Feed: Beginning Guitar Lessons 7 - AggScore: 40.7
Summary: Beginning Guitar Lessons 7
Beginning Guitar Lessons
Guitar Maintenance: Is Your Guitar Slowly Dying Of Thirst?
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Do you sometimes finger a fret on your guitar and hear a buzzing sound or even no sound? If you answered yes then your guitar may be seriously, even irreversibly dehydrated and possibly headed for the graveyard.
This is the story of how I became a true guitar hero by saving the life of my severely dehydrated guitar.
My Sad Story
Last Winter I remember grabbing my guitar for a typical daily goof around ...ah... I mean, serious practice session and found that my B string made an annoying buzzing sound from frets 4 - 9. I wondered why it was suddenly doing this when just a few days before it was fine. I decided to ignore the problem and hope that it would disappear on its own.
In just a few more days the B string stopped buzzing but frets 4-9 now wouldn't play anything. To make matters worse the G string had now started to buzz.
Initially I thought that some of my frets were coming loose and needed to be repaired. Then an awful thought hit me. Had my guitar become warped because of the extremely low humidity produced by the typical winter weather? Was my precious guitar now ruined"
I also wondered that if my guitar really was dehydrated, was it possible to re-hydrate it and would this reverse the damage? Fortunately, in my case, the answer was yes. My guitar had not yet reached the point of no return. It was indeed possible to restore the sound that I had grown to love. The following describes are the steps I took:
Measuring The Humidity Of My Home
With a little research I learned that most acoustic guitars need an environment that has a relative humidity level of 45% to 55%. An inexpensive, non-digital, device called a hygrometer was purchased at my local hardware store for under $10 dollars (USD).
It was then mounted in the room where I usually kept my guitar. For reasonable accuracy, I selected a wall that did not have an exposure to the outside cold. I also avoided wall s that were too near the common humid air blasts of the bathroom and kitchen.
After mounting the hygrometer and letting it acclimate for 24 hours, I discovered that my guitar had been constantly exposed, un-cased, to a relative humidity of only 24%. Now that I had confirmed that my guitar was indeed dried out, it was time to find a way to return the lost moisture.
How I Re-Humidified My Guitar
I remembered seeing a humidifier that was designed specifically for a guitar. It had a ½" diameter, foot long, green rubber tube with about 100 small holes poked along its length. Inside the tube was a yellow sponge material. Both ends of the tube contained black plastic plugs with one end attached to a string. The other end of the string was attached to a black plastic disc approximately the size of the guitar sound hole.
The idea was to cover the sound hole with the disc then dangle the water soaked tube inside the body of the guitar. As the moisture inside the tube evaporates it would re-hydrate the wood causing it to return to its previously un-warped shape. The plastic disc was designed to prevent the evaporating moisture from escaping the inside of the body of the guitar.
So That's The Theory Anyway But How Did It Work in Reality"
In about 24 hours, a simple visual inspection of my guitar revealed that the partial re-hydrating of my guitar caused the wood to begin to move back to its pre-warped state. The bridge, the device holds the ends of the guitar strings near the sound hole, had rotated in such a way that it raised the guitar strings slightly higher off the frets and therefore began to eliminate the buzzing or dead sounds at certain frets.
After 2 days I noticed that the sound of the B and G strings had continued to improve. After a total of 4 days of checking and remoistening the humidifier's sponge, it had improved even more but, the buzz still had not completely gone away. At this point I wondered if the tube-in-the-body method was too slow and didn't allow the entire guitar to properly re-hydrate.
Bringing Out The Big Guns: Satisfying The Need For More Moisture
I decided to use a standard table top room humidifier to increase the relative humidity in the entire living room. I bought a Sunbeam Ultrasonic Model 705 at a local Pharmacy. Its capacity was about 5 quarts of distilled water which turned out to be just about the amount of cool, distilled water vapor that it could dissipate in 24 hours.
It took about 4 days to increase the room's relative humidity from 24% to 43%. During this time I propped my guitar on a stand outside of its case in the same room. I had also removed the humidifier that was inside the guitar. At the end of these 4 days the buzzing and dead fret sounds had completely gone away. What a relief, my guitar hadn't been dead after all - just very sick.
The bottom line for Guitar Humidity Control
1. Don't expose your guitar to extremely dry environments for extended periods. This includes the trunk of your car during extreme cold or extreme hot weather. While a hard shell case or a gig bag can offer some protection they cannot prevent damage in extreme conditions.
2. If your guitar is primarily stored and used in one room of your home then humidify the entire room in the driest seasons. Monitor the room's humidity using an inexpensive hygrometer available at most hardware stores. Target 45% to 55% relative humidity.
3. If you cannot control the relative humidity of your home then make sure to keep your guitar in its case a much as possible. Use an in-guitar or in-guitar-case type of humidifier.
Think prevention. Don't wait until your guitar is in trouble before you start to worry about humidity control. It is possible to dry out a guitar to the point where it cannot be fixed. Remember, it's never fun to attend a guitar funeral.
About The Author: John Mackinnon started taking guitar lessons over 40 years ago and still enjoys the learning process. His website http://www.CompareGuitarLessons.com is dedicated to providing guitar player reviews of DVD based and online guitar lesson programs. He also offers guitar related articles, guitar resource links, a free newsletter.
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Technorati Tags : guitar humidity sound room relative tube days case frets buzzing string beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
REVIEW: Lead Guitar Secrets Transforms Strummers Into Soloists
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Does this sound like you"
You have been dreaming about playing a smoking? hot guitar solo from one of your favorite songs but just don"t have a clue where to begin.
Or? You have enough guitar skills to memorize a few impressive guitar solos from your favorite songs but, to save your own life, you can?t figure out how to create decent solos of your own.
Or? you would love to be confident enough to sit in with a great but unfamiliar blues band and instantly improvise heart stopping solos over songs that you are hearing for the first time.
The Purpose of the "Lead Guitar Secrets? DVD guitar lesson program is to teach you how to create your own hot guitar solos and to play any existing solos with just 10 minutes of practice per day.
What are some are the essential elements that make a great guitar lesson program?
1. A great instruction program will go beyond the limitations of just reading a book by offering clear audio and video demonstrations of each lesson.
2. The program?s author should ideally possess the following credentials:
- play well themselves
- have played in a band
- toured with a band
- recorded
- must be a gifted and preferably experienced, formally educated guitar teacher
About The Author Dan Denley:
Dan Denley fits the above definition of the ideal guitar instructor well. He has been a member of 10 bands and has played in some large venue performances. Dan is a competitive music scholar, has a college degree in music and is a guitar instructor. He is also the author of the highly rated and successful beginner through intermediate guitar lesson program called "Amazing Guitar Secrets? , a blues guitar program called "Blues Guitar Secrets? and a program called "Acoustic Guitar Secrets".
Dan has an easy to listen to voice coupled with a relaxed style of communicating. He wisely leaves in some playing mistakes while demonstrating the lessons. This is one of the reasons that makes Dan easy-to-relate-to and therefore effective in his teaching.
Who Will Benefit Most From This Program?
Although learning to play lead guitar does not require advanced playing ability it does help if you are comfortable with at least one of the movable major or minor scale patterns. However, the Lead Guitar Secrets course will walk you through all of the fundamental building blocks of playing lead guitar.
Is This Lead Guitar Course For Acoustic Or Electric Guitar Players?
Since lead guitarists use both acoustic and electric guitars to play solos, the short answer to this question is both. It is actually a helpful educational experience to play solos on both. If you do choose to use an acoustic guitar it helps if you have a cut-away section near the body of your guitar because some of the solos require access to the high notes way up on the neck.
Most of the fundamentals taught in Lead Guitar Secrets apply to both types of guitars but, to get the most out of this course you should eventually have access to an electric guitar. With many styles of music you just won?t experience the intended sound if you don?t use an electric. Dan Denley uses and electric guitar through out the entire course while demonstrating each lesson.
The Physical Parts:
Plastic DVD / CD Organizer
Progress Tracker
4 Lesson DVDs
1 Audio CD
1 CD-ROM
1 200 page spiral bound lesson book
1 Introduction Letter
1 Quick Start Guide
A Partial List of The Lessons:
DVD 1
Finger Strength Exercises
The Pentatonic Scale
F# Pentatonic Minor: movable pattern, 2nd through 5th position
Connecting Scales Patterns
3 & 4 Note Vertical Patterns
Horizontal Movement: 2 and 3 String Ascending Patterns
3 String Box Positions
DVD 2
Major Scales & Modes
Modal Practicing Techniques
50 Solo Guitar Licks
DVD 3
14 Solos to Learn of different styles and modalities
DVD4
Scale - Chord Relationships
Background
Intro To Major Scale Harmony: Laying The Foundation
Taking a Position
Inversion
Major or Minor?
How Standard Notation Relates To Tabs
About Chord Charts
Breaking The Code of Chord Harmony
Real Life Example: How This Stuff Works
The Negatives:
With some of the past guitar lesson programs Dan would sometimes refer to a musical term before he would define it and a few of the author?s explanations of terms were not crystal clear. Lead Guitar Secrets shows improvement and polish. While not perfect, this issue is not really a problem.
The Positives:
- The author: Dan Denley is experienced at putting together effective guitar instruction courses like ?Amazing Guitar Secrets? and ?Blues Guitar Secrets?.
- The author: Dan Denley is an expert, experienced guitarist and a trained educator.
- The author: has a relaxed, organized and easy-to-relate-to style of communicating.
- This course takes the mystery out of how to improvise solos on the guitar.
- This course is easy to follow and understand
- excellent use of video close ups to clarify fingering chords and scales.
- includes a Jam Track CD for developing essential skills for playing with a band.
- This course uses video, audio and the illustrated written word to appeal to all of the important senses when learning to play guitar. This is especially important if the student?s learning style requires more than reading a book alone can provide.
- Lead Guitar Secrets is primarily a video course with written support materials and not the other way around. I have found that it is less effective and more difficult if you must first read an instruction manual then find a video snippet on your computer that supports the book lesson. I like the much richer experience of watching, listening then emulating a live instructor demonstrating an entire lesson. It is much more effective to use the instruction book only as a means to clarify the video lesson. Lead Guitar Secrets got this part exactly right.
The Price Analysis:
Option One: is $197 USD, (as of this writing ), and includes the Lead Guitar Secrets Lesson Program as described above plus 12 issues of Dan Denley?s Online Video Newsletter.
Option Two: is $149 USD (as of this writing ), and includes the Lead Guitar Secrets Lesson Program as described above without the 12 issue?s of Dan Denley?s Online Video Newsletter.
Lead Guitar Secrets by Dan Denley contains the equivalent of 6 months to one years worth of guitar lessons if you were to space them out as if you were taking weakly lessons from a local guitar instructor. A local instructor typically will charge anywhere from $20 to $50 per weekly lesson. Your minimum cost, ( not including materials ), at only $20 per lesson for 6 months would be at least $520.
The choice comes down to:
- the Lead Guitar Secrets DVD Program at $149 to $197 or
- a local instructor at $520 to $1040.
Guarantee:
Lead Guitar Secrets comes with a 90 day, unconditional, money-back guarantee.
Free Sample Lessons:
Lead Guitar Secrets offers 6 ?test drive before you buy? lessons sent by email. Generous online audio samples are also available of some of the solos you will learn as well as some of the exact video lesson found in the course. Click Here For Free Sample Lessons
Shipping:
Shipping is available to any country in the world.
The Bottom Line:
I have witnessed many guitar players that have a nack for emulating a few classic guitar solos. While that can be a lot of fun, it limits you to just a small part of the total joy of playing the guitar. Lead Guitar Secrets offers an open window into the world of understanding the building blocks that are at the root of every solo. With this powerful new information you will be able to figure out and play any solo, not just a few that you may have memorized. You will also be well on your way to improvising your own leads.
I found this course to be organized, thorough, easy to follow, lots of fun and priced exactly right. It earns my highest rating of 10 out of 10. I can, without hesitation, recommend this Lead Guitar lesson program for anyone that has a few basic guitar skills and a desire to master this beautiful instrument. If you are ready to be transformed from a guitar strummer into a lead guitarist then Lead Guitar Secrets is the program for you.
Click Here For More Information
Click Here For Free Sample Lessons
Click Here To Buy Lead Guitar Lessons
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Technorati Tags : guitar songs solos favorite beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
How To Learn Guitar Faster With Less Practice
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If you really want to learn to play guitar well you must do one simple thing before anything else. You must learn how learning takes place between your muscles and brain. If you understand the process that your brain must go through to train your muscles your practice sessions will produce predictably effective results.
You have probably heard the term muscle memory. This is the process of your brain learning and storing a set of precise instructions for each group of muscles needed for every small task you want your fingers to perform on the guitar. When muscle memory is solidly established it becomes a naturally effortless and an almost unconscious act to play the guitar well.
These tasks need to be practiced at speeds that are slow enough so that you can consistently perform them perfectly. If you practice the guitar at a tempo that produces lots of mistakes you end up teaching your muscles how to play the exercise with the mistakes included. Unfortunately muscles cannot distinguish between playing with mistakes and playing without them.
Here are 12 tips for having practice sessions that will support the development of good muscle memory:
1. Prepare your whole body for the practice session. Practice while relaxed. Just like an airplane pilot checks over the plane prior to take off you should check your body for any tension, stiffness, tightness, pain or any discomfort. Tight muscles can become tighter during practice which can seriously limit the full range of motion needed to master the guitar. Even tension in the shoulders can travel to the arms and then eventually to the fingers. Stretch and warm your entire body before playing in order to stay loose. Begin practicing with slow, easy exercises to prepare your hands for more demanding new material.
2. Practice in a quiet, comfortable place where you are unlikely to be disturbed.
3. Commit to a specific time each day for practice. Begin each day with a firm commitment to a practice plan that includes the specific details of when, where and what to play.
4. Keep your practice sessions short, frequent and very specific. It is more effective to practice 20 minutes everyday than to practice two or three hours once a week.
5. Always practice with a metronome. Let me repeat that. Always practice with a metronome. It is surprising how often even good guitarists break this rule. Training yourself to play at a consistent tempo will make your music sound professional. This is valuable whether you plan to play just for friends at a party or in a stadium full of screaming fans.
6. Tune the guitar before each practice.
7. Determine your optimum practice speeds. For each part of a scale, exercise or song find the fastest metronome speed that you can play without making mistakes. Practice it for a day at 25% to 30% of that maximum tempo. Follow this with a day at 50% of maximum then another day at 75%. On day four practice at your old maximum speed. You may be pleasantly surprised to find that you have a new, faster maximum speed. Be forewarned, however, that this routine might seem ridiculously slow but, hang in there because it really will pay off.
8. Do not try to learn too many different things at each practice session. Practice only small sections of an exercise or song at a time. Working on an entire new song, all in one setting, makes it more difficult for your brain to cement solid muscle memories. Just like a newborn baby can?t handle an entire meal of solid food we need to practice only a few, small musical spoonfuls at a time.
9. Work on the problem parts not just what you already know. This may sound extremely obvious but there is a tendency for new guitarists to play the easy parts over and over while continuing to stumble over the problem spots.
10. Spend the first ten minutes warming up, then split the remaining time equally between new exercises and new songs.
11. Set aside some time to just goof around with the guitar. Make sure to inject a healthy dose of fun in each practice session. If you have been working on blues scales then why not put on some jam tracks or even your favorite blues CD and try to improvise a solo. Select a favorite song to work on at the end of each practice session.
12. If you plan to perform in front of people ... Perfect your songs in private then practice playing in front of sympathetic friends and family members. Create a practice environment that is as close to the conditions of your upcoming performance as possible. If you will perform standing up then practice that way. Tell your friendly practice audiences to feel free to talk and laugh it up during your practice. This will help you learn to become comfortable in a distracting concert environment. Consider recording your practice sessions with a simple home video camera on a tripod.
Opening night jitters can throw off your game no matter how well you know the material. If you have repeatedly practiced playing in simulated concert environments then the real deal can be a breeze.
The bottom line: in order to play well you must acknowledge how your body is programmed to learn then design practice sessions that are complimentary.
Recommended Guitar Lesson Program:
Learn & Master Guitar has earned CompareGuitarLessons.com's highest possible rating for beginner through intermediate players: Rated 10 out of 10.
This is a complete 15 DVD guitar lessons course for beginners through advanced intermediate players. The skills and styles covered go way beyond what we can cover in our free lessons; Acoustic Guitar, Rock Guitar, Classic Finger Style, Blues Guitar, Jazz Guitar and Country. This well produced program is authored by Steve Krenz, a 20+ year veteran guitar instructor, former player for "The Fifth Dimension" and current recording artist in Nashville, Tennessee, USA...
Click Here For My Detailed Video Review of Learn & Master Guitar.
OR Go To The Learn & Master Guitar Company Site For More Information or to Buy.
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Technorati Tags : practice guitar play learn muscles practice sessions playing sessions just time brain beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
REVIEW: Blues Guitar Secrets
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Question: What do Muddy Waters, Jimmy Page, Eric Clapton, Jimi Hendrix, Eddie Van Halen and John Mayer share in common?
Answer: besides having the distinction of being just a few of the many notable guitarists from the last 60 plus years, they also came from a Blues background or at least had a strong appreciation for the beauty of this mode of music.
Question: what do the musical styles of modern country, rock, metal and pop music share in common"
Answer: they represent some of the many musical genres that are often influenced by the Blues.
Blues Guitar Secrets
Besides the sheer fun of learning to play Blues Guitar it is also a highly recommended way to increase the musical tools that a student can use to write, accompany or solo with many types of music. Learning Blues Guitar can be a smart, educational progression for any guitar student with at least some proficiency with a few basic scales and barre chords.
The Purpose of the Blues Guitar Secrets DVD guitar lesson program is to quickly teach the student:
- 12-bar blues in multiple variations
-
- blues chords and progressions
-
- blues scales in all positions and keys
-
- improvising Blues Guitar Solos
What makes a great guitar lesson program?
1. A great instruction program will go beyond the limitations of
just reading a book by offering clear audio and video
demonstrations of each lesson.
2. The program?s author should ideally possess the following
credentials:
- play well themselves
- have played in a band
- toured with a band
- recorded
- must be a gifted and preferably experienced, formally educated
guitar teacher.
About The Author Dan Denley:
Dan has an easy to listen to voice coupled with a relaxed style
of communicating. He wisely leaves in some playing mistakes while
demonstrating the lessons. This is one of the reasons that makes
Dan easy-to-relate-to and therefore effective in his
teaching.
Who Will Benefit Most From This Guitar Lesson
Program?:
Although learning to play basic blues guitar
does not require advanced playing ability it does help if you are
comfortable with at least one of the movable major or minor scale
patterns and some barre chords. However, the Blues Guitar Secrets
course will walk you through the Pentatonic and Blues Scales that
are the fundamental building blocks of Blues music.
Is Blues Guitar Secrets For Acoustic Or Electric Guitar Players?
Both. Even though the author begins the course explaining the interesting details of his electric guitar set up, he demonstrates the lessons using a mix of both electric and acoustic guitars. One of the lesson sections is entitled ?Acoustic Guitar Blues Riffs?.
The Contents of Blues Guitar Secrets:
(2) Blues Guitar lesson DVDs
- (1) Jam Tracks* CD ( included in the Gold Edition only )
-
-
(1) Book - DVD Companion: Here?s All The Notation, Tab and
Chord Symbols That?ll Have You Playing Like A Blues Master In
No Time!?
- (1) Book - ?Mastering The Pentatonic and Blues Scales: Discover the Secrets To Creating Your Own Solos and Killer Blues Riffs?
-
- (1) Book - Complete Step By Step Guide To The Jam Tracks* CD! - Includes tabs, chord symbols, fretboard diagrams and a complete theoretical analysis of each Jam Track* ( included in the Gold Edition only ).
-
- (1) Progress Tracker
-
- (1) Intro Letter
-
- (1) Step by Step Guide: ?How To Use Your Blues Guitar Secrets Course?
* Jam Tracks are comprised of short blues songs
that create an opportunity to practice rhythm parts or
improvising solos while playing with a recorded back up
band.
A Partial List of The Lessons:
Intro To Blues Guitar
-
The Pentatonic Minor Movable Scale Patterns in 5
Positions
-
The Blues Pentatonic Movable Scale patterns
-
Blues Chord Progressions
-
Using Minor 7th, Dominant 7th, VI Major 7th, Dominant 9th and
Minor 9th chords and scales as well as combination
forms.
-
12-Bar Blues: Open Position Chords
-
Acoustical Guitar Blues Riffs
-
Classic Blues Solo Licks
-
Blues Runs
-
Solo Practicing Techniques
-
Adding Bends
-
Strumming Techniques
-
Using Syncopation
- Bonus Videos
The Negatives:
It would be nice if this course came with a protective case or
organizer to keep all of the materials together. None of these
issues are significant but rather are just minor
annoyances.
The Positives:
- The author: Dan Denley is experienced at putting together effective guitar instruction courses like ?Amazing Guitar Secrets?.
-
- The author: Dan Denley is an expert, experienced guitarist and a trained educator.
-
- The author: has a relaxed, organized and easy-to-relate-to style of communicating.
-
- This course takes the mystery out of how to improvise solos on the guitar.
-
- This course is easy to follow and understand
-
- Excellent use of close ups to clarify fingering chords and scales.
-
- Includes a Jam Track CD for developing essential skills for playing with a band.
-
- This course uses video, audio and the illustrated written word to appeal to all of the important senses when learning to play guitar. This is especially important if the student?s learning style requires more than reading a book alone can provide.
-
- This course is primarily a video course with written support materials and not the other way around. I have found that it is less effective and more difficult if you must first read an instruction manual then find a video snippet on your computer that supports the book lesson. I like the much richer experience of watching, listening then emulating a live instructor demonstrating an entire lesson. It is much more effective to use the instruction book only as a means to clarify the video lesson. Blues Guitar Secrets got this part exactly right.
The Price Analysis:
-
The Standard Edition is $127 USD, (as of this
writing ), and includes all of the items mentioned above in the
"Contents" section without the Jam Track CD or Book.
- The Gold Edition is $159 USD (as of this writing ), and includes all of the items mentioned above in the "Contents" section including the Jam Track CD and Book.
Blues Guitar Secrets by Dan Denley
contains the equivalent of 6 months to one years worth of guitar
lessons if you were to space them out as if you were taking
lessons from a local guitar instructor. A local instructor
typically will charge anywhere from $20 to $50 per weekly lesson.
Your minimum cost, ( not including materials ), at only $20 per
lesson for 6 months would be at least $520.
The choice comes down to:
- the Blues Guitar Secrets DVD Program
at $127 to $159 or
- a local instructor at $520 to $1040.
Guarantee:
Blues Guitar Secrets comes with a 90
day, unconditional, money-back guarantee.
The Bottom Line:
I can, without hesitation, recommend Blues Guitar Secrets for anyone that has basic guitar skills and a desire to learn the essential Blues Guitar basics including how to improvise solos. The course is organized, logical and priced right.
For More Information Or To Purchase Blues Guitar Secrets Click Here
About The Reviewer: John Mackinnon started taking guitar lessons over 40 years ago and still enjoys the learning process. His website, http://www.CompareGuitarLessons.com is dedicated to reviewing dvd based and online guitar lesson programs, offers guitar related articles, guitar resource links and a free newsletter.
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Technorati Tags : blues guitar common answer common answer music musical share beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
Your First Guitar By Kathy Unruh
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Congratulations, you just bought you first guitar! Now that you've met the love of your life and made that big commitment, you're probably excited about building a good relationship with your new partner. But where do you begin? You've just come home from the music store with this beautiful, mysterious stranger, or perhaps even rescued an abandoned orphan from the flee market or pawn shop. Cradling it lovingly in your hands, you admire it's graceful form and captivating voice.
Before you lay several items that you acquired along with your purchase- a case, strap, picks, and of course, that book or video explaining "everything you need to know in 10 easy lessons." You stare at it blankly, wondering what lanquage it is.
This is often the experience of a new guitar enthusiast. "Love at first sight" engenders high hopes of playing like a Rock Star overnight. Then reality begins to sink in and you reallize that it's going to require some effort and hard work to make this happen! But that doesn't mean it can't be fun. A positive attitude will go a long way in helping you meet your goals. In fact, setting some short-term and long-term goals is one of the first things you should do. Here are a few suggestions:
GET TO KNOW YOUR GUITAR
- Familiarize yourself with its various parts
- memorize the name of each string and how they are numbered
- Understand what type of guitar you have
- Learn how to take proper care of your instrument
GET TO KNOW YOURSELF
- What type of music do you enjoy"
- Do you like to sing"
- Do you want to be in a band or play professionally someday"
- Do you just want to play for your own personal enjoyment"
I often receive calls for help from individuals who are frustated because they are having trouble understanding the book or video that came with their purchase. If this is the case for you, consider taking some lessons from a private instructor. It can be a great way to get moving in the right direction. If you set up a weekly guitar lesson, then you will probably begin to establish a regular practice routine too. This is because you will feel a sense of obligation and accountability to your teacher. A guitar teacher can also watch your progress and offer helpful advise and critique so that you will be able to develop good technique. This is an invaluable asset which you will be unlikely to get from a book or video.
Local music stores often have someone who teaches right out of their store, or they may be able to provide you with a list of teachers in your area. If there is a college or university nearby, be sure to check the bulletin boards and school newspapers. you could also contact the Music Department to see if they know of any instructors who may be offering private or class lessons during after school hours.
Most importantly, be sure to take the time to do a little "personal inventory" and get to know your instrument by answering the questions in this article. Then, you will be able to establish a good mental picture of where you are now and where you want to be in the future.
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Technorati Tags : guitar know music just able video lessons good book want play beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
JASON BECKER
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"Dewa gitar paling berbakat yang ditimpa musibah"
Click for larger version Nama Lengkap: Jason Becker
Website Resmi: JasonBecker.com
Group Band Sebelumnya: David Lee Roth & Cacophony
Gitar: Hurricane & Carvin.
Tempat/Tgl Lahir: 22 July
Pengaruh: W.A. Mozart, Marty Friedman, Eddie Van Halen, Bob Dylan, Andreas Segovia dan Niccolo Paganini.
Keahlian: Classical, Sweep Arpeggio, Japanese Scale, Blues, Whammy Bar, dll.
Jason Becker adalah seorang anak ajaib yang mampu menguasai permainan gitar dengan sangat baik dalam waktu yang pendek (4 tahun) dan pada umur yang muda sekali: 16 tahun (1987). Jika Anda mendengar hasil karya besar Jason, Anda akan merasakan seolah-olah Mozart dan Bach hidup kembali dengan usia muda tersebut. Jason dapat dengan mudah menciptakan komposisi klasik yang sangat rumit (lebih rumit daripada karya Yngwie atau gitaris lainnya) dan memainkannya dengan sangat cepat dan bersih baik di electric guitar maupun gitar klasik (gitar bolong). Dari sekian banyak gitaris shredder, Jason Becker-lah yang terbaik dalam komposisi klasiknya.
Sayang sekali Tuhan tidak mengizinkan Jason bermain gitar lebih lama lagi, Jason harus kehilangan seluruh kemampuannya pada usia 19 tahun (1990) berhubung terjangkit penyakit ALS (Amyotrophic Lateral Sclerosis atau Lou Gehrig) yang menyebabkan Jason lumpuh total. Organ tubuh Jason mati tahun demi tahun, sampai kini Jason hanya sanggup menggerakkan matanya. Padahal beberapa tahun sebelumnya Jason masih mampu mengerakkan jari kirinya dan menulis lagu melalui komputer dan menghasilkan album "Perspective".
Rencananya Jason akan menulis lagu lagi dengan menggunakan teknologi komputer Macintosh, di mana Jason dapat menggerakkan mouse komputer dengan gerakan matanya. Mungkin inilah sejarahnya di mana seorang gitaris dapat menulis lagu dengan gerakan matanya. Dapat Anda bayangkan betapa berbakatnya Jason dan betapa tingginya semangat Jason dalam menulis karya musiknya!
Dari awal karirnya sampai saat ini keluarga Jason bukanlah dari keluarga yang mampu, sehingga sang ayah harus melukis dan menjual karya lukisannya untuk menanggung biaya perawatan Jason. Bagi Anda yang gemar akan permainan Jason, dapat menyumbangkan dana di JasonBecker.com.
Sejak Jason kecil, ayahnya adalah seorang penggemar Bob Dylan yang sangat mempengaruhi musik Jason. Ayah Jason dan paman Jason juga seorang pemain gitar klasik yang baik, sehingga Jason menguasai permainan klasik Segovia. Jason selalu bermain musik klasik, Jason memiliki buku 24 Caprice Niccolo Paganini dan selalu menggunakannya sebagai latihan.
Jason menerima acoustic/electric guitar Takamine pertama dari ayahnya pada usia 12 tahun, tampil untuk sekolah dia dan sekolah lainnya. Pada usia 13 tahun, guru sekolah Jason sangat kagum dengan permainan dan bakat Jason, kemudian memintanya untuk mempimpin sebuah Jazz Ensemble.
Tepat pada usia 14 tahun Jason menghabis semua waktunya untuk berlatih dan meramu komposisi musik dia sendiri. Waktu itu Jason juga sempat belajar teknik arpeggio yang dalam dengan Dave Creamer.
Pada usia 16 tahun, permainan dan teknik Jason telah mencapai tingkat yang sangat tinggi. Akhirnya Jason mencoba mengirim demo rekaman 45 menitnya ke produser Mike Varney (bos Shrapnel Records. Jason memainkan 2 karya Niccolo Paganini (klasik) dan 2 lagu blues. Sebagian besar dari rekaman tersebut hanyalah improvisasi di chord yang sederhana, tetapi Jason memainkan teknik counterpoint dengan menggunakan volume gitarnya. Menurut Jason teknik ini adalah ide yang konyol, tetapi justru Mike Varney menganggap itu adalah ide yang cemerlang.
Tidak lama setelah Mike Varney menemukan Marty Friedman di bar, Jason disuruh menghubungi Marty. Akhirnya Jason datang ke rumah Marty di San Fransisco dan bermain (nge-jam) setiap harinya. Mereka sangat banyak memainkan blues dan selalu memainkan harmoni yang manyatukan musik mereka berdua. Marty & Jason saling belajar satu sama lainnya.
Pada tahun itu juga Marty Friedman dan Jason Becker membentuk group band pertama mereka: "Cacophony" yang mengegerkan dunia gitaris shredder. Album pertama mereka adalah ?Speed Metal Symphony? dan album keduanya adalah ?Go Off!?. Anda dapat melihat betapa hebat kemampuan mereka memadukan kedua warna musik yang mereka miliki, Marty & Jason masih dapat saling mengiringi dan menjaga harmoni permainannya dalam kecepatan yang tinggi. Cacophony sendiri banyak membuat konser terutama di negara Jepang, Jason bahkan sempat mendemonstrasikan permainan dalam lagu "Eruption" (Van Halen) yang cukup sulit dengan menggunakan 1 tangan kiri dan tangan lainnya sambil memainkan yoyo!
Marty & Jason memang kompak, sebelum album ?Go Off!? diluncurkan, mereka juga merelease sepasang album solo: Jason Becker dengan solo album ?Perpetual Burn? dan Marty dengan solo album "Dragon"s Kiss?. Setelah menyelesaikan tour ?Go Off!?, Marty & Jason memutuskan untuk solo karir dan mencari band yang mangangkat nama mereka. Ketika ?David Lee Roth? (ex-Van Halen) memilih gitaris barunya, Jason memainkan sekian banyak lagu Van Halen dengan gaya dia sendiri seperti Hot For Teacher, Yankee Rose dan Skycraper (rekaman dapat didenger di website resmi JasonBacker.com).
Akhirnya Marty berhasil terpilih sebagai gitaris group band thrash yang bergengsi: "Megadeth" dan Jason sendiri berhasil terpilih sebagai gitaris ?David Lee Roth? (ex-Van Halen) menggantikan posisi gitaris besar: Steve Vai dan Eddie Van Halen. Mulai sejak itu nama Marty & Jason menjadi besar, berbagai majalah gitar terkemuka di USA seperti Guitar World, Guitar Practising Musician, Guitar Player dan lainnya memuji kemampuan bermain mereka.
Bersama David Lee Roth, Jason mengisi seluruh gitar utama di album ?A Little Ain?t Enough?. Jason semakin menjadi sorotan di dunia gitar dan mulai tour bersama group bandnya David Lee Roth. Pada saat berusia 19 tahun, Jason merekam lagu blues Bob Dylan ?Meet Me In The Morning?, tiba-tiba Jason merasakan tangan kanannya semakin melemah dan nyaris tidak dapat digerakkan. Akhirnya lagu blues ini dimainkan dengan whammy barnya tanpa menggunakan vibrato bending sama sekali.
Lemahnya tangan kanan Jason bahkan menyebabkan dia tidak dapat meneruskan tour bersama group bandnya David Lee Roth. Tidak disangkanya setelah dicheck, Jason terkena penyakit lumpuh ALS yang menyebabkan semua urat syaraf Jason berhenti berfungsi. Selama 6 tahun lebih Jason lumpuh sehingga tidak dapat memainkan gitarnya lagi, hanya jari kirinya yang dapat digerakkan. Jason tidak dapat berjalan, makan maupun berbicara.
Ternyata keajaiban Tuhan hadir, Jason yang sudah hampir lumpuh total tersebut berhasil menulis lagu berkat tangan kirinya yang masih dapat menggerakkan mouse komputer. Itu berarti Jason menulis lagu dengan pikirannya tanpa menyentuh gitar kesayangannya! Tak lama kemudian Jason mengeluarkan album solonya yang kedua berjudul "Perspective". Berhubung Jason sendiri tidak dapat memainkan gitarnya di album "Perspective" ini, maka permainan gitar Jason diganti oleh gitaris country rock yang cukup terkenal bernama ?Michael Lee Firkins? dibantu oleh teman-teman lainnya.
Walaupun pada album ini Jason hanya menulis dengan pikirannya bukan berarti hasil karyanya tidak berkualitas lagi. Anda bisa simak sendiri karya Jason yang sangat rumit di album ini dengan judul "Seranna" dan ?End Of The Beginning?. Setiap lagunya mencerminkan semangat (innerfire) Jason Becker untuk hidup/sembuh kembali. Dengan tegasnya Jason menuliskan di cover album keduanya "Perspective", bahwa penyakit ALS hanya dapat melumpuhkan organ tubuh dan suaranya tetapi tidak dapat melumpuhkan pikiran dan musiknya.
Tahun demi tahun telah berlalu, penyakit Jason semakin parah dan kini Jason hanya dapat menggerakkan bola matanya. Jason masih belum putus asa, ayah Jason memutuskan untuk menggunakan teknologi komputer Macintosh yang didesign khusus untuk orang cacat. Dengan menggunakan perangkat Macintosh ini, Jason dapat menggerakkan mouse komputer dengan gerakan matanya! Direncanakan album ketiganya akan ditulis dengan gerakan mata Jason.
Dapat Anda bayangkan betapa tingginya semangat Jason memperjuangkan musiknya. Banyak sekali gitaris terkenal seperti Eddie Van Halen, Marty Friedman, Paul Gilbert, Vinnie Moore, dll yang salut terhadap perjuangan Jason dan mengunjungi rumahnya. Akhirnya salah fans Jason mengajukan ide kepada Amy Becker (kakak ipar Jason) untuk membuat sebuah album tribute untuk Jason Becker. Ide ini ternyata berjalan dengan baik, keluarga Jason menghubungi perusahaan-perusahaan rekaman yang bersedia men-sponsorin rekaman ini dan gitaris-gitaris yang bersedia membantu project album tribute ini.
Dalam waktu 3 bulan, perusahaan rekaman ""Lion Music" menyetujuinya. Marty Friedman sebagai sahabat dan pasangan Jason dalam group band Cacophony menjadi gitaris pertama yang menyetujui ide album tribute ini.
Ternyata hasilnya di luar dugaan, artis-artis terkenal berikut ini bersedia membantu rekaman tribute ini secara sukarela: Eddie Van Halen, Marty Friedman, Paul Gilbert (ex-Mr.Big), Vinnie Moore, Kee Marcello (ex-Europe), Joe Lynn Turner (ex-Deep Purple), Neil Zaza, Anders Johansson (ex-Yngwie Malmsteen), Chris Poland (ex-Megadeth), Jeff Watson (ex-Night Ranger), Stephen Ross, James Byrd, Matt Bissonette, Mark Boals, Ron Thal, Joy Basu, Alex Masi, Lars Eric Mattsson, James Kottak, Ron Keel, Ted Poley, Stevie Salas, Jeff Pilson, ,Phantom Blue, dll.
Album tribute ini telah selesai dan akan diluncurkan pada hari ulang tahun Jason tgl 22 July 2001 ini. Album ini dapat diorder di website: ""Lion Music" dan video pembuatan album ini dapat ditonton di http://www.angelfire.com/hi4/overandover/Jason.html
Semua keuntungan yang diperoleh dari album tribute ini akan disumbangkan kepada keluarga Jason untuk biaya pengobatannya. Jason Becker memang sebuah legenda gitaris dan inspirasi murni untuk semua gitaris!
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Technorati Tags : jason yang dengan dapat album tahun marty gitaris untuk gitar lagu beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
major_pentatonics_major_fun
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First I"m going to talk about the basic theory so that people will hopefully understand it, and then I"ll tab the patterns for those who just wanna ?play the tabs? and don"t actually care.
A pentatonic a scale pattern with 5 notes (hence the term penta). Ok, well we know an normal major scale (also know as a ionian scale) is made up of 8. For example:
C, D, E, F, G, A, B, C
Ok so how we get a pentatonic scale from a major scale is by using the 1, 2, 3, 5, 6 notes of the scale. What does that mean"" Simple, count up starting from C. So C = 1, D = 2, E = 3, F = 4, G = 5, A = 6, B = 7, and C = octave or 8. Ok so now lets form the pentatonic we have 1, 2, 3, 5, 6 which is C D E G A. Not too hard is it"" Ok lets analyse it a bit further..
In between every note, there is a # or sharp. The only exception to this is E and B. What does this mean" Ok there are 8 notes: A, B, C, D, E, F and G and in between all of them except B and E there are sharps, so we have: A, A#, B, C, C#, D, D#, E, F, F#, G. Ok so moving up from an note to a sharp (like an A to an A#, or an A# to a B) is called a semitone. On your guitar it is basically moving up a fret.
Anyways we learn the number of semitones between each note so that we can come up with a general forumla to make pentatonics. Going back to the C D E G A we have between C and D two semitones (C -> C# = 1, C# to D = 2). Ok between D and E is 2 semitones (D -> D# =1, D# -> E = 2). Between E to G is 3 semitones (E -> F =1, F -> F# = 2, F# -> G = 3). And finally between G and A is 2 semitones (G -> G# = 1, G# ->A = 2). All of these give us a general formula:
R (or root note) + 2 semitones + 2 semitones + 3 semitones + 2 semitones = five notes in the pentatonic scale. (or R + 2 + 2 + 3 + 2). Lets use some examples:
R = A -> A + 2 semitones (A -> A# = 1, A# -> B = 2) = B.
B + 2 semitones (B -> C = 1, C -> C# = 2)= C#
C# + 3 semitones (C# -> D = 1, D -> D# = 2, D# -> E = 3) = E.
E + 2 semitones (E -> F = 1, F -> F# = 2).
So we get A B C# E F# for the A Major Pentatonic scale. So the scales are:
A B C# E F#
B C# D# F# G#
C D E G A
D E F# A B
E F# G# B C#
F G A C D
G A B D E
OK now we got through all of that (make sure you remember that, it is very important) we can tab them. What is really cool is that they all descend in a specific pattern down, which is universal (like the formula). This pattern looks like this:
e|| - | - | o | - | R |
b|| - | - | o | - | o |
g|| - | o | - | o | - |
d|| - | o | - | - | R |
a|| - | o | - | - | o |
E|| - | - | R | - | o |
^
Nut
Don't be scared off just yet! I'll explain. Each R or 0 represents where your finger must go on the fretboard. The R's are simply there to show you where the root note is so that you know where to start your improvisation (I'll explain this bit later). Ok this diagram is universal, so each point on the diagram can be anywhere on the fretboard, depending on where you want to start.
Basically it looks like this when you play: Lets say you want to descend in C (which is the 8th fret of the 6th string) it looks like this:
e|| - | - | 8 | - | 10 |
b|| - | - | 8 | - | 10 |
g|| - | 7 | - | 9 | - |
d|| - | 7 | - | - | 10 |
a|| - | 7 | - | - | 10 |
E|| - | - | 8 | - | 10 |
or in Tab form:
e|-------------------------8-10--------
B|--------------------8-10-------------
G|----------------7-9------------------
D|-----------7-10----------------------
A|------7-10---------------------------
E|-8-10--------------------------------
So you band is jamming in those three chords and they nodd and its your time to solo something. Ok so start with C so we can start at like the 10th fret on the 4th string. Descend the scale and play it back up. Then move down to the 12th fret on the 6th string which is an E, desend the scale and ascend it again. All that is just a simple form of improvisation. If you really want it to sound good, then you will be creative and do stuff like string skipping and hammerons, pulloffs, vibrato's.
Here is an example of a simple impro using no fancy techniques just descending the scale. It may not sound amazing but it still fits with the chords C E and G:
C E
e|--------------8-10-11-12-13-14-12------------------
B|---------8-10--------------------14-12-------------
G|-----7-9-------------------------------13-11-------
D|--10----------------------------------------14-11--
A|---------------------------------------------------
E|---------------------------------------------------
E G
e|-------------------------------13-15-15-15---------
B|-------------------------13-15-------------13-15---
G|----------------12-13-14---------------------------
D|-14-11-14-11-14------------------------------------
A|---------------------------------------------------
E|---------------------------------------------------
G
e|---------------------------------------------------
B|---------------------------------------------------
G|-14-12---------------------------------------------
D|-------15-12---------------------------------------
A|-------------15-12---------------------------------
E|-------------------15-12---------------------------
Pentatonic Majors sound good with metal, blues and even punk. Again its all about the way you decide to improvise it, I always end up making it sounds bluesy because that my style, but each for there own.
Ok so thats basically that. I will do a few more lessons based on this on pentatonic minors. It really really similair, and sounds really blues, and lots of metal.
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Technorati Tags : semitones scale pentatonic note really string just notes start fret lets beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
Guide To Sweep Picking
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Hello everybody. I didn't know what to write about, so I decided, "What the hell, I'll teach the masses about some tips that may help with their songwriting." However, as stated by the name, this isn't for lyric writing, but rather, for original riff writing. What is a riff? Well, simply put, it is either an arpeggio, chord or some other type of progression that is not a "lick." A lick is usually a two to three second lead piece, connected with other licks. Now that I've filled your brain with some guitar lingo, lets begin. The following are some ways to go about writing riffs.
1. Write through inspiration.
What the heck do I mean by this? I mean listen to a song you really like (or maybe just one that everybody else likes) and then grab your thunder - axe (the term I like to use meaning "guitar") and start playing something. Try not to look at the tab for the song though. Now, I want you to just play something, at either the same tempo and timing, start at the same starting note as the song (or something similar), play with the same feel or whatever you want. Just think of something from the song that you really like, and just sort of fool around until you get somewhere. My favorite approach with this method is starting in the same general area of the fretboard as a riff you really like. And yes, doing it this way means you will probably have to look at a tab, but you don't want to copy the song, so just simply glance at the tab, and then begin. Good riffs are something you have to fool around with to get good at. I'll give you some examples of riffs I have made that complement this approach (songs used for inspiration will be named first, then the artist, and then the description):
- Sweet Child O' Mine (Guns N' Roses) - one of my first and in many people's opinions, my best one, came from me starting at the twelfth fret area, and making an arpeggio riff with some distortion. Sounds sort of space-ish. This song was made when I was learning arpeggios.
- Black Dog (Led Zeppelin) - again, another riff where I started in the same area (technically known as "The Key" of a song), and created sort of a blues-ish, jazz-like riff, but still sounds very different from the original song. Not as fast paced as Black Dog, but a great riff none the less.
- Hotel California (The Eagles) - this riff was made from the "feel" of Hotel California, rather than using the same key, which in this song's case uses a capo at the fifth fret (the key of A). Great rock riff, that sounds as though people could dance to it.
Needless to say, this is quite a good approach to use. However, it works better when you are first starting out, or not so good, because:
1) It gives you something to practice to help "you" get better and;
2) You will learn techniques as you learn how to play, and you will practice them, and practice songs with them in it.
Thus you will make a song similar (maybe). Plus, you may not be able to play the song inspiring you anyway, so there will be no need to worry about copying, now will there? You don't have to be a begginer, but I find it easier to use this approach when you are.
2. The "Holes" Method.
I call this method the "Holes" method because it's like this. You make an original riff, or a riff of some kind, try to add to it, but it doesn't go with it, (thus you fall into a hole) but you still think it has potential (you come out of another hole). I have done this many times, although I don't plan to use any of the riffs I can remember. However, this method is powerful, because you are trying to make riffs for one song, and many of your failed attempts become riffs for other songs. One riff I tried to use to complete the "Black Dog" inspired song mentioned above, kind of went with it, but didn't. So now, if I want, I have another riff in my repretoire of original ones. So remember; you may want to keep those riffs that you thought were garbage, and make something of them. One major advantage to this method, is if you want to make an album with similar, but different sounding songs, that you want to define your "unchanging sound." Anyway, thats an idea.
3. "Open" up.
Use open notes in your songs, even when you are at the 15th fret, you may come up with something that can blow people out of the water, just by adding an open note or two. I have a couple good riffs that use open notes in them, and they sound great. Good for making more "evil" sounding songs. Eddie Van Halen uses lots of open notes in his soloing, so why not use them in your riffs?
4. Find your groove and favorite stuff.
Okay, now I'm sure that many people, like me, have a "favorite chord" that they just love. Whether it be the E minor, or the F diminished, you can find chords that you just love so much, and think, "Damn thats good. Lets make some tunes out of it." And thus, a dynasty will begin. Or at least, a whole new outlook on making your riffs. Take me for instance. I just love the a minor chord (preferabally the open one) because it sounds great, has many other places to go that are easily accessible (Asus, AMaj, A7, Am7 etc) and just overall appeals to my ear. I also like suspended chords in general, as they have that great tone that I find just right. Anyway, you can make great riffs, using just one chord letter. I made a very memorable riff, starting with our friend the A minor, and adding sevenths or what not. Not too many songs use a one chord type of riff, so it may be a good thing to check out.
5. Use unorthodox means.
Great riffs are just waiting to be unlocked. however, you may have to do some sneaky things to find them. You can try stretches that you can barely make, and make some good arpeggios out of them, or you can make some odd chords that you don't think exist (which, they do) or play with techniques or styles that you would never use. Experiment.
6. Let your fingers do the walking.
One of the best methods, is improvisinng. You don't even have to be good at improv, you just have to be playing. I have many great riffs made when I was talking to my friends, or watching tv. Just get relax, don't think about it and play. Just play. I can almost guarantee that one day, when you aren't thinking about what you are doing, you will come up with something that sparks your attention.
7. Unleash your emotion.
The most obvious method is to play what you feel. If you are feeling sad, play the guitar, and you will most likely come up with a sad riff. A great one to use (especially if your girlfriend/boyfriend breaks up with you; or better yet dumps you. Not trying to be a jerk, but it's the truth.
8. Conclusion.
To conclude, I just want to say that, these are just ideas that you may never have thought or overlooked. If you already knew about these, then all the power to you. I hope I have sparked your interest and influenced your composition skills at least a little bit. One thing I didn't mention is to try moving open chords to higher frets. You an make numerous original riffs like this. Anyway, don't give up; you'll find at least one good riff.
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Technorati Tags : just riff riffs song good play great want songs method open beginning guitar lessons
Date Published: Dec 27, 2011 - 5:12 am
Guitar Fitness The Key To Great Tone And Flency
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Have you ever wondered why good musicians can make a simple major scale sound great, yet when you do it yourself it sounds unmusical even though your guitar is in-tune and you're keeping reasonable time? Do you find that your muscles start to ache within no time at all when you adopt a good hand position in order to play a scale using the three-notes-per string method? Do you find yourself abandoning difficult, mentally and physically exhausting technical practice in favour of familiar, easy-come old tunes? If so, then you may need to put music to one side for a while and concentrate solely on fitness, i.e. a daily routine that will get you in shape ready to tackle those awkward scales and arpeggios.
The following exercises use fragmented chromatic and diatonic scale patterns and fingering permutations which are designed to developed the muscles needed for fluent movement around the freeboard. With strength comes flexibility; with flexibility comes relaxed movement. Only when you have acquired strength and agility will your phrases start to sound musical. This is because you will have better control over dynamics and tone production. True musicians can make almost anything sound great because they have a good command of these elements.
Chromatic Permutation Exercise
You"re probably familiar with the chromatic warm-up at the 5th fret. But have you considered playing all the fingering permutations? There are 24 permutations using the first, second, third and fourth fingers playing the 5th, 6th, 7th and 8th frets respectively. Remember to maintain the same fingering for ascending and descending. Keep correct hand position throughout.
Perm.1
|------------------------
|------------------------
|------------------------
|----------------5-6-7-8- and so on up to the high E string
|--------5-6-7-8---------
|5-6-7-8-----------------
Descend using the same fingering:
|5-6-7-8---------
|--------5-6-7-8-
|---------------- and so on down to the low E string.
|----------------
|----------------
|----------------
Using the same principle demonstrated for Perm.1, go through all of the following perms.
P1. 5678 P2. 5687 P3. 5768 P4. 5786 P5. 5867 P6. 5876
P7. 6578 P8. 6587 P9. 6758 P10. 6785 P11. 6857 P12. 6875
I"m sure you can work out the remaining 12 perms.
Diatonic Permutation Exercises
Remember that this isn?t about memorizing scales. It?s about developing muscles. So instead of practicing scales in all positions, just practice the basic elements. If you analyze a three-notes-per-string major scale, you?ll find there are only three essential fragments;
1. Tone tone
2. Semitone tone
3. Tone semitone
A Major Scale:
|---------------Tone semitone>--7-9-10-|
|---------Tone semitone>-7-9-10--------|
|---Semitone-tone>-6-7-9---------------|
|------------6-7-9--
This rule applies to ALL major scales in ALL positions (provided it?s three notes at a time).
Tone Permutation Exercise
(use first second and fourth fingers to cover the 5th, 7th and 9th frets)
P.1
|------------------
|------------------
|------------------ and so on up to the high e string.
|------------5-7-9-
|------5-7-9-------
|5-7-9-------------
Use same fingering when descending:
|5-7-9-------------
|------5-7-9-------
|------------5-7-9- and so on down to the low E string.
|------------------
|------------------
|------------------
Now apply the fingering permutation principle.
P1. 579 P2. 597 P3. 759 P4. 795 P5. 957 P6. 975
Semitone Tone Permutation Exercise
(use first, second and fourth finger to cover 5th, 6th and 8th frets respectively)
Do the same as the above exercise with the following permutations.
P1. 568 P2. 586 P3. 658 P4. 685 P5. 856 P6. 865
Tone Semitone Permutation Exercise
(use first, third and fourth fingers to cover 5th, 7th and 8th frets respectively)
P1. 578 P2. 587 P3. 758 P4. 785 P5. 857 P6. 875
The tone semitone exercise can also be played using first, second and third fingers to cover 5th, 7th, and 8th frets respectively. This is a useful stretching exercise.
Arpegiated Exercises
The above chromatic and diatonic scale exercises can be spread across adjacent string to create arpegiated exercises. As with the major scale, most arpeggios contain basic elements which appear in the following examples.
Arpegiated Tone Exercise
(use same fingering as scale exercise)
P1. Ascending
|----------------------------------------9-5-----|
|----------------------------9-5-------7-----7---|
|----------------9-5-------7-----7---5---------9-|
|----9-5-------7-----7---5---------9-------------|
|--7-----7---5---------9-------------------------|
|5---------9-------------------------------------|
P1. Descending
|5---------9-------------------------------------|
|--7-----7---5---------9-------------------------|
|----9-5-------7-----7---5---------9-------------|
|----------------9-5-------7-----7---5---------9-|
|----------------------------9-5-------7-----7---|
|----------------------------------------9-5-----|
Now apply the arpegiated principle to ALL the previously described scale exercises.
Why This Is A Very Useful Exercise
If we arpegiate P6 of the tone semitone scale fragment (note the bracketed section)
|----------------------------------------5-8-----|
|----------------------------5-8-------7-----7---|
|-----------(----5)8-------7-----7---8---------5-|
|----5-8----(--7--)--7---8---------5-------------|
|--7-----7--(8----)----5-------------------------|
|8---------5-------------------------------------|
Now arpegiate P6 of the semitone tone scale fragment (note the bracketed section)
|-------------------------------------(--5-8)----|
|----------------------------5-8------(6----)6---|
|----------------5-8-------6-----6---8---------5-|
|----5-8-------6-----6---8---------5-------------|
|--6-----6---8---------5-------------------------|
|8---------5-------------------------------------|
Now put them together and we get a C shaped major arpeggio (F major triad):
|----------5-8-|
|--------6-----|
|------5-------|
|----7---------|
|--8-----------|
|--------------|
Now let?s take out the bracketed section of the P6 semitone tone arpeggio:
|----------------------------------------5-8-----|
|----------------------------5-8-------6-----6---|
|-----------(----5)8-------6-----6---8---------5-|
|----5-8----(--6--)--6---8---------5-------------|
|--6-----6--(8----)----5-------------------------|
|8---------5-------------------------------------|
And the bracketed section of P6 of the tone tone arpeggio:
|-------------------------------------(--5-9)----|
|----------------------------5-9------(7----)7---|
|----------------5-9-------7-----7---9---------5-|
|----5-9-------7-----7---9---------5-------------|
|--7-----7---9---------5-------------------------|
|9---------5-------------------------------------|
Now put them together and we get the C shaped minor arpeggio (F minor triad):
Note: the second fragment has been moved down a semitone but it?s the same pattern.
|----------4-8-|
|--------6-----|
|------5-------|
|----6---------|
|--8-----------|
|--------------|
There are thousands of arpeggios all over the freeboard but they all use a lot of the same shapes that are found in these exercises. That?s the beauty of boiling everything down into it?s basic elements and then just practicing those elements at the mid-point of the freeboard. It will stand you in great stead when you come to play scales and arpeggios anywhere on the guitar. Again, this is about getting shape! You can of course arpegiate the chromatic fragments using the same system as described for the diatonic scale. But be aware that doing so will create a much longer and more challenging set of exercises.
Rolling Technique
Some arpeggios will contain elements that wont appear in any of the previously described exercises.
Example of E shaped arpeggio at 5th fret (A major triad)
|---------(--5)9-|
|---------(5--)--|
|--------6-------|
|---(--7)--------|
|---(7--)--------|
|5-9-------------|
The bracketed elements are not covered by either the chromatic or diatonic exercises as they have two notes played consecutively on the same fret. To play these sections at speed requires a technique known as "rolling". Justin Sandercoe explains this technique far better than I could on a well-known video site.
After you?ve found out how to "roll", here?s an exercise designed to develop the technique:
Example 1:
|---------------------------------
|-------------------------------- and so on up to high e string.
|------------------------8-7-6-5-
|----------------5-6-7-8---------
|--------8-7-6-5----------------
|5-6-7-8-------------------------
Descending use same fingering:
|8-7-6-5--------------------------
|--------5-6-7-8----------------- and so on down to low E string.
|----------------8-7-6-5---------
|------------------------5-6-7-8-
|-------------------------------
|--------------------------------
Example 2:
|---------------------------------
|-------------------------------- and so on up to high e string.
|------------------------7-8-5-6-
|----------------6-5-8-7---------
|--------7-8-5-6----------------
|6-5-8-7-------------------------
Descending:
|7-8-5-6--------------------------
|--------6-5-8-7----------------- and so on down to low E string.
|----------------7-8-5-6---------
|------------------------6-5-8-7-
|-------------------------------
|--------------------------------
Motivation
Don?t expect too much too soon. Stay focused. Will you still be playing guitar in 10 years time? If so then why not set yourself a goal of 10,000 hours of disciplined technical development. That way if you have done 2 hours a day for a few weeks and you don?t see any notable results you can remind yourself that you have only covered about 50 or so hours out of 10.000! Stick at it. Work real hard to get through that initial pain barrier. Go to bed with a dull ache in your arm. But if you experience any bright, sharp shooting pain then STOP and rest up for a day or two. Use stretching and massaging before during and after exercising. If you don?t feel the benefit of stretching then you?re not pushing yourself hard enough! You should have a day off now and again anyway just to recuperate. If after a month or so you try some old tunes and you haven?t improved at all (in fact you may feel you?ve gone backwards) don"t panic! This is because these old tunes used old weak technique. A technique that you wont have been using for these exercises. Namely playing at an angle with your thumb resting on the top of the neck" comfortable but it wont developed true strength half as well as correct hand position over a prolonged period of time. Create your own exercises. When you find a weakness, analyze it and developed an exercise that homes in on it and turns it into a strength.
Work hard! Work smart!
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Date Published: Dec 27, 2011 - 5:12 am
The importance of practicing guitar with a metronome
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The importance of practicing guitar with a metronome by Tennyson Williams
Eventually there comes a time in a guitarist's life when he or she decides that it is necessary to clean things up a bit. I have seen so many guitar players work with sloppy riffs, and unsynchronized timings, until one day they make the "decision of precision".
1. The decision of precision and why it is important
You should understand that no matter how far you want to take your playing on the guitar, there is always room for cleanliness and finesse. If you are going to spend a lifetime playing the guitar, you might as well do it to the best of your capabilities.
The great invention that bestows perfect playing is none other than the metronome, and I strongly believe that a guitarist who does not work with one, at least every now and then, is wasting talent. We all have the ability to play at a phenomenal level, no matter the choice of music.
A metronome facilitates all speeds of guitar playing or music in general. If you plan on playing something slow - use a metronome. If you plan to work on something fast - use a metronome.
The biggest reason for this is simply the fact that when we practice, our hands tend to move a little faster than they are capable of. I can go a little further in that statement, by explaining that our hands tend to move faster than our minds.
Remember this, control over timing, speed, and fluid movement is determined by the brain. This is also why a lot of guitar players never move forward with their speed goals. They don't understand that its a 50/50. Fifty percent of precision and speed comes from the physical properties of the hands, like muscle memory, and the other fifty percent comes about by the mind's strength and focus. These two factors must always be working in unison, in order to make the best of your playing.
2. Training with a metronome
Working with a metronome is not hard, but at first it can seem a little boring. If you can stick with it consistently for a few days, you will start to notice a large amount of progress in your playing, and then the progress itself becomes a lot of fun.
A metronome is your best friend, because it tells you what's really going on. It works with you to clean up your playing and make great progress, as long as you are willing to work with it and not against it.
It reminds me of this program Quicken, which is used to manage your finances. Its amazing, because everyone who starts using it always comes back with the same response. "I had no idea that I was wasting so much money on useless things, and now that I see where my money is going - I can correct this for a better financial status!".
Though its and odd comparison, Quicken and a metronome both have something in common. They both can help you determine bad habits. In other words, they contain a lot of strange wisdom and help you to see the light.
No one can possibly progress in anything in life until they see what is holding them back.
If you really want to make great progress with a metronome, then here are some tips, and these tips can be applied to working with chords, or simply notes and other techniques.
a) Always start something new at an insanely slow amount of speed.
b) When you are working at this slow rate of speed, your objective is to establish perfect clarity with notes, chords, or other techniques.
c) Building a good foundation with a chord, chords, lick, riff, note, notes techniques, is the key to true progression. Speed should be in the back of your mind, as it will come naturally if you can play smoothly at increasing tempos.
d) Practice all things on the guitar with a different variation. If you can play one lick with strictly alternate picking, then work on that same lick with strictly legato. Play an exercise backwards, forwards, east and west.
e) Work with exercises in 4ths, 8ths, and 16ths, and do this at varying tempos. Remember, the more notes or pick strokes, the more you should decrease the tempo of the metronome.
f) Try practicing complete rhythms and chord structures with a metronome.
Conclusion and final advice
I have talked about for years the importance of keeping a practice journal. This is obvious, as you simply jot down your daily progress, in as much detail as you can muster.
However, there is something that needs to be said for this. I don't care how well you were doing the day before, when you get ready to start the next day's practice routine - you must slow things down.
Spend a good half hour going through all of your exercises at mind exasperatingly slow rates of speed. When you are doing this, be aware of the feelings inside your hands, especially the picking hand.
The best way that I can explain this to you is to have you imagine yourself getting into your car, on a cold winter's day. Let's pretend that you didn't take the time to let the car warm up first, and you instantly get started on down the highway.
Under these conditions, it is common for a car to have trouble getting past a speed of 50 miles per hour. The accelerator is stiff and stubborn, and you can literally feel and hear the engine's response. The motor simply is not ready to go beyond 50 mph. It hasn't woken up yet, but once it does, the accelerator loosens up considerably and the car smoothly moves ahead.
This is exactly how the hands function when you first start practicing. Keep this analogy in mind, because when your hands are ready to actually start practicing, you'll know it. On some days it takes a little longer for them to get warmed up, so be patient! don't push them when they are not ready to go. When they finally kick in - you'll know it, and you can actually start practicing for real and strive for progress.
If you can discipline yourself enough to always incorporate these factors into your training, then the world is yours!
About the Author
Tennyson Williams has been studying guitar for eight years, sixteen hours a day, and has studied many styles of music. He has recently written a guitar instructional book called The Essential Guide To Guitar Virtuosity that can be found at
http://www.guitarspeedsecret.com/
Thanks Tennyson Williams and Goarticles.com
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Date Published: Dec 27, 2011 - 5:12 am
Learning Classical Guitar the Right Way
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Learning Classical Guitar the Right Way by Ben Dressen
Beginners can sometimes feel overwhelmed when they start learning classical guitar. The technique, sight reading, interpretation and the whole complexity of the experience can make one feel a bit anxious about what proper steps should be taken to gain visible results. It doesn't help that classical music as a whole conjures up images of snobbish people that aren't very interested in letting someone in their private circles.
Well, it's not like that at all. Learning classical guitar can be fun and rewarding if you keep in mind the things we will be discussing in this article. and no, it's not mandatory to wear your tuxedo, pull out a monocle and start speaking in a "highbrow" tone.
Jumping straight into complicated material is one of the biggest mistakes that beginners make and it leads only to frustration. Imagine for a second that you are trying to work on your car's engine with the blueprint in front of you. Now, if you have never taken an auto mechanic course and don't know much about how engines work you won't get very far. You might be able to figure out where certain parts are by looking at the blueprint but you'll have no idea what exactly they do and how you should fix them.
If your car engine would be your guitar playing, then your blueprints would be the sheet music. But there is another component that must be brought into the mix for things to work. Either take classical guitar lessons or teach yourself using a classical guitar method such as the one by Mateo Carcassi or Sagreras.
These books have been written in such a way as to gradually give you tangible results. Because they are method books, they teach the student in a progressive and correct way, and as a result you may find yourself tackling your favorite piece easily and with great results. They use exercises as well as "studies" (musical pieces devoted to teaching you a certain technique) to build your technical as well as interpretative skills. Besides teaching technique, methods also facilitate intimate knowledge of your instrument, which is just a fancy way of saying that you will know your guitar inside and out. But can you really teach yourself classical guitar? Yes, you can. Two of the greatest classical guitar players ever, Tarrega and Segovia, where self taught.
In the beginning it is a good idea to spend at least half of your practice time doing exercises. This will help you become more limber on the guitar and you will also see great progress in the pieces you're working on.
After you get a classical guitar method and you start working it, the next step is getting some material so you can build your repertoire. Pick carefully so that you balance your own personal taste with the level of the piece. In other words, the piece you choose should be one that you like and at the level that you can handle technically.
You may go to a gym wanting to be Arnold Schwarzenegger, however trying to weight lift 250 pounds when you can barely get 70 pounds off the ground isn't the way to do it. If you do attempt it, instead of bigger muscles you will probably end up in the hospital. It's the same thing that's happening when you attempt to play pieces that are way above your current level. Having said that, it should be noted that it's good to get pieces that challenge you a little bit. This makes you grow. You will have to use your good judgment as to what constitutes challenging. Just like getting a hernia isn't a muscle building technique, playing way above your level will only lead to failure and frustration.
Because of the nature of baroque music and of his compositions, Bach's works are extremely conducive towards gaining great balance and technique on the instrument. Therefore, any student would benefit immensely by learning from the master's material. Bach's pieces are also great for developing great tone and they are fun to play. For example: Prelude BWV999 (originally for lute), while incredibly beautiful in its sound is also great for working with the fretboard hand because it is based on a series of chord progressions combined with a loosely melodic bass line.
If you don't own a metronome, GET ONE! Learn to play slow and in time with it. This way you will form all the right reflexes and once you move the material up to speed the difference will be clear. Arguably, mastering rhythm with a metronome is an essential quality that will separate the amateur from the pro. To the people that may scoff at this and not understand the true importance of working with a metronome, think of it this way: imagine something as simple as a person walking across a hallway. If I ask you to describe them you would probably tell me what they looked like, what they had on and so forth. Now imagine another person walking across the hallway, but this guy is very shaky on his feet, he sometimes double steps, stumbles and flails his hands about trying to keep balance while walking. If I asked you to describe this guy, you'd probably tell me that he had a crazy walk, and he couldn't walk straight etc.. That would be the impression that would stick with you. Same with your rhythm skills. If you don't master them, people won't be able to remember or appreciate your playing because their attention will constantly be distracted by the tempo stumbling and bumbling about.
If you follow the steps noted above you will see great improvement in your overall classical guitar playing. Not only will this affect your playing but also your enjoyment of the instrument. As you follow this route you will see results and feel satisfaction. Like a veil being lifted, you will be able to see the path you must follow and pretty soon you will be tackling with great ease and elegance the piece that seemed so hard a while back. As always, if you need some advice as to the material you should be pursuing, or what book you should get, feel free to drop me a line.
About the Author
Ben Dressen has studied classical guitar>>http://www.rezzonator.com/, performed and taught in both Europe and the United States. He brings a wealth of information that is based both on classical principles that have stood the test of time and modern real-world techniques that give results. For an example of the Bach's Prelude
> http://www.rezzonator.com/ba.html Thanks Ben Dressen and http://www.goarticles.com/
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Date Published: Dec 27, 2011 - 5:12 am
Neanderthals 'distinct from us'
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Neanderthals 'distinct from us'
|
By James Morgan Science reporter, BBC News, Chicago |
 The DNA
will tease out the differences between Neanderthals (l) and
us (r)
|
Scientists studying the DNA of Neanderthals say they can find no evidence that this ancient species ever interbred with modern humans.
But our closest ancestors may well have been able to speak as well as us, said Prof Svante Paabo from Germany's Max Planck Institute.
He was speaking in Chicago, US, where he announced the "first draft" of a complete Neanderthal genome.
The genetics information has been gleaned from fossils found in Croatia.
Prof Svante Paabo confirmed that Neanderthals shared the FOXP2 gene associated with speech and language in modern humans.
A total of three billion "letters", covering 60% of the Neanderthal genome, have been sequenced by scientists from Max Planck Institute for Evolutionary Anthropology and 454 Life Sciences Corporation, in Branford, Connecticut.
The majority of the sequence comes from bones from Vindija Cave in Croatia.
The draft genome can give us clues to the genetic regions which make us "uniquely human", Prof Paabo told BBC News.
"It was always a dream to look at the DNA of our closest evolutionary relatives.
"Now that we have the Neanderthal genome, we can look for areas in the human genome where a change seems to have swept rapidly through us since we separated from Neanderthals.
"There, something special may have happened in us. The cool thing is, now that we have the whole genome, we can look for these changes without bias."
Prof Paabo released details about the latest stage of his research at the annual meeting of the American Association for the Advancement of Science (AAAS).
Tongue twister
Neanderthals lived in Europe and parts of Asia until they became extinct about 30,000 years ago.
|
THE DNA MOLECULE  The double-stranded DNA molecule
is held together by four chemical components called bases
Adenine (A) bonds with thymine (T); cytosine(C) bonds with
guanine (G) Groupings of these "letters" form the "code of
life"; there are 3.2 billion base-pairs in the Neanderthal
genome Written in the DNA are genes, which cells use as
starting templates to make proteins; these sophisticated
molecules build and maintain the body
|
They were the closest relatives of currently living humans, sharing between 99.5% to 99.9% of our DNA sequence.
Pinpointing the differences may reveal the crucial evolutionary changes that enabled modern humans to leave Africa and rapidly spread around the world, starting around 100,000 years ago.
Accordingly, Prof Paabo and his team have focused on genes of special interest in recent human evolution, such as FOXP2, which is involved in speech and language.
Humans differ from chimpanzees at two key points in the FOXP2 gene.
But the preliminary results suggest that Neanderthals shared these same variations.
"There is no reason to believe they couldn't speak like us," said Prof Paabo.
"But of course there are many other genes involved in speech and language, so there are many more studies to be done."
Breeds apart
Since Neanderthals lived side by side with modern humans in Europe for many thousands of years, it has been speculated that we may have inherited some Neanderthal DNA in our genome today, thanks to interbreeding.
But Professor Paabo's team have found no evidence for this.
They focused on a gene implicated in brain development - microcephalin-1 - which shows significant variation among present day humans.
It has been suggested that a particular variant of the gene, found commonly in Europeans, was contributed by Neanderthals.
But the Croatian Neanderthal fossils harboured an ancestral form of the microcephalin-1 gene, which today is also found among Africans.
Overall, it seems that Neanderthals have contributed, at most, a "very limited" fraction of the variation found in contemporary human populations, said Prof Paabo.
"What is exciting now, is that we are beginning to look the other way - from early modern humans into Neanderthals."
Professor Chris Stringer, from the Natural History Museum, London, UK, commented: "If the the Neanderthal genome data show little evidence of potential hybridisation, that would fit with my view from the fossil evidence that, while interbreeding was probably possible, it may have occurred only rarely, with trivial impact on modern humans.
"The populations had been separate for hundreds of thousands of years and I think there would have been significant physical and behavioural differences between them. However, larger samples would be desirable to get a more complete picture, and hopefully those will follow soon."
Dead end
Prof Paabo said the team did not expect to find any clues which might help solve the riddle of the Neanderthals' demise.
"I don't think they became extinct due to something in their genome," he said.
"It was clearly something in their interaction with the environment or with modern humans that caused them to be extinct.
"That will not be something you can see from their DNA sequence."
And Prof Paabo was quick to pour cold water on any suggestion that the genome sequence would facilitate the cloning of a Neanderthal.
"We are talking about a very complex mammal," said the 53-year-old.
"I don't think that technology will improve fast enough to make this possible in my lifetime.
"It is more in the realm of science fiction than science."
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Date Published: Dec 27, 2011 - 5:12 am
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