your fingers go out for a “dance” on the fret board, don’t forget to take the thumb along for the ride!
Keith Dean is founder of AdultGuitarLessons.com and a 30 veteran of stage and studio. He toured extensively as a road musician throughout the US and Europe, was a former lead guitarist for Jason Aldean, and has shared stages with Little Big Town, Wild Rose, Winger, Confederate Railroad and more. He is a published songwriter, owned and operated a successful music store, and has instructed numerous students in guitar. http://www.adultguitarlessons.com
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What Gives a Custom Acoustic Guitar That Exceptionally Great Sound? Part 1
March 25, 2009 by rserpe
Filed under Acoustic Guitar Care
By Jay Wyshak
Many factors come together into the puzzling and complex issue; what goes into a custom acoustic guitar to make it sound great? To answer this question is very complex and I’ll suggest to you step by step. Articles will follow this one that will encompass the details of each of the factors involved.
THIS ARTICLE IS INTEND TO BRIEFLY TOUCH UPON SOME OF THE BASICS OF THIS SUBJECT – Great sound in Custom Guitars
First of all, the sound that comes out of any guitar is just what it is, as you hear it. Our Judgment of it is based on what we come to judge throughout history and what we have come to accept as todays standards set by others to what a Good or Bad Sounding guitar for should sound like.
In other words, in nature there is no such thing as a good or bad sound in a strict sense. It’s only what we have come to accept as standards to what a guitar should sound like. Developing this idea further, hopefully, in the future we can learn to set higher standards and maybe the custom guitars at that time would even sound better than todays guitars. Wouldn’t that be awesome?
The standards were achieved by ground breaking companies such as Martin Guitars and Gibson, who spent money and research to allow standards to exist within the ’sound’ of a custom acoustic guitar, or any custom guitar for that matter.
OK, let’s get to it.
When you pluck a string, this produces an energy wave that we know as sound. What this guitar must do is transfer the energy introduced by plucking the strings. This is what I call the ‘final common denominator’.
The guitar string energy in motion is transferring through the whole thing (glue and everything, with a dependence also as to the current temperature), how this perceived sound being generated by a complex system, finally producing that resulting factor we call ‘resonance’.
In other words, everything combined about this “Complete Unit” and all its complexity called a “Guitar”, contributes to the sound you are hearing at the moment the strings are put into action.
Therefor the sound depends on:
- The Design of the guitar, it’s shape.
- The construction, the manner in which the guitar is constructed.
- The types of woods used in the guitar making process
- The types of bracing inside on the soundboard.
- The materials used for nut and sandal, including the bridge pins.
- The finish used on the outside of the guitar.
There’s more on this later. Ideally a guitar should sound like, what? It’s only limited to our imagination. Therefore a custom guitar builder of any size has the same ability to further advance the sound quality of any custom built guitar.
What I’m going to share with you over the course of several articles, are some secrets about this and how do we go about constructing a great sounding guitar in practice.
This article will concern itself with the Construction in general and we’ll touch upon the woods and others stuff in a later article. After I built my first Martin Guitar, many years ago with the guidance of my Father a Master craftsman himself during my youth;
I discovered that:
As a general rule, a lighter built guitar would bring out tones more clearly, and with the right construction technique, a louder response.
The energy brought forward by plucking the strings had less mass to hide in, less places to get lost or trapped. The energy had less ‘knee jerk’ obstacles to overcome hence forth, due to fine shaped braces, more on that later. In other words as a direct result, the guitar became more alive and responsive.
The advantage of that is that the whole guitar becomes more flexible and at the same time more producing a likable and even louder sound. The thinner I made, the back, sides and top, (up to a point, more later) the more sound was able to transfer through the woods. The wonderful advantage of this is that the player can feel the sound transferring into his ear, guts, and body while playing my guitars. As a result, a better and direct connection and relationship with the musician. The guitars simply talk better to the players.
This has to be done within it’s own limitations for obvious reasons, the overall strength of the guitar must be maintained we’ll discuss it in a later chapter.
THE INSIDE GUTS
When you look at the basic Martin Cross bracing pattern for the sound board, you’ll feel the representation of a water reservoir or lake. The idea is that if you throw a rock into a calm lake, it produces wave patterns, getting smaller the farther they travel until they disappear back to the balanced state of the water surface or to its original neutrality.
Because the waves of water are essentially the same as the waves in the air, slower because of a thick medium; the idea is to construct the soundboard bracing pattern in such a way that the wave energy generated by the strings, is gently and ’smoothly’ transferred into the guitar’s soundboard. To help transfer this energy wave back to a state of natural balance of the sound board shape, just like it’s counter example in nature, the rock thrown into the water.
These are the kinds of revelations one receives as a master guitar craftsman, like myself. This way we can create the sound waves the way that I want. This is the doorway to understanding a bit more on creating even better sounds in the future, like the sounds that are produced in the Peace Guitar.
In the case of making a guitar sound good, or Great, on this one point:
It is the individual shapes of the braces that represent water waves. And, the idea is to help the energy waves return to their original balance of rest.
But the fun of all this is, that I get to surf the waves right in my guitar building shop. I am proud to say that the more attention I pay to this phenomena, the better the guitars turn out and come to sound.
My favorite quote: “better sound is a concept that may be in perpetual changing mode due to human perception.”
Stay tuned for more, folks, and see my shop at JonasGuitars.com/Custom-Guitars
RockinJay gathers information for a variety of helpful sites. In this case Learn more about Jonas @ Jonas Custom Guitars
RockinJay@creativeheadspace.com
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