Beginner Guitar Scales Lesson Made Simple (5)

The Minor Scale

Remember how the two pentatonic scales were related? The same thing is true with the major and minor scales. Let's look at G major again (G A B C D E F#):

E ------------------------------------------

B ------------------------------------------

G -----------------------------0-----------

D ------------------0--2--4---------------

A -------0--2--3--------------------------

E ---3-------------------------------------

And now, here's E minor (E F# G A B C D):


E ---------------------------------------------

B ---------------------------------------------

G ---------------------------------------------

D ---------------------0--2--------------------

A ------------0--2--3--------------------------

E ---0--2--3-----------------------------------


Notice that, even though we're starting on E instead of G, these are the exact same notes as in the G major scale. It all depends on where you start: if you start on G, it's G major; if you start on E, it's E minor. Try extending it up the strings:


E ---------------------------------------------0--

B ------------------------------------0--1--3-----

G ------------------------------0--2--------------

D ---------------------0--2--4--------------------

A ------------0--2--3-----------------------------

E ---0--2--3--------------------------------------

And, now let's try moving the pattern to play A minor (A B C D E F G), which uses the same exact notes as C major:


E -----------------------------------------------5--

B --------------------------------------5--6--8-----

G --------------------------(4)---5--7--------------

D ---------------------5--7--9----------------------

A ------------5--7--8-------------------------------

E ---5--7--8----------------------------------------

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

or: 1 3 4 1 3 4 1 3 1 2 4 1 2 4 1

If it's easier, you can fret the second B on the fourth fret of the G string rather than on the night fret on the D string -- that's what the parentheses means. As with the other scales, you should try playing this one in every position, and use your ears to start figuring out what sounds good to you. Remember that, even though these may seem like simple beginner guitar scales, they're the foundation of most of the music you probably listen to, and you can't spend enough time getting to know them. And, as always, practice, practice, practice!

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Beginner Guitar Scales Lesson Made Simple (4)

The Major Scale

Understanding the major scale is a necessity if you want to understand music at all. It comes pretty close to being the foundation of all Western music. The minor scale is based on it, as are the pentatonic scales and all the other modal scales you'll eventually learn.

The notes in the G major scale are: G, A, B, C, D, E, F#, G. Here's what it looks like:


E ------------------------------------------

B ------------------------------------------

G -----------------------------0-----------

D ------------------0--2--4---------------

A -------0--2--3--------------------------

E ---3-------------------------------------


Now let's extend it up the neck:


E -----------------------------------------------0--2--3--

B ------------------------------------0--1--3-------------

G -----------------------------0--2------------------------

D ------------------0--2--4-------------------------------

A -------0--2--3------------------------------------------

E ---3-----------------------------------------------------


There are a couple of major scale patterns you'll want to learn. Notice that these are all the exact same notes; the difference is in where each note is played and the fingerings you use:

E ----------------------------------------------------2--3-----

B --------------------------------------------3--5-------------

G --------------------------------2--4--5---------------------

D ---------------------2--4--5---------------------------------

A ----------2--3--5--------------------------------------------

E ---3--5------------------------------------------------------

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


And:

E ----------------------------------------------------------3-----

B -----------------------------------------------3--5--7---------

G ------------------------------------4--5--7--------------------

D -------------------------4--5--7-------------------------------

A --------------3--5--7------------------------------------------

E ---3--5--7-----------------------------------------------------

1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1

That last pattern can be pretty difficult at first because you really have to stretch your fret hand. If you feel pain or fatigue in your left wrist, stop for a while. Remember to keep your wrist rotated forward, and to focus on slow, steady, accurate alternate picking. Also, whenever you learn guitar scales, pay close attention to the suggested fingerings to develop good habits. Keep practicing each of these patterns until it sounds smooth and steady. Now try moving the patterns up the neck. Just like the pentatonic patterns, you can move to different keys simply by moving these patterns to different root (starting) notes.

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Beginner Guitar Scales Lesson Made Simple (3)

The Major Pentatonic Scale

Here's the good news: now that you know the minor pentatonic scale, you also know the major pentatonic scale. It's the same pattern. The difference is the chord or key that the scale is played over. Let's look at our E minor pentatonic again:


E ----------------------------------0--3---3--0-----------------------------------

B ---------------------------0--3----------------3--0-----------------------------

G --------------------0--2-----------------------------2--0----------------------

D -------------0--2-------------------------------------------2--0---------------

A -------0--2-------------------------------------------------------2--0----------

E --0---3-----------------------------------------------------------------3--0----

When it's played over an E chord, it's E minor. When it's played over a G major chord, it's G major pentatonic, and it has an entirely different sound. Try playing a G major chord a few times and then running through this pattern, starting on the low G instead of E. You'll hear a brighter, happier sound than if you play the scale after playing an E minor chord. As you learn and experiment more, you'll find that even simple guitar scales can sound entirely different depending on the chords you play them over. So, even though this lesson focuses on guitar scales for beginners, you're learning extremely powerful tools that you'll use every time you pick up guitar.

So, how can the same exact notes be two different scales? The answer lies in chord theory. G major and E minor are what are known as relative chords, meaning that they share two common tones. G major is G, B, D, and E minor is E, G, B. In fact, the G major scale and the E minor scale also use the exact same notes, which we'll get to shortly. For now, just remember that relative chords on a guitar are separated by three frets. If you're playing a major chord, move down three frets to find the relative minor. Even though you might think these are simple guitar scales, that doesn't mean they aren't powerful and capable of being used to create great music! Experiment and practice, practice, practice.

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Beginner Guitar Scales Lesson Made Simple (2)

The Minor Pentatonic in Other Keys

Obviously, not all songs are in the key of E. Luckily, playing in different keys is pretty easy on the guitar: we just shift the scale to a different position. To explore this idea, let's work on the A minor pentatonic scale, another very common key.

To play in A minor, we move to the fifth fret, which is usually the second dot on the fretboard. Our pattern looks like this:


E --------------------------------5--8---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-


Notice that we don't have any open strings now; we'll have to fret every note. To do that, we will play in the fifth position: our pointer finger will play every note on the fifth fret, the middle finger would play any notes on the sixth fret, the ring finger plays all the notes on the seventh fret, and the pinky plays notes on the eighth fret. With suggested fingerings, the pattern looks like this:


E --------------------------------5--8---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--


__1 4 1 3 1 3 1 3 1 4 1 4 4 1 4 1 3 1 3 1 3 1 4 1


Using that pinky is really important, although it's also really hard at first. Keep working at it because your playing will be more limited if you only use three fingers to play. Make sure your left wrist is rolled forward so your wrist and hand make close to a ninety-degree angle. This makes it much, much easier to reach those pinky notes, especially on the lower strings, and it also reduces wrist fatigue.

The great thing about this scale pattern is that you can play it in any key simply by moving it up and down the guitar neck. The key is simply the first note on the low E string. So, to play it in F, move your hand to first position: first finger on the first fret. To play it in C, move to the eighth fret, and so on. This means that when you learn guitar scales, you get a lot of bang for your buck: one pattern can open up twelve new guitar scales for you!

Your mission now: practice this pattern until you can play it smoothly in any position, remembering to focus on alternate picking. And, of course, try different combinations of notes, different patterns, and anything else you can think of. Use your ears to find what sounds good to you, and then work to expand it.

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Beginner Guitar Scales Lesson Made Simple (1)

Most popular music, whether it's rock, blues, or even country, is based on a few common scales, so we're going to start with those. Specifically, we'll look at the major and minor scales, and the major and minor pentatonic scales. These are fairly simple guitar scales that are extremely useful in a wide variety of musical contexts.

First Things First

Let's make sure we have some basic terms down. A scale is a sequence of notes based on a specific chord. The scale begins on the tonic, or root, note. For example, all scales in the key of C will begin on the note C. This can also be called the '1' note, and the notes that come after are referred to by their position in the scale. Looking at the C Major scale, the note D comes next, so that's the second note, followed by E (the third), and so forth.

The Minor Pentatonic Scale

The minor pentatonic scale is probably the most useful scale you'll ever learn on the guitar. It's also one of the easiest beginner guitar scales to learn. This one scale is the basis for literally thousands of songs, and you shouldn't go any farther in the lessons until you can play it smoothly, in all positions. We're going to begin in the key of E because that uses open strings, which makes it a little bit easier to start with. First of all, there are only five tones in the minor pentatonic ('penta' = five; 'tonic' = note). In E, these are: E, G, A, B, D. It looks like this:


E -------------------------------

B -------------------------------

G -------------------------------

D ------------------------0--2--

A ---------------0---2----------

E ------0---3-------------------

_____0 3 0 2 0 2


Make sure to pay attention to the suggested fingerings: third finger on the third fret and second finger on the second fret. Also, as you learn guitar scales it's never too early to start working on alternate picking: picking the notes in an alternating down, up, down, up pattern. To do this, down-pick the first E by picking toward the floor. Then up-pick the G by picking up toward the ceiling. Down-pick the open A and up-pick the B. Finally, down-pick the open D and up-pick the E on the second fret to finish. Try to make your hand movements as small as possible. It won't be easy, but it's a critical skill.

That's it: the E minor pentatonic scale. Of course, you're going to want to use the higher strings also, so now we'll extend the scale to two octaves, with an extra G on top to finish the pattern. It looks like this:


E --------------------------------------0--3---

B -------------------------------0--3----------

G ------------------------0--2-----------------

D -----------------0--2------------------------

A ----------0--2-------------------------------

E --0---3--------------------------------------


Notice that the notes simply repeat from one octave to the next. Practice playing this scale until you can do so smoothly and with alternate picking (down, up, down, up, etc.). Focus on picking in a slow but steady tempo, and remember to keep that right hand movement as small as you can.

Once you can play figure 2 comfortably, you're ready to come back down the neck. It looks like this:


E --------------------------0--3---3--0-------------------------

B ----------------------0--3-------------3--0-------------------

G ----------------0--2-------------------------2--0------------

D -----------0--2----------------------------------2--0--------

A ------0--2-------------------------------------------2--0----

E --0---3--------------------------------------------------3--0--

Notice that we repeat the high G: that's just to make the picking pattern a bit easier. Practice until you can play this entire pattern smoothly and with proper picking. Even simple guitar scales can sound great if you play cleanly, smoothly, and with confidence, so practice until you're happy with the way this scale sounds.

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Learn Amazing Improvising Guitar Solos

Author: Ronald W. Firquain

Playing guitar is an incredibly fun and rewarding hobby that never gets old. Playing guitar is fun and rewarding, but it is important to pay attention to your wrists and hands to avoid carpal tunnel syndrome, tendonitis and other painful conditions. Playing guitar is a physical and mental skill as well as a creative one, and your body will take time to learn to create the sounds you can hear in your head. Playing guitar is as much about moving to a new position as holding down a chord. Playing guitar is artwork, you need to practice and perfect the craft.

Playing guitar is never boring, you can always learn something new. Playing guitar is actually really easy, which is why it is one of the most popular instruments on the planet. Learn to play guitar the easy way, if you have always wanted to learn to play the guitar, or have tried and not been able to get any results you might think playing guitar is too difficult for you. The true beauty of playing guitar is that every facet of the instrument from the style of guitar, the features of the guitar and ultimately, the music you choose to play on the guitar, is all about individual preference.

What comes to mind when playing guitar is a feeling of pure joy. However, there are a lot of things I do right handed, and playing guitar is one of them. And is not that really what playing guitar is all about. The main thing is, it has to be FUN, because that is what playing guitar is all about. Imagine that you, or someone you know, who does not know a thing about playing guitar is banished to a deserted island in order to study guitar sols. Since playing guitar is quite a sensual experience, the more sensitivity the player has the better.

I find that playing guitar is more based on intervals and scale degrees and playing piano is more based on the actual notes in the scale. I am always amazed to hear of people practicing in front of the television, as if playing guitar is just some rote mechanical exercise. But I am sure you also agree that playing guitar is much more complicated than riding a bike. As you can see not playing guitar is not the end to your musical career, playing instruments other than a guitar is the way to go to ensure that you are going to be able to get into a band.

You do not win at guitar because playing guitar is an art of many styles, but you can win against yourself by working on your weak points or struggles. The cornerstone to faking like you are super awesome at playing guitar is called the pentatonic scale. Also realize that most great players know that playing guitar is a lifetime project and the better they get, the more they want to get better. The art of playing guitar is on a comeback, however. Made so Simple that total beginners can finally understand what it takes to play If you know the shortcuts, playing guitar is as easy as 1-2-3.

About the Author:

Ronald Firquain is a writer, marketer, entrepreneur, webmaster and has 16 years of computer knowledge. You can download ebooks for making money online, building a website, play golf, guitar and more. For more information goto: eBooks Mall

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Learn How To Play Electric Guitar - Top 10 Techniques You Can Use Today

The electric guitar is one of the most popular musical instruments today. This instrument is used by most musicians since it is portable and easy to use. However, not everyone can play this guitar like a professional. Here are some tips that will help people learn how to play electric guitar.



The first tip to learn how to play electric guitar is to get to know the instrument. By acquainting yourself with the instrument, you’ll know its parts, how they each function, and how they each contribute to the making of wonderful music.

The second tip is to choose a teacher. There are two ways to learn how to play electric guitar. You can choose to learn by yourself or you can choose to select a teacher to guide you with the basics. It is advisable to have a teacher if you are a beginner since not everything can be learned by yourself. A music teacher can teach you how to read notes and scales. By knowing how to read notes, you can play musical pieces right off a music sheet. You also enjoy a wider range of musical genres.

The third tip involves knowing how to play the basics first. Like the piano, a guitar also has its sets of notes and chords. You only know which strings to press and where to press them. Once you get the hang of it, you’ll find yourself being able to read notes off a musical score. This is useful if you want to become a professional musician.

Once you master the notes and the chords, you can journey into strumming. This is the fourth tip to learn how to play electric guitar. Most guitar players use different kinds of strumming patterns. This is especially helpful when playing songs off a song magazine or when you just want to perform an acoustic version of the song.

The fifth tip in learning how to play electric guitar is to incorporate some simple scales and licks to your guitar playing. Scales can be done once you master your basic notes. The same goes for licks.

The sixth tip is to master how to bend strings. You can also apply vibrato or make sure that your notes vibrate while you play. This is easy to do yet hard to master. Musicians often apply various techniques in doing so.

The seventh tip to learn how to play electric guitar is to learn how to use the volume and tone controls of the guitar to your advantage. The electric guitar is also said to be able to produce a wide variety of sounds. By knowing how to use the controls found on the guitar, you can have access to these different sounds.

The eighth tip also has a great deal to do with sounds. The student is advised to know how to mute the electric guitar’s strings. Muting strings means being able to silence the strings which you don’t want to give-off sound. This is because the electric guitar’s amplifier magnifies any sound played on the guitar which includes these unnecessary strings.

People who have chosen to master the electric guitar should not overlook the ninth tip. They should remember to first select easy songs to play. Take things one day at a time. Don’t rush. You’ll master the electric guitar eventually. Trying to play difficult and complicated songs all at once will only overwhelm you so to avoid feeling stressed out, do the easy ones first.

The last tip to learn how to play electric guitar is to practice. Practicing how to play the electric guitar is the most important tip of all since everything is made easier as you become familiar with the instrument. Since you already know the basics, it is up to you to perfect these techniques so that you can become a more skillful musician.
William Thompson

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Guitar Tips

The guitar specialists at st john's music periodically post useful guitar tips in our guitar tips blog if you have an idea for a tip you'd like to see here, let us know. Learn guitar in 7 hrs fast, easy, professional guitar lessons 10 guitar tuning tips and secrets tune your guitar every time you pick it up to play, guitars can go out of tune sooner then you think avoid leaving your guitar in areas with.

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Learn to Play Guitar - Pinch Harmonics and Making your Guitar Scream

In this article I'll explain how to make your guitar squeal with Pinch Harmonics. A lot of guitarists have trouble learning how to do these, but it's really a simple technique.

I'm going to touch on all types of harmonics in an effort to explain how Pinch Harmonics work when your playing the guitar.

If your like me you like to add a little expression when playing your guitar, by adding some harmonics and pinch harmonics.

To get this started we're going to go into a little detail about how the guitar strings actually work. Now I'm not going to be all technical, as that's not who I am :o)

Basically the guitar string vibrates between the nut and the bridge. If you look closely you can see the string vibrating like a sine wave.

Natural harmonics happen at the spaces along the string where the "wave" stops and starts a new one. (Not technically correct but makes sense to me this way).

This normally happens just above the 5th fret, the 7th fret, and the 12th fret wires. If you take a minute in a well lit room you can see the spots where the vibration along the string actually seems to be stopped. When you lightly touch a ringing string on these points you will get a natural harmonic chime.

Tap harmonics are simply fretting a string and moving the natural harmonic spot up accordingly. For example: If you fret the Low E String at the 3rd fret and pluck the string, your "natural harmonics" would no longer be at the 5th, 7th, and 12th frets. You would Tap the string above the 8th, 10th, and 15th fret wire to sound the harmonic. Hence the name....Tap Harmonic.

Now..to the meat of this...the all powerful Pinch Harmonic!! I say all powerful just because I love the extra expression and sound you can get from them.

To do a Pinch Harmonic you basically "Pinch" the string between your Pick and the side of your thumb that's holding the pick. This is the way I do them and have had excellent luck with this technique.

When you strike the string you let your thumb sound the harmonic you want. It takes a bit of trial and error to find the right areas above the pickups that sound the harmonics you want, but only a little.

The best way to learn the placement is to crank up your distortion (easier to sound them), and on put your fret hand on the Low E or A String on the 5th or 7th fret as if you were playing A note or D note.

Start with your pick in about the middle of the Neck and Bridge pickups and "Pinch" the string so that when your pick sounds it your thumb immediately touches the string. This should sound a Pinch Harmonic. The motion is similar to turning the ignition in a car, just not as drastic...it's a slight "Turn" or "Pinch" on the string.

You may have to move your hand slightly higher or lower on the string to find the "sweet spots". Keep trying different areas until you get it just right.

Once you've found the spots that give the sounds you want, make a mental note of where they are. When you move your fret hand higher or lower on the neck...the places you can hit the harmonics will move slightly. This falls in line with the way a Tap Harmonic works, so keep that in mind.

Keep practicing finding the "Sweet Spot" until you can do it each time you try. This part does take a little time and practice.

Just as a note: When you change to a different guitar, be prepared to relearn where the Pinch Harmonics sound. Every guitar I've played on has them in slightly different places. Differences in neck length, bridge placement, manufacturing tolerances all come into play.

So, that's all there is to it...Keep practicing till you get the feel for it, try adding bends and sound another one, you'll make that guitar scream like a wounded banshee in no time.

If you want to really increase your skill with Pinch harmonics after you get the feel for them, try practicing them with a clean sound. They can still be sounded and your accuracy will increase exponentially!

About The Author


Todd Arsenault has been playing guitar for over 20 years and has played with several bands over the years. Todd plays guitar with a local band called Disobedience. You can find more tutorials and lessons on how to learn to play guitar at his website: http://new-user.com.


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Guitar Tuning with Natural Harmonics--Downbeating

Downbeating describes the technique whereby natural harmonics are used in tuning guitars. This is a very effective way to tune guitars that can be more accurate than just tuning by ear. It is also a great way of fine tuning once your have approximated tuning with standard techniques.

A prerequisite technique you must learn before you can use downbeating is hitting natural harmonics. Natural harmonics are produced by picking the string while lightly touching the string over the fret wire. You don’t need to push the string down against the fret wire. Natural harmonics sound like a ringing chimed tone. The easiest place to practice natural harmonics is the 12th fret, but you can produce a natural harmonic at nearly every fret. It is easier to hear them when your guitar is plugged into an amp and even easier when using the overdrive channel.

Once you have mastered hitting natural harmonics downbeating is quite simple. You can use this technique to tune every string except the B string (the 2nd string). The reason for this is because the interval between the G and B string is 4 half steps rather 5 half steps like all of the other strings.

Here’s how to do it. Start at the E and A string and work your way up. Simply hit the natural harmonic on the 5th fret on the lower string followed by the natural harmonic on the 7th fret of the higher string next to it. They should produce the exact same tone. For example, if you are tuning the E and A strings, hit the natural harmonic on the 5th fret of the E string followed by the natural harmonic on the 7th fret of the A string. You need to have both natural harmonic tones sounding together at the same time. If the strings are not in perfect tune together, what you will hear is the tone oscillate back and forth between the two strings. The faster the oscillation the further off tune the strings are. As you adjust the tuning peg you should hear the oscillation slow down until you only hear one non-oscillating tone. This is called downbeating. You may have to resound the harmonics a few times while you are adjusting the tuners. Once you hear only one non-oscillating tone the strings are in perfect tune with one another. Repeat the steps for all of the strings (except the B string) and you’ll find your guitar in perfect tune. This technique will work with any guitar acoustic or electric but is much easier to hear with an electric through the overdriven channel.

Try this proven technique, and I’m sure you’ll enjoy the sound of your guitar in perfect tune. Visit www.2ndstringguitars.com for the best value in new and used guitars, factory 2nds, and refurbished instruments at cheap guitar prices.

E. Lucktong


About The Author

E. Lucktong is an avid guitar player and performer with over 20 years of experience. Visit http://www.2ndstringguitars.com for great values on new and used guitars, Factory 2nd and refurbished guitars, and vintages


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Guitar Lessons on DVD

The guitar is a wonderful instrument and it is easy to learn how to play it. Several people just learn how to play the guitar by doing three simple steps. One, they bought (or borrowed) a guitar; Two, they memorized the chords; the last is that they buy a lyric magazine, pick a song, and strum the guitar. This all sounds so simple but in reality it is not. Unless you know your music, you might end up sounding like a fool and end up embarrassing yourself in front of many people.


Learning how to play a guitar by watching professional guitar players do it on a DVD is really beneficial for beginners and even those who have been playing for a long time. Watching a DVD provides many advantages such as doing this in the privacy of your own home. You can also pace yourself and learn more in a shorter amount of time, back up anytime if you forgot anything, or pause. Using a DVD as a tool, you will not have to go to the hassle of looking for a private tutor and/or spend a lot of money for guitar lessons.

Watching someone else play guitar is the easiest way to learn how to do it. whether that someone is your friend, a private tutor, an artist or someone in a DVD, it is advisable to learn by watching how they do it.

Professional guitar players help other people by showing the simple steps in learning how to play a guitar in a DVD.

The first step they usually show in the video is learning how to tune the guitar. This is particularly helpful for beginners as they usually do not know how to it. This is usually done by playing EADGBE (low to high) and listening to ascertain if there is a problem with the sound. Another thing they will teach will be steps on how to replace a string and tune it again.

The next step is learning different kinds of fretting techniques and chord shortcuts to help in learning the easiest ways of plucking and strumming of the guitar. There will also be different instructions on how to create chord accompaniment when composing a new song.

These DVDs usually are packed with information and is usually focused on only one subject (facet) of guitar playing so a student can learn more about that particular part of playing the guitar.
For More Information on Guitar DVDs by Ian Williamson please visit http://www.real-articles.com/Category/Guitar/96

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A Metal Guitar Lesson

Metal guitar is a very popular genre with people who feel that negativity and hopelessness are not getting a fair go in modern music. If you are reading an article called "Metal Guitar Lesson" you probably have an idea about what Metal is but if you don't, the best way to describe it is by listing some Metal groups.


The genre originated with the loud, in-your-face music of the late sixties and early seventies pioneered by guitar players like Jeff Beck and Jimmy Page. This style quickly moved onto another definition of the word "music" where melody fades into the background to give way to the quantity and quality of sound the guitar player is able to produce. Iron Maiden and Judas Priest are early Metal guitar groups. Slayer, Metallica, Megadeth, Motorhead and Slayer, Sodom, Kreator, Destruction, Children of Bodom, Tankard, Testament and Pantera are also well established but represent the more ruthless Metal guitar music known as Thrash Metal.

Every metal guitar player needs to be a fantastic string bender. The whammy bar on your guitar will change the pitch of your strings but if you have a cheap guitar you might have a problem with strings breaking. It's best if you do it the non-whammy bar way which is pick a note and move the string sideways to bend the note up.

To get that chugging effect so desired by heavy metal guitarists, you will need to learn to mute the strings. If you have been listening to Metal guitar, you will have heard the sound, so now follow the description to find a comfortable way of MAKING the sound: simplay hold your pick in the usual playing position and place the pinky side of your hand on the strings to muffle the sound. Now take a few minutes to slowly find a way so you can pick notes on the sixth string while your hand is still muting the sound. As you become more familiar with picking in this position, you will be able to extend your range of palm muting techniques.

Once you have palm muting working for you, you could start to master machine-gun picking. This is lightning-fast up and down strokes with the pick. It takes some practice but you will be glad you did when you start combining this standard metal guitar technique with palm muting.

Vocals are not the strong point of Thrash Metal so let's get to the equipment you need to become a Thrash Metal guitar player. Distortion is an important part of Metal so a distortion pedal is essential. You will need the usual guitar stuff like plectrums and a tuner and a metronome.

The musical background you need for learning Metal guitar is much the same as for blues players. The major, minor, pentatonic, minor harmonic scales will be handy plus the phrygian, lochrian and byzantine modes. You might want to learn to read music or at least, tab.

Another characteristic of Metal guitar is the use of drop tunings. If you play Metal your guitar should be tuned low. It gives you a totally different kind of control over your strings, your sound is more aggressive and you can do more with hammer-ons and tapping. You could just begin by tuning your guitar half a step down. Not a drastic change but it makes your guitar sound more growly without losing all the high range. Or you could take your strings down a whole step so that your guitar is tuned D G C F A D.

If you take your tuning one and a half steps or two steps down your guitar is now sounding menacing. If you want to tune your guitar any lower than two steps down, a longer than normal neck will stop the strings from moving around too much.
Do you want to learn to play the guitar? Learn How To Play A Guitar For Free is a constantly updated blog which contains all the resources you need for: learning to play solo guitar, how to learn guitar chords, how to learn to read and play easy acoustic guitar tabs, finding a free online guitar tuner, looking for free guitar lessons online, and how to learn guitar scales

guitar Article source : http://www.articlesbase.com

Guitar Lesson: Play Country Guitar Licks In A

Many things you learn from playing country guitar licks can be used to spice up solos in other genres. You will now learn to play some useful country licks in the key of A. Some easy, some a little bit awkward but nice!


You can play these licks using a pick or with your right hand fingers. You can also combine the pick with the use of a couple of more fingers like the middle finger and ring finger. This is commonly called hybrid picking. Having a few fingers at your disposal makes it easier to play licks with a lot of jumping between strings.

You will use a form of guitar tablature I have found suitable for articles like this one. The notes you will play are notated with the fret to play before a slash and the string after the slash. An example:

2/4

This means: Play the second fret on string four!

You will start with an A-major scale with some ringing open strings.

We will use hammer-ons in this scale. I will notate them with the letter h between the notes:

0/5 7/6 4/5 0/4 7/5 4/4 h 6/4 h 7/4 0/2 6/3 3/2 0/1 7/2 4/1 h 5/1

You will now play this scale descending. This will require you to replace the hammer-ons with pull-offs notated the same way with a p between the notes. It will look like this:

5/1 p 4/1 7/2 0/1 3/2 6/3 0/2 7/4 p 6/4 p 4/4 7/5 0/4 4/5 7/6 0/5

Your first country guitar lick will take you from E7 to A. We will use hammer-ons and pull-offs even in this lick. The suggested chords to play with the lick is in parenthesis:

(E7) 0/6 3/6 h 4/6 0/4 2/4 p 0/4 4/5 0/4 2/5 p 0/5 3/6 h 4/6 (A) 0/5

It is easiest to play in the second position. This means that you play the notes on the second fret with your index, the note on the third with your middle finger and so on.

In your next lick you will also use slides. I will notate this with an - between the notes:

4/3 - 5/3 3/2 0/1 3/2 5/3 - 4/3 0/2 2/3 5/4 - 4/4 0/3 2/4 p 0/4 3/5 h 4/5 0/5

The following country guitar lick uses a bend up a half note. It is notated (1/2b) before the note:

(E7) 3/1 h 4/1 0/1 3/2 p 0/2 2/3 0/3 h 1/3 2/4 p 1/4 p 0/4 (1/2b) 3/5 (A) 0/5

My intention with these licks is that you will learn them by heart as soon as you can. Play a couple of notes or so at a time until you know them by heart and add a couple of more notes. The notation is not important. It's just a means to convey the lick.

As soon as you know the lick by heart you can experiment with it and change it as you like.

Country guitar licks are often played in a way that creates a rapid succession of notes using a minimum of energy. This is accomplished by the following means:

1. Using a pick and two more fingers or only using the fingers with maybe a thumb pick.

2. Using as much open strings or strings ringing together as possible.

3. Using slides, hammer-ons and pull-offs and of course bends.

There is a risk with this type of licks. The ultimate goal is of course to play them fast and fluid, creating this nice cascades of notes that you can hear from a good country guitarist. To reach this goal you really have to practice these licks slowly using as little tension as possible as you play.

If you are that type of person that wants to learn things fast I guess you have to remind yourself that the fastest way to learn to play fast is to play slowly. It is as easy as that.
Peter Edvinsson invites you to download your free sheet music, guitar tabs, ebooks, guitar lessons and read his music blog at Capotasto Music.

Guitar lesson source : http://www.articlesbase.com

Learn To Play Guitar - 3 Tips For Faster Learning

If you want to learn to play guitar, then you need to make sure that you're getting the most from your playing time. When I was learning, I went through the pain you feel when you seem to go for weeks or even months without getting any better. The reason this happens is that without realising it, you get stuck in a "learning rut" - you're trying really hard, but you're not letting your brain recover enough to take in new information. So how do you get round this, and move your guitar playing into the fast lane?


1. Change guitar playing activities

What do we mean by this? Well, there are different aspects to playing any musical instrument. For example, if learning the guitar, you have to know chords and scales, you have to learn the chords which make up the songs you want to play, and maybe you want to learn the solos too. So don't get hung up on one tricky chord, or on a cool riff you really want to play. As soon as something starts to seem difficult, stop and change! If your soloing isn't progressing, spend a week learning new songs with chords you already know well. If there's a tricky chord sequence in your favourite track that you just can't get, then leave it for a couple of weeks, and try to improve your guitar tabs skills.

2. Play with other guitar players

It never ceases to amaze me how many people miss this one, and it's probably the most important thing you can do. I remember I probably practiced on my own for two or three years, because I didn't think I was good enough to play with other musicians. Big mistake! When I finally did start to mix with some other musicians, it was amazing how much I learned, and what was even more amazing was that I was able to show the other guys a couple of tricks. That really boosted my confidence, and my guitar playing went from strength to strength!

3. Use a really good learning tool

Over the years I've probably tried everything. Guitar books, guitar lessons on CD and DVD, private one to one guitar lessons, jamming along to records and CDs, watching peoples fingers in music videos - you name it... I eventually realised that what you really need is a complete learning package which encompasses the best parts of all these techniques, and packages it into a structured, easy to follow guitar course.

Guitar article source : http://www.articlesbase.com

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Guitar Lesson : Warming Up

Improve Your Performance with these Physical, Musical, and Exercise Routines
GuitarOne magazine (Vol. 5)
By Troy Stetina

So you're sitting in your bedroom practicing, and after a few hours you're really moving on a particularly difficult solo. "I've got it!" you say. You play it again, challenged yet confident, and once again you pull it off. Great. You set your guitar down, comfortable in the knowledge that you have nailed it. But later that day, something strange happens...

You grab your guitar to show off your latest conquest to a friend--or perhaps your guitar teacher--and your fingers don't respond the same. You can't create the same flow, so you push harder. You screw up. You try again and totally lose it! After a third equally unpleasant whack at the thing, you exclaim in frustration, "I don't understand why I can't play this! I was just flying over it a few hours ago."

What's going on here? The answer lies in two words: warm up. Or, more specifically in this case, a lack of warm up.

The fact is, you just cant play your best at the drop of a hat; or to say it another way, your abilities are never constant. They fluctuate depending on your state of mind and body at any given moment. An extreme case demonstrates this fact quite well: Imagine you had to play immediately upon waking in the morning. How well do you think you'd do? Your muscles and tendons are stiff, your brain is still foggy, not to mention your eyes are still glued half shut (if your morning experience is anything like mine). Yeah, you could play a little, but it's not exactly showing your abilities in their best light!

Okay then, obviously some times are better than other times. Let's imagine we have a ten-point scale to rate your level of readiness. Zero is "first thing in the morning," and ten is right at your absolute peak--you are sharp, fully warmed up, feeling creative, and everything is clicking. What level do you have to be at in order to pull off that solo? A nine or ten. And what level are you right now? Say four or five. So if you try to force it right now, you're gonna choke! You have to get up near ten first, before you try to pull off your hardest stuff, and for that you need a good warm up.

What is the best way to warm up? All the various techniques break down into three basic categories. First, there are the physical approaches--stretching and the like. Second, we can simply play music, or jam. And third, we can play specially crafted "warm-up exercises."

The Physical Approach

We'll start with the physical approach-working your muscles to get the blood flowing, stretching the muscles and tendons, and literally warming the temperature of your hands and forearms. In this vein (pun intended), Steve Morse's suggestions are an excellent starting point: "The first step is to develop the good habit of washing your hands in warm water. This is to get your hands warmed up and, of course, get them clean. Getting your hands literally warmed up makes it easier to stretch."

Next, you could try stretching and working the muscle groups you are going to be calling on. This also warms the temperature of your hands. Try a Grip Master, or simply squeeze a tennis ball repeatedly for a minute. The idea is not to get an intense workout, but just to get the blood flowing a little. As Ritchie Sambora admits: "If I don't have enough time to warm up sufficiently, I use the Grip Master. That will get you close because it works all those muscles."

And of course you can go further, stretching and massaging each of the muscles and joints. Start with each finger and move on to the hand. Then push and pull all the fingers back and forth to stretch each wrist slowly over its range of motion. Massage the forearms a little and stretch out the elbows and shoulders. Try this once and see how it feels.

The Musical Approach

The second "category" for warming up is simply to jam on music. It could be full tunes, or perhaps just riffs or grooves. It could be all improvised, covers, or some of both. The main thing to keep in mind is that your purpose here is to get warmed up and not to set any new land speed records, so don't be overly aggressive. Let the music power your fingers, and before long you'll notice your vibrato getting more intense, your speed coming on naturally, and your bends getting easier.

Extreme's Nuno Bettencourt favors warming up with this jamming approach before shows: "The best way to warm up for me is playing. We have a small drum kit in the dressing room, and ... I just jam along with [the drummer]. You start off nice and slow, whether it's a pentatonic thing or anything you choose. Play with a slow pace for a while and then sort of build it up. At the end of my warm up [we're] out of control."

To give you something specific to try out this build-up style, jamming approach, I've collected a few riffs for you as samples. Each one focuses on a different technique, or aspect of playing. Figure 1 is Hendrix's immortal "Purple Haze" riff. This famous single note lead-style riff works as a great starting point with its moderately slow pace, left hand position shifts and slight bending.

Figure 2 is the riff from Foo Fighters's "I'll Stick Around." This faster-tempo riff focuses on shifting barre chords. Figure 3 is from Metallica's "One." This one hones in on the picking hand. Don't worry about playing the full songs, just jam on each riff for a bit. Also, don't hesitate to go off and improvise your own variations on any of them.

Getting into and holding a groove for a few minutes is another excellent approach. When you are in a groove, the rhythm flows throughout your entire body. Rhythm is motion and motion is fluid-the opposite of stiffness. Blues and funk grooves both work nicely, loosening you up generally, without regard to specific techniques, so give each a try. Figure 4 is a typical 12-bar blues shuffle, with 6th and 7th comping. Figure 5 is the funky central riff from the Red Hot Chili Peppers' "Suck My Kiss."

A third musical warm-up approach is simply to put on a favorite record or CD--one which you already know the songs-and just play along, improvising. Carlos Santana favors this approach: I don't usually sit down and practice scales. I think that is the most boring thing. It's like eating a sprout sandwich ... I play to records a lot. I play along with John Coltrane's "Naima" and "My Favorite Things" and try to hang in there with McCoy (Tyner) and Elvin (Jones). Once the record is over, that's a good warm-up exercise."

The Exercise Approach

Some players, such as Steve Vai, Steve Morse, and Marty Friedman, often use specifically designed exercises as warm-up tools. If you're the patient, detail-minded type, you'll probably dig this approach as it is very systematic and can be quite effective. For others, exercises just drive them nuts. Give it a shot and see if they're for you. One thing to keep in mind though, in the words of Marty Friedman: "You can use anything that moves the fingers very, very slowly. No need to play warm-up exercises fast. What's the point?" Precisely. These are warm-up exercises, not speed-honing exercises. So dont push it. Focus on quality and having total control over the movement of each finger. After ten or twenty minutes of these, your fingers should really be feeling it.

Figures 6a-6c come via Steve Vai, featuring an exhaustive array of two-note-per-string mechanical sequences. With it, Steve suggests: "The metronome speed is up to the user. You have to start really slow so you doubt even make one little mistake." For these, play the patterns given using each of the fingering options located below the staff.

Figure 7 is lifted right from one of my books, Speed Mechanics for Lead Guitar and offers a condensed version covering the same finger combinations as Fig. 6. However, this time it's played with all hammer-ons and pull-offs.

Now let's try some three-note-per-string patterns in Figure 8, courtesy of Steve Morse.

Figure 9, again from Speed Mechanics for Lead Guitar takes the three-note-per-string idea but conforms it to an A natural minor scale, a la the ever-terrifying, chainsaw-wielding axeman Paul Gilbert.

In Figures 10a and 10b, Marty Friedman mixes up the three-note sequence a little, moving it up and back down the neck. Then he stretches out, adding a string-skipping approach. Slowly, slowly, slowly.

Figure 11 is the chromatic exercise employed by Warren DiMartini. He throws a curve in on the picking side, however. First, he plays it all with downstrokes for a while. Then all upstrokes for a while. Finally, he gets around to alternate picking.

Neal Schon adds a totally different warm-up approach, with string bending and vibrato. "Use fast vibrato, slow vibrato, use extremely slow vibrato, and make sure that note always comes back to the top when you- come off it. Practice just holding the note forever while stretching up to it. I think that's a great warm-up exercise for all new guitar players that play a million notes. Practice just hitting one note and making it sing" (Figure 12).

To wrap it up, take a whack at Figure 13, also drawn from Speed Mechanics. Here we blend Schon's bending fetish with another popular Vai exerciseplaying single-string scales.

Of course, nearly any exercise could be an effective warm-up exercise. The idea is to get your fingers loosened up and reacquainted with the fretboard. So feel free to adopt, alter, or abandon these, as you wish. Or trash the whole exercise approach altogether if it bores you. After all, if you find them boring, they're not going to get you very warmed up! Everyone is different. Use whatever works for you!

Since You're Gonna Do it Anyway, Why Not Do It Right?

The fact is, you are going to go through a warm-up process every time you play, whether you know it or not. I mean, your speed and accuracy are always a little less at first, until you play a while. The only difference here is that you are learning how to take control of it. Now you can show off your best when the spotlight is on. Meanwhile, you wont be risking the strain injury that can result from pushing too hard, too fast.

Troy Stetina is internationally recognized as a leading author, musician, and critically acclaimed guitar virtuoso. He has created rock and metal programs for workshops, as well as a university level program at the Wisconsin Conservatory of Music.

************

Artist excerpts and examples courtesy of Speed Mechanics for Lead Guitar by Troy Stetina, and Warm-Up Exercises for Guitar by John Stix and Yoichi Arakawa.

guitar article source ; http://www.stetina.com

Online Guitar Lessons

Out with the old, in with the new; online guitar lessons are revolutionizing the way the world is learning to play. Streaming video has given people the ability to learn from the convenience of their own home, anytime they'd like. In this article, I will briefly touch upon the main advantages & disadvantages of this method.

Advantage: Convenience
It's hard to put a price on convenience. Imagine how nice your life would be if you could do everything from home: shop, work, learn, exercise, etc. With the increases in internet speeds, home education is no longer a wishful future. High quality videos are now able to be streamed to you at your own PC.

Traditional methods of guitar lessons require the students to commute to schools or studios for their lessons. With a 30 minute / 30 mile commute each way, you can plan on burning up an hour of your time & a bit of gas just to get to the lesson. Beyond that, you have to pack up your guitar, amplifier, pedals, and any other equipment you need. You are also required to get there for a set appointment. With online lessons, you are able to take the lessons whenever you want without having to go anywhere; there are no restrictions.
Advantage: Choose Your Instructor
With an online guitar lesson site such as JamPlay, you are presented with a variety of instructors. You can check out the biography of each one and watch some sample lessons to decide which person is the best fit for you. You can watch any lesson from any instructor anytime you'd like – there are no limitations.

Beyond the personality appeal of each instructor, you should consider their teaching style. You may like the way a person acts, but their style may not mesh well with the way you learn. Some teachers are visual while others are hands on. Instructors are also usually very genre-specific. It is rare to find a person that knows multiple styles in and out (such as metal, bluegrass, and blues). With a site like JamPlay, you can learn all of these styles by checking out other instructors.
Advantage: Flexible Lesson Sets
There's nothing more irritating than learning only what somebody else wants to teach you. Sometimes an instructor will be very stubborn & will teach the same curriculum regardless of what the student prefers. This makes for a rather dull lesson set & takes a lot of fun away from the learning experience. With the multi-instructor approach with online lessons, you are able to pick & choose exactly what you want to learn. Unlike other methods (books, DVDs, in-person), we allow you to decide what you learn; you decide, we teach.
Advantage: Very Affordable
One of the most important things to consider is value. Nobody wants to spend a ton of money to learn to play guitar. With in-person instruction, you are looking at anywhere from $20 to $60 per half hour lesson.

The business model for an online membership website allows the company to provide more content for less money. For example, let's say a website has 100 members paying $10 each. This means they would generate $1000 in revenue. They can then use that revenue to film even more lessons. It is impossible for one instructor to teach 100 different people a handful of lessons every month. This time saved with the use of computers allows the business to serve more customers with less overhead.

As the customer, you're getting an incredible value. You will receive dozens of hours of instruction for only $19.95. Compare that with a half hour of instruction for the same price (if you can find a cheap teacher) & the numbers speak for themselves.
Disadvantage: Less Extensive Interaction
If you are taking lessons with an in-person instructor, you are able to instantly ask questions about a lesson / technique & receive a response right away. This type of interaction is a valuable tool when learning to play.

To try to bridge this gap, JamPlay has initiated a new concept: Video Q&A. If you have a question about anything, you can submit it to us via email. We will then film the response from an instructor & post the answer / mini-lesson online for you to see. The response time isn't quite as good as if you were sitting next to the person, but it is still quite helpful.

Guitar article source : http://www.jamplay.com

Highway One™ Stratocaster® HSS (Upgrade)

The Highway One series is upgraded for '06! Super-size frets, '70s styling, new alnico pickups in the neck and middle positions and new colors take this amazing guitar to the next level.

The new neck and middle position pickups on the Highway One Stratocaster HSS guitar produce a more round tone that can sound glassy and great with high gain. The thin nitrocellulose lacquer finish lets the body wood's natural tone shine through, making for one of the most exciting new instruments in the Fender family!

Guitar product source : http://www.fender.com/

Jimmy Page Rock Lick

In this lesson we're going to be going over a really simple and yet amazing sounding blues/rock lick, that Jimmy Page himself used quite a bit. In fact it was by listening to Led Zepplin that I learned this riff. He has used it on several recordings, but it is at the halfway point of Good Times, Bad Times where it really stands out.



I have heard Zakk Wylde use this same riff, or a variation of it in his earlier days with Ozzy, and my memory has failed me at the moment, but I wouldn't be surprised if I heard it turn up again on one of the Black Label Society albums.

Its really simple, sounds good slow or fast, and it can be put to your playing immediately. Also the example below will show it in one position, but you can move it anywhere you like. Just use the same fingering and picking. This particular version of it is my own variation, but Jimmy Page's isn't all that different from the one that I'm going to show you. Let's get crackin!!

Now, you can pick this anyway that you like, but the first note, which is a full bend, I prefer to pick this with an upstroke. The next two notes would be down, up - in that order.

Being a straight blues lick - it is constructed from the Major Pentatonic Scale.

The fingering is simple. On the first pattern, use your finger like this. Barre the 10th frets with your index finger and use your middle finger to bend the 12th fret. Then for the 3 notes after that, use your ring, middle and index finger, in that order. Keep your index finger barred throughout. When you move to the next pattern use the same fingering.

Note: Don't forget that you are bending a whole step. This means that you bend from the 12th fret to the pitch of the 14th fret. On the pattern that follows that, you bend from the 10th fret to the pitch of the 14th fret.

Don't like the picking on that version? no problem - let's try it with pull-offs for a much cleaner sound.

Remember, you can start this pattern on any fret that you like and you should be able to fit it in with most blues, rock or metal songs. Pop in some Clapton and try it!

Guitar Articel Source : http://www.guitarticles.net

Finger Picking On The Guitar

Its almost like there are two worlds in guitar playing. You have the guitarists
who like to use a flat pick, and then you've got the guitar maestros who use
a strict finger picking technique.


Getting the dexterity down for acoustic guitar finger picking can be a bit
of a hassle, and it almost seems as though the fingers don't want to budge.
With some simple exercises, the obstacle can be removed from the road.

Before we continue to explore finger picking, we first need to establish something. In the classical guitar world, where plucking the strings with the fingers is quite common, there is a labeling of the fingers. The labeling is simple, and knowing it will help you to guide yourself when you start working with these passages.

P = Thumb
I = Index finger
M = Middle finger
A = Ring finger



The abbreviations come from the Spanish words of Pulgar, Indicio, Medio, and Anular, and its a very easy system to work with.

By the way, one of the best beginning guitar books has always been
Frederick Noad's First book for the guitar

I even have it in my collection, and it helped me get started with classical technique.

Now that we know that the fingers are labeled as P,I,M, and A, we can apply this identification tool to simple guitar tab.

For this lesson we're going to simply focus on getting our fingers warmed up
with some simple plucking, using P and M for the chords and I for the single
notes. This is also a similar approach to the Beatles song Black Bird.

A word of advice. The key thing here is to take your time, because you want to
put your focus on syncing up the chord changes with the picking. I know that
seems obvious, but the plucking helps to keep a really good rhythm.

Stay tuned, because in the next lesson I'll show you how to put a little more "pep" in it ;)

Guitar Article Source : http://www.guitarticles.net

Playing Bass Guitar In A Rock Band

By John Nightwolf

Being a Bass Guitar player is not as straightforward as it may seem. I'd like to explain what makes a good Bass player, and how you can play effectively within a band. I may be about to offend some people. My aim is not to cause offense, but rather to open eyes to the central role of the Bass player, specifically in a rock band setting.

Types of Bass Guitar Player

There are three types of Bass Players as far as I'm concerned.
1. The frustrated Guitar Player. This is the guy who thinks a Bass is a guitar with four strings, he/she plays the same notes as the guitars are playing at the same time. While this adds the illusion of having a Bass Player, this technique does not really add much to the mix.
2. The Egomaniac. Les Claypool has an interesting approach,...and it works for him. It won't work for you so knock it off. I don't even like guitar players that play that fast.
3. The well-centered rhythm minded Bass Player. In case you can't guess by the obviously weighted title, this is the group I believe myself to be in. This is the technique I will now expound on as the ONLY correct way to play the Bass.


OK, so the last bit was a little over the top. Seriously enough sarcasm. There are as many different styles of Bass Players as there are types of Music. My object today is to talk about the Rock Bassist using the WCRMBP (technique #3). OK, I was chastised for my acronym, let's just call it the WC technique for the ADHD folks. I was also chastised for making fun of ADHD and regret (and apologize for) the last comment.

The Rhythm Section

The rhythm section is responsible for setting the ground work of the song, a firm foundation for the lead players to build from. They are the backbone of the band. They create the framework that all the rest is built upon. This handles the roots and rhythm of the song and helps get the groove on track and keep it there for the duration of the song. People cannot sing along with a song they have never heard, but they can dance to it. The rhythm section is generally what people key into first.

Rhythm Section Dynamics

From an audio(aural) perspective the bass drum and the bass guitar compliment each other in several ways, the bass drum has a very hard knee (sharp attack) and a rapid decay (quick fade) while the bass guitar has a softer knee than the bass drum, but a longer decay. They also cover different , but complimentary, frequency ranges making them both sound "bigger" when played together. In layman's terms this amounts to making the bass drum sound fatter and last longer while making the bass guitar also sound fatter, but more importantly, sound like it is hitting harder.

Gettin' In Tune

One of the most important things for a novice Bass Player to do is to get “in tune" so to speak, with the Drummer. As a Bass Player you need to learn to play tightly with the Drummer. It can be very hard when you start out, making sure the rhythm section sounds together, and not like a drum kit and double bass rolling down a hill. Get to know the particular Drummer's style.

Does he hit, before, after, or directly on the beat?

Answering this question will help you to anticipate his moves and be where you need to be right with the drums.

There is one simple trick that will help even the most challenged of bass players...

Watch the Drummer's Feet

I have told beginning Bassists that I position myself during practice so that I can see the Drummer's feet, this seems to enlighten them a bit. Bass hits should not follow the guitars, they should accentuate the drum hits, most importantly, you guessed it, the Bass Drums.

The easiest way to work on this is to watch the drummer's feet and hit when they hit. - EVEN IF THEY MAKE A MISTAKE.

Watch the Drummer's Back

Like it or not your job is to work with the drummer, even to the point of covering their butt when they miss (of course, their job is to cover you, but that is for a different article). A mistake by one member of the band is easy for an audience to spot, but when other members of the band cover for it, it is not as obvious and is easy to overlook. Enough of that, no mistakes guys 'K?

Back to the point, follow the drummer's feet. Next time you are listening to your favorite Music, try to find a bass drum hit that does not have a bass note associated with it.

“Why?", you ask...

Filling in the Gaps

Once you are familiar with the Drummer's foot hits you can move forward and start adding fills to the mix. Until you are more experienced a good rule to keep in mind is that you are there to add notes to the drum hits, for every note you hit there should be a drum/cymbal hit (real or imagined) right with it. That is not to say there should be a bass note for every drum hit, as a Bass Player, get used to the idea that you are not the hero in this picture, you are there for support.

Over doing Bass fills gets old real quick. A good Bass Player just peppers enough to accent without drawing undue attention to themselves. I plan to do an article centered around bass fills in the near future so be sure to check back.

Summary

The main points I hope you will come away with are:

1. Gettin' in Tune- learn to work with the Drummer
2. Watch the Drummer's feet- learn to hit solid with the bass drum every time
3. Watch the Drummer's back- every time means EVERY time
4. The Rhythm Section is the backbone of the band
5. Dynamics tie the Bass Guitar and Drums together and accentuate each other sonically
6. Use fills sparingly



These are just some ideas and basic guidelines to help someone starting out on the Bass Guitar. I hope you found it informative (and maybe even a little funny).

Discuss this article in our Music Forum.

About John Nightwolf
Author - John Nightwolf

John Nightwolf is 42 years old and has been playing since the age of 13. Although John also plays Guitar, Keyboards, and Drums, he would tell you that Bass is his real passion.

John plays a Regal acoustic Bass, an Ibanez 4string, and a Schecter 5string. Hartke Amp with a Genz Benz cabinet.

He has played for Witch, Intox, Stressmonkey and Two and a Half WeeKs over the years.

John Nightwolf is a member of the Songstuff music community.

Guitar article source : http://guitar.songstuff.com

Basic Guitar Chords: How to Easily Master the Guitar Chords You Must Know

by Peter Bussey

One of the first challenges faced by the advancing guitar player is learning a core group of basic guitar chords . Why is it so important to learn these basic chords? Chords form the backbone of most rock and pop songs, and provide the harmonic accompaniment to the melody and instrumental solos.

Rhythm guitar based on basic chords provides many of the most memorable rock riffs… think AC/DC’s “Back in Black” or The Who’s “Won’t Get Fooled Again”. What’s really amazing is that by learning no more than 10 to 15 basic guitar chords, you will be equipped to play thousands of rock and pop songs!

First let’s establish the definition of a chord. A chord is three or more different musical notes played together. In the case of the guitar, this means that at least three strings are strummed or plucked simultaneously to sound three or more notes. Since the guitar has six strings, the maximum numbers of notes in a guitar chord is six. All chords can be placed in one of three groups based on the musical structure of the chord: Major, Minor, or Seventh. Each of these chord groups has its own “sound” or “feel”. Major chords sound stable and complete. Minor chords can evoke a more somber or pensive mood, and Seventh chords are jazzy and somewhat incomplete sounding.

There is no standard list of “basic guitar chords” that every one agrees to. However, there is general agreement that there is a list of somewhere between 8 and 18 basic guitar chords (open string) that every guitarist must know cold. These chords are used in all musical styles from rock and pop to country, jazz, and classical. No matter where you are on your guitar-playing path, you should take the time to learn and master the basic chords. Getting these right will ensure you have the basic tools and skills to learn many songs and increase your playing enjoyment.

So what are the basic guitar chords? Our basic stable includes the major and minor chords from four common musical keys, A,G,C, and D. They are played as “open chords”, that is at least one string in the chord is not fretted (pressed down with a finger). Open chords are easier to learn and play than more advanced chords such as Barre chords, or complex chords further up the guitar neck. Our list of basic major and minor chords is:

A Major (or A), A Minor (or Am), C, D, Dm, E, Em, F, G

These chords can be best learned as chord “families” (by key) that can be combined into great-sounding chord sequences that make up lots of popular songs. Using this chord family approach is much more interesting and useful than just memorizing a bunch of chords in random order!

These chords grouped by chord family (key) are as follows:

A Family (Key of A): A, D, E
D Family (Key of D): D, Em, G, A
G Family (Key of G): G, Am, C, D, Em
C Family (Key of C): C, Dm, Em, F, G

Tips for Learning the Basic Chords:

1. Pick a Chord Family and master it. This will give you quick success and let you play great sounding progressions right away.

2. Use a Guitar Chord Chart as a reference tool. A chord chart shows each chord as an easy to read “chord diagram” with exact finger positions. See this example of a chart of basic guitar chords .

3. Find the chords and lyrics for an easy song that is based on the chord family so you can apply your skills. Many great songs are based on only three chords!

4. Ensure each string sounds right. Take care to make sure that each string is sounding clearly, and that only the strings that should be played are played.

5. Practice, practice, practice! Every day, practice continually change from one chord to another until you can do it rapidly. Learn the chord families one at a time.

6. Master all the basic chords first. Only then move on to Barre chords and other more complex chords. First things first!

7. Expand with 7th chords. As a next step you can easily expand on your basic chord knowledge by adding 7th and minor 7th chords based on the nine basic major and minor chords.

8. Have fun using your new skills! Enjoy your musical ability by applying it to learning a small set of 5-10 songs you know really well and can confidently play at any time.

Copyright 2005 Peter Bussey of www.guitar-players-toolbox.com

Peter Bussey has been an avid guitar player for over 10 years, and is Editor of The Guitar Players Toolbox, a website dedicated to helping advancing guitar players improve with practical tools, tips, and information. Visit http://www.guitar-players-toolbox.com for a variety of free, practical resources such as guitar chords, guitar chord charts, song chords, and more.

How to Improve Your Alternate Picking Technique

Editor's note: Why is alternate picking important? Beginning guitar players have a tendency to strum or pick the guitar strings by using a series of either all downstrokes or all upstrokes.

Although this is OK when first learning, it is important to increase playing fluidity and efficiency by using a technique called alternate picking, which is the process of using a guitar pick to strike the strings using a pattern of alternating downward and upward motions, or downstrokes and upstrokes. This has the advantage of minimizing wasted motion and results in faster, smoother playing.

Below is an article written by Ben Edwards of Jamorama offering practical advice in improving this important skill:

Q: Ben, I'm having trouble "alternate picking". What can I do?

A: The main problem with alternate picking comes when you are picking a note in the opposite direction of the next string that you're going to play. For instance, if your last note was a downstroke on the G string, and your next note is an upstroke on the D string, then your pick has to travel a more complicated path than if you are picking up on G and down on D. What to do?

Some people just refuse to let their picking hand do the more difficult move, by trying to put a hammer on or a pull off to time the direction of the pick to a more favorable direction. Others might just be using the pick to start the string in motion, but are doing all hammer or pull offs other than the first note on a string.

But let's concentrate on what to do if you are using the versatile alternate picking method. Since we don't want to limit the note choices, or string choices, in any way, we have to just get good at dealing with the problem.

Practice going back and forth between two strings picking in the opposite direction just like the example: For example, in 2nd position, play a C on the 3rd string with a downstroke followed by an E on the 4th string with an upstroke. Repeat the C and E one more time.

Next, bring the C down to a B on the 3rd string with a downstroke, followed by the same E on the 4th with an upstroke. Repeat the B and E. Just to make a slightly musical pattern, do the same thing, but change the B down to an A, doing the same pattern. To make the pattern symmetrical, return the A back up to a B and play B,E,B,E, just like the second pattern.

It will take a lot less time to play this than to read about it, so try to muddle through this explanation to get to the actual notes, it's not hard to play this as long as you don't try to play it too fast.

As with all exercises, do it slowly and as accurately as possible at first. Doing this exercise addresses one of the most important points about practicing and improvements.

Editor's note: The above article was written and is copyrighted by Ben Edwards, developer of “Jamorama- The Ultimate Guitar Learning Kit”, and is used here with permission. Visit the Jamorama site to learn how to play guitar and techniques such as alternate picking.

Guitar Article source :http://www.guitar-players-toolbox.com

Zoom G2.1u Guitar Multi-Effects Pedal

Guitar Multi-Effects Pedal Zoom G2.1u product detail

Introducing The G Series from Zoom. Each G Series Pedal offers two algorithms: One for live and one for recording. The sound you created at practice or in the studio can now be brought straight to the stage.

G2.1u: Taking Multi-Effects to the Next Level
G2.1u: Taking multi-effects to the next level Conventional floor-type multi-effect processors are designed to sound good when they are plugged into a guitar amp. Modeling processors are designed for recording in line. Until now, there was no product that could handle both scenarios with equal finesse.

Or take the sounds you worked out during a rehearsal and apply them seamlessly in the recording studio. Your creative scope has suddenly doubled.

Features:
16 amp/stomp modeling

9 effect modules

54 effect types

40 user patch + 40 factory patch

6 bands EQ

USB audio interface

Built-on Expression Pedal

Harmonized pitch shifter

World fastest patch change

Built-in PCM drum machine

96kHz Sampling Brings Out Authentic Sounding Tube Amp Harmonics
Everyone knows that the sound of tube amplifiers is the ultimate in guitar tone. By employing high-accuracy sampling at 96kHz, G Series pedals faithfully model these sonic properties, right up to the highest harmonic register. Dynamic range is also excellent, thanks to 24-bit A/D/A conversion. These extremely high levels of digital processing also make your playing sound cleaner and clearer thanks to the fast processing speeds.

ZFX-3: A New-Generation DSP from Zoom
The heart of any multi-effect device is its processor and decoder section. Zoom has reached a new level with its newly developed ZFX-3 chip. 32-bit architecture ensures smooth and detailed signal processing. Accuracy and speed bring out the character of your instrument without restrictions.

54 High-Quality Effects Made Possible by 32-Bit Processing
A total of nine effects modules are included, including dynamics, ambience, drive, and modulation. Together they offer 54 types of effects. The Harmonized Pitch Shifter lets you play along in key. Use long delays or multi-tap delay of up to 5000 milliseconds. Select dynamic flanger and have the effect level controlled by picking intensity. Select from 3 types of modulation waveforms for the tremolo. A multitude of high-performance choices opens up totally new territory in this class. Touch up the harmonic register with the 6-band equalizer. The cabinet simulator gives a choice of mic positions. The G Series has in incredible level of flexibility and the ability to create an awesome array of great tones.

Latest Modeling Technology Supports 16 Different Drive Sounds
By digitally simulating the clipping action of analog devices such as tubes and diodes, the G Series faithfully duplicates the distortion of tube amps and vintage effects. This includes not only the superficial sound character but also elements such as depth and dynamics. As you start using the G Series, you will be amazed by the realistic balance between fundamental notes and harmonics that is essential to a great analog tone.

The Right Tools for the Job: Editing Controls with Analog Feel
The 3 rotary knobs let you tailor 3 different parameters at the same time. This could be the equalizer bass/midrange/treble, or the chorus depth/rate/mixing level, or the delay time/feedback/mixing level. It's like having an array of stomp boxes ready for action. In play mode, the 3 knobs are assigned to drive effect gain, tone, and patch level. This lets you quickly match the unit's performance to the guitar or amp type, room acoustics, or other factors. Delay time and modulation rate settings can be made directly via the intuitive TAP key input.

Preset Patches Ready to Use for Recording or Live Performance
The unit comes preprogrammed with a total of 40 preset effects patches. 20 pairs of similar sounding and similarly named effects are optimized respectively for use with a guitar amp on stage or for recording with DAW software or a mixer. There are settings for duplicating well-known amps and stomp boxes, settings that are modeled on the signature sound of famous guitarists, as well as totally original Zoom creations. There is also enough built-in memory to store up to 40 of your own effects patches.

World's Fastest Patch Change Speed: 5ms
Thanks to the speed of Zoom's new processors, that annoying interval when switching patches has been all but eliminated. With its amazing speed of 0.005 seconds, the G Series pedals never miss a beat. When changing from rhythm to lead, you no longer need to press the switch slightly in advance. Simply push the foot switch and start playing the solo phrase. No more fear of losing the rhythm when making patch changes.

Built-In Auto-Chromatic Tuner for Guitar
The guitar tuner can be called up instantly by pushing two foot switches together. High-brightness LED indicators make the note readout easy to see also on a dark stage. The calibration range is 435 to 445Hz, and mute tuning without sound output is also possible.

ZNR Makes Those Playing Pauses Silent
Zoom Noise Reduction (ZNR) was developed specifically for guitar. While keeping any alteration of the original sound to an absolute minimum, ZNR shuts out unwanted noise in the playing pauses. Even the tails of long sustain notes come out beautifully, with natural release. Additional flexibility is provided by two noise gates. The vintage type Dirty Gate is a great match for fuzz sounds, while the high-speed muting of the Gate setting brings heavy riffs into clear focus.

Integrated Drum Machine with PCM Sound Sources
Realistic drum sounds derived from PCM sources are arranged in a variety of rhythm patterns for different musical genres. The 40 rhythm variations include the steady 8-beat of Rock and Pop, funky 16-beat, a "Jazzy" 4-beat, some great shuffle riffs for blues sessions, and many more choices. Rhythm training is a cinch, and the rotary knobs let you quickly make tempo or level adjustments.

Ultra Low Noise Design: 120dB SN Ratio and -100dB Noise Floor
Specifications such as a signal-to-noise ratio of 120dB and noise floor of -100dB demonstrate a level of performance that is unsurpassed in this class. Background noise is a thing of the past, leaving the unit free to produce only its own superbly transparent sound. Especially when using reverb effects such as Hall, Room, or Spring, the low noise floor combined with 96kHz sampling and 32-bit processing results in breathtaking performance.

Sturdy Metal Chassis and Rubber Damping for Superior Toughness and durability
The combination of a solid metal chassis with shock-absorbent rubber damping ensures that the unit can stand up to the rigors of use on stage. Take it on the road or into the studio, the G Series will not let you down.

2-Way Power Allows Use Just About Anywhere
Thanks to its circuit design optimized for low voltage operation, the unit will run for more than 7.5 hours on a set of four IEC R6 (size AA) batteries. The AC adaptor (AC-0006) can be plugged in for extended studio work, whereas on stage you never need to worry about AC power.

Optional Foot Switch Allows Versatile Remote Operation
With an optional foot switch (FS01) you can set tempos for delay time and modulation rate. Other selectable functions include bank switching, drum machine start/stop, and delay hold on/off switching.

Expression Pedal Adds Further Versatility to Your Guitar Play
The built-in expression pedal is a great way to control effect parameters in real time. Control the vintage wah, pitch shift, or adjust the volume dynamics. Go beyond conventional pedal effects by varying drive gain or modulation rate, and adjusting the mixing ratio of delay and reverb. The dedicated Pedal Assign key and status LED indicators make it a cinch to select the effect to control. Effect on/off switching is also possible by pushing the pedal fully down.

USB Port Enables Computer Recording
The USB port allows the unit to function as an audio interface for a computer. Simply connect a USB cable to utilize the high-quality sound of the G2.1u in a computer-based recording system. The high-performance DAW application "Cubase LE" comes bundled with the unit, so you can start creating sophisticated music straight away. Because playback from the DAW application can be monitored at the G2.1u itself, there are no latency problems during recording. Powering the unit from the computer via the USB bus is also supported.
Technical Info
Effect Types: 54

Effect Modules: 9

Maximum Simultaneous Effects: 9

Patch Memory: User 40+Preset 40, Total 80

Sampling Frequency: 96kHz

A/D Conversion: 24-bit, 64 times over-sampling

D/A Conversion: 24-bit, 128 times over-sampling

Input: 1/4 in. phone jack (Rated input level: -20dBm, Input impedance: 1M ohms)

Output (Line / headphones combined): 1/4 in. stereo phone jack(Maximum output level: +5dBm, Output load impedance: 10k ohms or higher)

Control Input: Expression pedal, Foot switch

USB: Type B (Based on USB 1.1)

Display: 2-digit 7-segment LED display, Parameter LED, Pedal assign LED

Power Requirements: AA size(LR6)battery x 4(Optional), or AC adaptor DC9V/300mA/ Center minus type (AD-0006 recommended)

Battery Life: 7.5hours (with alkaline batteries)

Dimensions: 255(W)x165(D)x79(H)mm

Weight: 1100g (without batteries)

Included Accessories: AD-0006(AC adaptor)

Optional Accessories: FP02(Expression pedal), FS01(Foot switch), AA size batteries , USB cable

Ibanez Guitar Product : Ibanez RG2228 Prestige 8-String Electric Guitar (with Case)

The Ibanez RG2228GK prestige guitar is equipped with an all-new 8-string version of the EFX bridge which combines fixed bridge sustain with the double-locking stability needed for extreme metal styles.


Hot EMG 808 pickups, a very stable neck and the over the top (and bottom) extended range of this guitar allow you to play the heaviest of heavy riffs and solo to new heights!

These are the machines of the gods... with drop dead good looks, sonic lethality and the devastating power and control of a precision double-locking trem. RG Prestige guitars feature flawless Japanese craftsmanship, the finest materials and each is axe perfectly matched with just the right choice of DiMarzio®, Duncan®, EMG®, or IBZ™ pickups.

Features:
The ultimate in the ultimate metal guitars

Fast, flat and thin Wizard necks with Prestige finishing for supreme comfort

Gotoh precision tuning machines

Includes deluxe Prestige case
Technical Info
Neck: 5-piece Wizard-8 Prestige neck

Neck Type: Wizard-8 Prestige (27 in.)

Body: Basswood body

Frets: Jumbo frets

Fingerboard: Rosewood

Inlay: Pearl Dot

Bridge: Fixed Edge III-8 bridge

Neck Pickup: EMG 808

Bridge Pickup: EMG 808

Hardware color: CK

Guitar lesson : Hammering on and Pulling off.

Hello and welcome back! In these guitar articles I am going to be going through several techniques to do with playing the guitar. I know I say this a lot, but the objective of all of these guitar articles is to help you become a better guitar player. Becoming a better player is all about practice.


If you take lessons, you are quite likely to already know all of this, but make sure you still read on in case you have missed something in your lessons. For those who don’t take lessons, read on and this is guaranteed to improve your playing, and to make sure you are doing everything right.

Hammering on and pulling off are one of the most basic, yet effective techniques in playing the guitar, it is very highly likely that in every advanced song you play, there will be hammer ons and pull offs. In a solo, they are a necessity in order to make the solo sound more smooth and planned, rather than making it sound like you are playing random notes as fast as you can.

To do a basic hammer on, play any note on the guitar, let’s go with an open E string. Once you have picked the open E string, let it ring for a bit, and then, with force but not like you are trying to poke a hole through the neck, press on to the 2nd fret. You should then have the sound of the 2nd fret on the E string ringing, so you will have played two notes, but only picked the string once.

On a tab, that would look like this;

E|—————–
B|—————–
G|—————–
D|—————–
A|—————–
E|——–0h2——
Congratulations, you have just learned your first technique. Once you can do this example, try it again, but with your first finger on the 2nd fret, hammering on to the 4th fret with your 3rd finger.

On a tab, that would look like this.

E|—————–
B|—————–
G|—————–
D|—————–
A|—————–
E|——–2h4——
Ok, so now you can hammer on, it is time to learn to pull off. A pull off is when instead of making a note that is higher than the original, without picking again, you produce a note lower than the original. One thing you need to know about this before you start, in order to not get into bad habits is that you don’t just take your finger off, you pull it off downwards, so that it pings the string to produce the note, this way you can play for much longer losing no volume without picking than if you simply take your finger off.

Let’s start by doing the opposite of the first hammer on example. Place your first finger on the 2nd fret of the E string and pick the string, then, pull your finger downwards off to make it ping, so itplays the open E string, which in a tab, looks like this;

E|—————–
B|—————–
G|—————–
D|—————–
A|—————–
E|——–2p0——
Now you can do this, lets try it higher up, and again, the opposite from the 2nd example of hammering on this time. Pull your 3rd finger off to make the sound of the 2nd fret, like this;

E|—————–
B|—————–
G|—————–
D|—————–
A|—————–
E|——–4p2——
Congratulations! You can now properly hammer on and pull off. The next lesson will take you through how to play chords, and make your own little song.

article source : http://guitar-articles.com