The Three Golden Rules

There are three golden rules that I think are very important to adhere to if you are going to start developing your chops (guitarist slang word for technique).

• Practice the right thing.

Do not let yourself make any mistakes while working on technique. Do things very carefully, because there is no point in working a lot on developing a bad habit into a perfect bad habit!

• Start new things very slowly and only speed up when it's perfect.

Speed comes with time and a little help from a metronome, but fast runs must be played smoothly, accurately and clearly or they sound rubbish. The amazing thing about the really technical guitarists like Steve Vai or Eric Johnson is not just how fast they play but how cleanly they play. Slow it down to half or quarter speed and you can hear every note clearly - that is what you should be aiming for. Clarity.

• Keep all movements to an absolute minimum.

Try and keep all movements as small and accurate as possible. Try not to let your fingers fly too far away from the fingerboard, or to 'point away'. Also try and keep your picking under control using only the tip of the pick and mot moving it too far from the string.

About technique development...

Pretty much everyone needs to develop their technique in order to execute the music that they wish to perform. It is no good having a great idea in your head and not be able to get it out, and you will probably find that there are many songs that you want to play but are not physically capable of yet.

Technique development is the physical development of your hands (and to some extent you body) so that you can play things that you want to play.

For demanding styles (like jazz and fast metal) it is essential to develop your technique to a high level, and then maintain it. Even if this is not your thing, it is a good idea to get you technical ability higher than you need it - so that it will sound easy and smooth when you play.

Free Guitar Lessons That You Must Hav

Learn to play the guitar online using free guitar lessons and chord charts. Internet Guitar Database has been set up for guitarists by guitarists in an attempt to provide free detailed information for players worldwide on everything from hints for beginner guitar players to discussion on various effects/amp/guitars. The lessons provided are accompanied by photos and in some cases tab and audio clip.

There is a large variety of free guitar lessons on this site and they can be accessed by using the menu to the right. Some of these lessons give suggestions on how to improve you guitar playing, whereas other lessons specifically discuss certain aspects/techniques of guitar playing. They have been written for guitarists of all levels, and we have tried to categorise them into specific categories, the beginner, intermediate and advanced guitar players.

Another one of our aims is to provide a review database so that you can share you experiences with various guitars/amps/effects with other visitors to this site. If you have the time please submit a review by clicking on the "Equipment Reviews" tab. Also if you believe you could contribute a lesson to this site please contact us.

Please note that all (but 2) of the audio clips provided are in mp3 format and can be downloaded and listened to at your leisure. However please ask our permission before putting them onto your own site etc...

If you cannot find what you are looking for, try using the search feature.

Develop Your Hobby Quickly

Having a hobby is great fun and a rewarding way to explore your own creative abilities. Though you may not be convinced of it, you do have a God-given talent within you. Everyone does! It only needs to be discovered and developed!

The world is full of variety and no two persons are exactly alike; each of us is a unique individual, and as such, has something special to offer. The different combination of personality, environment, experiences and interests that you have, work together to create you, and only you. There is no other person on earth exactly like you. Not a twin or even (heaven forbid) a clone. Though these people may have the same DNA, they cannot have the same exact experiences, therefore, they are different from you. Your interests may be similar, but the way you develop as an individual will determine how you express yourself and the hobbies you're likely to explore.

I was exposed to a lot of music while I was growing up. My parents would often put a Glen Miller, or Frank Sinatra album on the hi-fi while we were working around the house. Sometimes I would find them dancing in the living room. My oldest brother loved jazz and folk music. My other brother played the drums and was a rock n' roll fan. My grandfather sang and played the harmonica. My grandmother was a piano teacher. In the early 1900's my grandparents enjoyed performing in vaudville shows together.

So, you might say my gene pool, as well as my environment, were musically influenced. As a result I sang in choir throughout my school years. When I was 15 years old I began playing the guitar and writing songs as a hobby. Poetry was another creative avenue I explored. The experiences I had growing up during the turbulent '60s and early '70s also influenced my way of thinking and the development of my musical style. Though it may be similar to others of that era, it is uniquely my own.

You my be wondering what your particular talent(s), or gift(s), may be. How do you discover and develop your own hobby? Here are some ideas:

Consider Your Interests

sports, art, music, animals, books, cooking, theology, crafts, cars, science, horticulture, hiking...

Consider Your Background Environment

early childhood experiences and development, family traits, things you enjoyed doing as a child

Consider Your Personality

likes & dislikes, behaviour patterns, reactions to particular situations... What makes you happy? Sad? Angry? Compassionate? What motivates you?

Consider Your Strengths and Weaknesses

what are you good at? what do you find difficult?

Write down your discoveries, then look for a pattern to emerge. There may be several traits or areas of interest that unfold before your eyes. Try to determine which area you are most strongly drawn to. If more than one, can they be combined?

As I shared earlier, I like to sing and write, especially poems and song lyrics. I love music and playing the guitar. These hobbies obviously combine very nicely. I also have a knack for teaching and am a self-starter. My curiousity drives me to explore and learn new things. All of these traits combined together have helped me turn my hobby into a fun, work-at-home business. I am a private guitar teacher. I also created my own website which has provided me with new opportunities and additional income through google ads and affiliate programs. My hobby led me to discover the perfect job match for my personality type, skills, and interests!

There is a hobby, a creative spark, lying within you that is just waiting to be discovered. Your gift can add new meaning and depth to your life, but it needs to be opened, unwrapped, and developed for this to happen. Take a class, read a "how to" book, surf the net, or take some lessons in order to increase your knowledge and build your skills. Don't let the world and it's everyday distractions keep you from enjoying who you were made to be. Take a short break from your routine. Open your gift. Turn a new page in your life story. Time is short, so why not make the most of it today?

The Revolution of Electric Guitars

by Kathy Unruh

Electric guitars were introduced sometime during the 1930's and began a revolution in sound technology that continues to this day. The popularity of electric guitars began to grow after rock and roll was born in the 1950's, and today they are one of the most coveted instruments of all time. Things really began to take off when the Beatles turned the world on its ear in 1964 by "invading America." Soon to follow were supergroups like the Rolling Stones, Cream, and the The Jimi Hendrix Experience. Music was forever changed and today electric guitars dominate the contemporary music scene.

Originally these guitars were made with only a single pick-up. Now they usually come with two or three, thus creating a more versatile instrument. One is placed near the bridge, the other toward the base of the neck, and a middle, or third, is often added between the other two. Having these additional pickups provides the guitarist with more options for producing various dimensions of tonal quality. They can be used independently or in combination with each other and adjusted to achieve just the right volume or effect for either lead or rhythm guitar playing. Pickups are strategically set on electric guitars in order to "pickup" and produce the best sound.

There are generally two basic types of electric guitar: hollow-bodied and solid-bodied.

• Hollow-bodied guitars are often used by Jazz enthusiasts.

Ibanez AF75 Artcore Hollowbody

• Solid-bodied guitars are generally preferred by rock guitarists.

Fender American Series Stratocaster HH

If you are in the market for an electric guitar there are a few things you should keep in mind. First of all, take into consideration the kind of music you want to play. Are you looking for a smooth, mellow sound, or do you prefer more of a raunchy sound with an edge? If the former is true, then you'll gravitate toward the hollow-bodied guitars; if the later, then the solid-bodied is your best bet. Eric Clapton played a solid-bodied Fender Stratocaster, so it's obviously a good choice for the rock guitar enthusiast.

Now, you could compromise and go for "semi-hollow" electric guitar, which combines the characteristics of both.

• Semi-Hollow guitars have a solid center block which creates the sustain of a solid body along with the "f" hole design which allows for the acoustic quality too.

Ibanez AF75T Artcore Semi-Hollowbody One other thing to keep in mind- When you purchase an electric guitar you will also need to have other equipment, most importantly, an amplifier and a chord! If you're on a tight budget you might consider buying a package deal.

• Package Deals usually include the guitar, a small amp and a chord. Some also include picks, strap and a case.

Ibanez IJS40 Jumpstart Guitar Package

If you have money to blow, then do some research on amps and effects ahead of time so that you can be sure to have the equipment that will produce the sound you're after. You can also ask the store management for permission to test their different amps and effects while your in the store looking around. If you don't know how to play the guitar yet, ask if there is someone who could play a demonstration for you using the guitar and amp combo that you're interested in.

My final advise, before you buy your electric guitar, is to take your time and shop around. Ask a lot of questions. When you listen to music, take mental notes of the sounds you like and share your thoughts, ideas and questions with other guitar players. Then, go for it!

10 BEST GUITAR BUYING TIPS

Our 10 BEST GUITAR BUYING TIPS are here to help you to make a wise decision, avoid frustration, plus save you time, and money as you search for the just the right instrument to meet your needs.

BEST GUITAR BUYING TIPS #1:

Know what you're looking for.

There are four basic types of guitar:

ACOUSTIC - The word means “to hear” and refers to an instrument that can be heard without amplification. Acoustic guitars can have either nylon strings or wound steel strings.
CLASSIC - One of the oldest types of acoustic guitar. It is designed with a wider neck to facilitate finger-picking techniques.
ELECTRIC - An instrument that needs to have amplification in order to be heard.
ACOUSTIC/ELECTRIC - As the name implies, these guitars can be played with or without amplification.

So, just how much should you be prepared to spend? The good news is that it doesn't need to cost you an arm and a leg! You should find that spending somewhere between $100-$300 will be enough to get you started. Of course, be sure to keep in mind as a general rule: the better the instrument, the higher the price.

BEST GUITAR BUYING TIPS #2:

Buy a guitar that is best suited for the style of music you want to play. Below are some suggestions, but please keep in mind that these are only recommendations. Buying a guitar is a very personal decision, so feel free to think outside the box!

Musical Styles:

• Alternative: any of the 4 basic types are suitable
  
• Blues: any of the 4 basic types are suitable
  
• Bluegrass: acoustic steel string, acoustic/electric
  
• Classical: acoustic nylon string classic guitar
  
• Country: acoustic steel string, acoustic/electric, or electric
  
• Fingerstyle: acoustic, acoustic/electric, classic
  
• Folk: acoustic, or acoustic/electric
  
• Folk/Rock: any of the 4 basic types are suitable
  
• Jazz: any of the 4 basic types are suitable
  
• Ragtime: acoustic, acoustic/electric
  
• Rock: usually played on an electric
  
• Metal: electric
  

BEST GUITAR BUYING TIPS #3:

If you're a beginner, be sure and take advantage of package deals. This will give you an opportunity to get started without spending a lot of money first. Package deals usually offer a guitar and some extra goodies (such as a strap, pics, case, tuner, etc.) at an affordable price.

• The Yamaha GMDLX for example, is a fantastic package which provides all the accessories needed to start playing immediately. The package includes a solid spruce top guitar, gig bag, digital tuner, DVD guitar lessons, strap, strings, and picks all for one great low price!

• Ibanez IJX40 Jumpstart Electric Guitar Package includes axe, amp, cord, instruction book, gig bag and more. Jumpstart has name brand, good stuff that you can still use when you get good yourself.

BEST GUITAR BUYING TIPS #4:

Children and adults with small hands should consider a 1/2 or 3/4 size guitar. Also keep in mind that electric guitars, and nylon-stringed acoustic guitars, are easiest on the fingers.

• The Yamaha CGS102 1/2 size Classical Guitar is a perfect instrument for small hands. Constructed with the beautiful tonal woods and meticulous details of a full-sized Yamaha guitar.

• Martin Little Guy LXM is a nice affordable steel string acoustic guitar for small hands. A good choice for those who are interested in learning how to use a pick to strum the guitar.

• The Ibanez GRGM21 GIO Mikro Electric Guitar has a 22.2 in. body scale, 24 frets and 2 humbucker pickups. It's great for little rockers or can make a nice travel guitar for adults looking to save space.

BEST GUITAR BUYING TIPS #5:

You will find some safety in sticking with companies that have already established a good reputation for quality merchandise and excellent service. Some well known name-brands are Ibanez, Yamaha, Fender, Ovation, Gibson, Martin, and Taylor. I often recommend Yamaha guitars for beginners because these instruments are usually well made and there is a wide selection of models to choose from. With Yamaha, you are bound to find just the right guitar for your skill level and price range that will be easy to play, stay in tune and sound good too. Later, when you're ready to go professional and start you're concert tour, you can upgrade if you need to.

BEST GUITAR BUYING TIPS #6:

Often people will put their unwanted guitars for sale on consignment at local music stores, so be sure to ask questions about this when you're shopping around. If you live in or near Montana's beautiful Bitterroot Valley, THE MUSIC BOX has a nice selection of brand-name guitars and amps to choose from plus CDs, sheet music, accessories, and more. This is a friendly family-run business located at 612 N. 1st, Suite 2 in Hamilton. Their toll free number is: 1-800-559-5491. Please mention that you were referred through my website here at ABC Learn Guitar!

BEST GUITAR BUYING TIPS #7:

Ask music store owners if they are planning to have any upcoming promotional sales. They may offer to put your name on their mailing list so you can stay informed and take advantage of any special offers or discounts they have in the future.

BEST GUITAR BUYING TIPS #8:

Look through classified ads and check college campus newspapers and bulletin boards. I found a great deal on a "like new" Yamaha classical guitar this way. Students are often in need of extra money to pay for tuition and books. Because of this they will often sacrifice musical instruments they are no longer using.

BEST GUITAR BUYING TIPS #9:

Buying a guitar online can be another great way to save money, but always be sure to find out what the company's return policy is. Zzounds has a 30 day return policy which should give you enough time to evaluate the guitar and see if it's everything you hoped for. They promise to beat competitor prices, so you can be sure to get a good deal. They also offer a money back guarantee and free shipping on most items, so If you're not fully satisfied with your purchase you can return it or simply exchange the guitar for another one.

BEST GUITAR BUYING TIPS #10:

Enter contests that are being promoted online when you have the opportunity to do so. This is a great way to get some free gear if you win. Merchants generally require a valid email address in order to contact the winner and send updates of their products. You can always remove yourself from their email list after the contest is over if you want to.

Thats all, see u again..

Hints for Buying a Second-Hand Guitar

Often cheaper than a new guitar and just as ready to rock out, a second-hand guitar could be the perfect addition to your collection or the perfect thing to start you off, but how do you know that your potential purchase isn’t a potential dud?

The truth is that some fantastic guitars, while expensive when new, are relatively cheap second-hand. Sometimes you can find a custom or a limited edition guitar that someone is selling quickly for the cash and you can often get a real bargain if you know what you are looking for. It really pays to do the research before thinking about buying a second-hand guitar as some sellers will push their price up to cash in, especially if they know they are selling to a beginner who may not know much about guitars.

So, as a beginner who may not know much about guitars, what should you look for when inspecting a second-hand guitar?

Let’s just say that you have found a second-hand guitar in the musical instrument section of the weekly classifieds and you are quite keen to go and take a look at it. Below is a list of hints that will help you when inspecting the guitar and talking to the seller:

When talking to the seller, ask them the following:

• The make and model of the guitar – It is best if you can do some research on the guitar model to find out the asking price elsewhere, both new and used, and whether or not other people are experiencing problems with it.
• About the condition of the second-hand guitar – If they are honest, the seller may tell you about any damage that is undetectable upon rough inspection.
• How long they have had the guitar – If they have had it for a long time, they should have a good knowledge of its history of use, repairs and maintenance etc. If they are not forthcoming with that sort of information, they may be trying to pull one over you.

When inspecting the second-hand guitar, check the following:

• The overall condition – Look the guitar over and make note of any obvious damage – second-hand guitars often take a bit of wear and tear and if its just small scrapes and scratches then the guitar will probably be fine. Look for rust also , not on the strings, but on the hardware that is holding the strings and the pickups. If there is any rust in these places… run! It’s not worth it. What good is a guitar that may fall apart on you in the near future? Trust me – leave it alone.
• The neck of the guitar – the neck is really important. Here are some areas to look at:
• Make sure that the neck is not warped or out of shape in any way.
• Check the area where the neck joins to the body of the guitar – look for cracks where it may have been broken in the past.
• In the same fashion, check the area where the neck joins the head of the guitar.
• Check the action – Action is a word that describes how close the strings are to the fret board starting at the head of the guitar all the way down to the bridge. It is preferable to have the strings very close to the fret board as to make it easier to press them down (not so close that they are touching of course). If the strings are nice and close to the fret board all the way along, you would say that the guitar has a good action. Pictured right is a guitar with poor action. Notice that the strings sit quite far off the fret board. Guitars with poor action are harder to play and don’t sound very good. You can fix the action on your guitar by taking it to a guitar technician, but it will cost you between $20 and $50.
• The Intonation of the strings. Intonation is a word that describes the accuracy of each individual note that the guitar can produce on any string. If the intonation is correct, every note on the guitar will be the correct pitch – If it is out, the guitar will be impossible to tune and it will sound horrible. To roughly check the intonation, play the E shape barre chord on each fret of the guitar. As you move towards the bridge of the guitar, you should hear the chord keeping its pitch – if not, the intonation is out and you will need to get a guitar technician to work on the problem.

If the second-hand guitar you are looking at is an electric, you must plug it in and see how it sounds through an amp. Ask the seller if you can play it through your amp and if you don’t have one, ask someone if you can borrow theirs. Try the following when testing an electric guitar through an amp:

Turn the amp up to a fair volume level and then play with the volume and tone controls by turning them to full and then back to zero. Test the pickup selector by flicking its switch back and forth. Carefully listen to any sounds that are being made while doing these things. You are looking for scratchy sounds or clicks that might indicate old or worn electrics.

• Strum a single chord and while the chord is ringing start playing with the controls like before, still listening for scratches or clicks or any other nasty sounds. Guitar technicians can fix these problems and most guitars need to be done about once every 5 - 10 years. Just be aware of this fact or you could find yourself spending more money than you first intended.

Check the sound of the guitar – Before you buy, you want to know that the guitar sounds like it should? Once you have tested the guitar sound, go to a music store and ask to play on a new model of that guitar. If at all possible, use a similar amplifier to the one that you tested the second hand guitar on, and see if you notice any BIG differences. There is a simple rule that I like to follow: If you’re not happy with the guitar sound… Don’t buy it!

The most important thing to remember when shopping for any guitar is... Don’t shop impulsively. A guitar is a major purchase and you want to get the right one. Leave yourself time to go away and think about the purchase. If you have doubts when checking out a second-hand guitar, you are probably better to leave it and hold out for something that better suits you.

If you are new to the guitar and a little worried about testing guitar in public – don’t worry. It is important to remember that you are not there to showcase your playing ability – you are there to discern whether your proposed buy is a good deal or not so just go for it.

If you are still worried, take an experienced guitarist along with you when you are looking at a possible purchase. See if you can persuade a teacher or a friend – most musicians love to help newbies. Not only will they be able to offer helpful advice – they will be good moral support when it’s time to pick up the guitar and test it out in public.

Write a Song With Your Guitar!!

How To Write A Song?

by Kathy Unruh

Using your guitar to create a song can be both fun and challenging. Whether you’re just writing lyrics or working out an instrumental piece, the creative process can help to improve your overall ability to internalize rhythms and sounds. Songwriting can also help you to develop a greater sense of feeling as opposed to playing from a merely mechanical or “bookish” approach. This happens because you have to depend more on what you hear than on what you see. As you listen to different tones, rhythms and chord progressions, it’s important to take note of how you feel. What sounds do you like, dislike? Because there are no real rules here, you can try anything you want!

Not long ago I began creating a few instrumental pieces for a guitar workshop I was planning to attend. My husband suggested I compose a piece of music using snow as my theme. This got me to thinking about how I could use my guitar to express the feeling of snow beginning to fall lightly from the sky. I wanted a delicate sound to start with, nothing complicated. So, I began with a few notes played high on the 12th fret. Then I gradually descended to the 5th fret, building intensity as I moved down the neck. I had to mess around with the notes a bit until I got a finger-picking pattern I liked. This changed a few times along the way, but became more consistent as the song began to take shape.

Writing songs with lyrics can be similar. Sometimes I start by developing a musical idea or theme on my guitar, but other times I start with the words. Ideas have come to me occasionally when I am just walking down the road. I suppose this is because my mind is free to wander and play with words when I’m relaxed and enjoying myself. Not long ago the following phrase popped into my head while I was meandering along on a sunny day: “Fire, cold as ice.” It sounds strange, but I liked it and ended up writing an entire song around it.

If you’re wondering how to write a song, here are a few suggestions:

• Take a chord you are familiar with (such as G, D, A, etc.) and experiment with it.
• Leave one or two fingers in place as you move a free finger(s) to a different string nearby.
• Strum or pick each string and listen to the tones.
• Try a different fret, different string, strum different rhythms.
• If you hear something you like, play it over and over until you have it memorized.
• Use this as your starting point, or theme, and write the rest of the music around it.

The most important thing is to relax and enjoy the process. Let yourself sing whatever nonsense comes to mind. It doesn't need to make sense or even rhyme. If you happen to hit on a phrase or chord progression you like, write it down. Or better yet, record it. Use your cell phone if you have to. It doesn't matter what it sounds like at this point, you just want to remember what you've created so you can continue working on it.

Don't be afraid to get feedback from a trusted friend or fellow musician. They may be able to give you more creative ideas or even become an important songwriting partner. That's what happened with Lennon-McCartney right? Well, it might just happen to you too!

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FREE Reprint Rights - You may publish this article in your e-zine or on your web site as long as you include the following information:

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit: http://www.abclearnguitar.com

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CHRISTOPHER PARKENING

A Musical Misfit? by Kathy Unruh

Was Christopher Parkening a musical misfit? If you consider the popular culture of his day, then you would have to say yes. In 1964 Beatlemania had descended upon America, followed by the British Invasion. Most young people of his generation were not listening to classical guitar music, including myself.

Yet, Christopher Parkening is considered to be "...one of the most brilliant guitarists in the world," according to his former instructor, the late, and legendary Andres Segovia.

At age eleven, Christopher expressed a desire to learn how to play guitar. He mentioned this to his cousin, Jack Marshall, who was staff guitarist at MGM studios at that time. Jack suggested he begin with classical guitar in order to get a good foundation in technique.

As Providence would have it, the Romeros had recently moved from Spain to L.A. where Parkening lived. So, Christopher's first guitar teachers were Celedonio and Pepe Romero! He later performed at a competition in UCLA's "Royce Hall." The composer of the music sent a tape of Parkening's performance to Andres Segovia, requesting a scholarship for him to attend Segovia's first U.S. master Class. This event was held in 1964 at the University of California at Berkley and that is how a bright new star was born.

Like Christopher, I also had an interest in learning how to play the guitar at a young age. My brother was a drummer in several rock and roll bands and I was very influenced by this type of music. So, when I got my first guitar, I began to learn the popular songs of the day- Stairway to Heaven, Roundabout, Behind Blues Eyes, Southern Man, I'd Love to Change the World, etc. I had no problem with being a musical misfit because people loved these songs.

Over the course of time I began making up my own tunes too. This was a lot of fun and sometimes, when I was with a group of my friends, they would ask me to play a song. We were all hippies back then, so I liked to play a song I had written which expressed my concern about the environment.

But times change and so do people. Though I'm still concerned about the environment, the message of my songs has changed because I have changed. Instead of writing about my concern for the environment, I now write about my concern for people's souls, and this has made me a musical misfit of sorts. But it doesn't really matter because I desire to reach out to people who are searching for meaning in life like I once was. This is where my heart is, and it is this passion that drives me.

Christopher Parkening has a similar passion. He came to point in his career where he was burnt out from all the demands that were being placed upon his time due to his performing schedule. So he finally quit performing and bought a ranch in Montana. He decided that all he wanted to do for the rest of his life was fly fishing. So, for three years, that's all he did. He hardly, if ever, pick up his guitar during this time.

But something wonderful happened during this period of solitude and soul searching. He met Jesus and his life was changed forever. Now he is performing again because, as he puts it: "I am a Christian, and I read the Bible a lot. I desire to bring glory to the Lord in some small way with the music that I play, and that is first and foremost in my mind."

Today, Christopher Parkening is renowned all over the world as a solo classical guitarist. He has performed concertos with leading orchestras, played at the White House and been nominated for two Grammy Awards.

So, if you fee like a musical misfit, don't dispair. Just follow your passion and your dreams. Don't be distracted by what everyone else is doing. Some of the greatest musicians have most likely felt the same way at one time or another. And I believe if you are destined to be a star, then one day you will be.

The Art Of Practicing

How To See Real Results By Chris Standring

Re: The Art of Practicing... I have always believed that success, in practically any subject you can think of, is a direct result of "clear thinking". That is, the ability to understand very clearly what needs to be achieved and the action to set about surmounting very necessary hurdles in order to reach those goals. Less than successful people are either not clear in their goals or for one reason or another give up along the way. It's leveling that rough terrain, along with a clearly defined end result in mind that will get you there in the end. The success roadmap might go something like this:

Visualize goal => Surmount problems => Score

Sounds simple doesn't it? However, this clear thinking is all very well but it's usually the thought required before step 1 (visualization) that causes problems. Very often the goal does not manifest in mind because the process is so overwhelming.

And so it is with practicing the guitar, or any instrument for that matter. In more laymen's terms it's more like "What should I be practicing?"

Practice is a constant struggle for many people. There is so much to learn and often so little time to allocate to it. For the jazz musician, clear thinking can be as simple as "I really like that Charlie Parker 2, 5 - how does he do that?". Then transcribing the line, practicing it in all keys and working the phrase into your own vocabulary.

The 'score' as I like to call it is the ability to work it in to your own playing. I want to talk a little about that in a minute.

First, I think the most important thing to talk about is how to make best use of your practice time. There was a time when I started playing where I used to sit in my room and allocate 15 minutes to practicing scales and arpeggios, 10 minutes on technique exercises, 20 minutes on sight reading and 1/2 an hour on practicing my classical guitar repertoire. Why? because my teacher told me I had to. Years later once I started to study jazz guitar on my own I didn't feel the need to be practicing this way. It wasn't really benefiting me fully.

I started to have my own goals in mind that I wanted to reach. I wanted to learn to play like one or two of my heroes, but more importantly because I liked what they played. Even more under the microscope were certain melodic lines and licks that tweaked my ear and fueled me to transcribe or simply copy the way they phrased or 'felt' a phrase. Once I clearly had in mind what I wanted to achieve I could go about achieving it - I knew what I had to do.

It's important to sit down to practice and be really clear about what you are going to do during that practice time. Now, one thing that helped me tremendously was when I made a huge commitment to scheduled practicing. In other words, deciding that every single day, no matter what, I would sit down and dedicate exactly one hour to working at this instrument. The amazing thing I found is that my regularly scheduled practice literally fueled my regularly scheduled practice!

Does this make sense? What this means is that, the more I practiced, the more I wanted to practice. What started out as a committed hour turned into committed six hour sessions. Once I got into music college in London I remember waking up in the morning and practicing until I went to bed at night, remembering to eat on occasion. I was so fueled by the commitment to practice that the drive to play took over completely.

Does this make sense? What this means is that, the more I practiced, the more I wanted to practice. What started out as a committed hour turned into committed six hour sessions. Once I got into music college in London I remember waking up in the morning and practicing until I went to bed at night, remembering to eat on occasion. I was so fueled by the commitment to practice that the drive to play took over completely.

Regular practice clearly keeps your guitar technique on tip top form. There's nothing like picking up the guitar and playing a few short runs and being on top of your game, simply because you are playing regularly.

The other wonderful thing about committing to regular practice is that it actually helps you to think much more clearly, because you start to see results. Once you start to see results the concept of learning is much less overwhelming and you are able to make decisions about what you want to work on much more easily.

So do yourself a huge favor, first, make the decision to want to get much better at your guitar playing. Then once you have decided that, make a clear commitment right now and allocate a certain time of day to your guitar practice. If you only have limited time then give yourself what you know you can afford. Once you get your teeth into this system, if you don't have more time, trust me you will want to find more time. You might just want to wake up earlier. The drive to learn will take over.

Quality practice is key. I find now I am older that, if I let myself, I can get more and more distracted because there are so many other facets to my life. When I make the decision to focus 100% on my guitar problems and how I can surmount them, I find I can get completely absorbed for hours once I get going. Sometimes it helps to avoid those distractions from the outset. Maybe turn the phone off!

There is a huge difference between playing the guitar and practicing the guitar. I can play for days quite happily but am I learning anything new? Not unless I stop myself and work on my weaknesses. And there are plenty of those trust me! Many years ago I wanted to learn licks from my favorite players. I would hear a line and transcribe it. Many times I found that those musical phrases would not come out in my playing and I asked myself why. It dawned on me that there were three possible reasons:

1) I found the phrase too technically difficult to pull off. 2) It just didn't feel like it belonged in my vocabulary. 3) I hadn't fully explored the idea enough - perhaps I didn't fully understand how to use it in a practical sense.

Let's talk about these briefly.

Sometimes a horn line does not necessarily fit under the fingers on the guitar. The line might sound just terrific on a sax but if I can't play it on my guitar it's not going to have the same effect. In fact quite the opposite! Everyone is somewhat limited technically (although there are a few players that keep my head scratching I must admit!), every player has a ceiling in their own mind and I think it's perfectly OK to let some things go because they are just two gymnastic on the guitar. It's of course relative to each player's ability and comfort zone.

Occasionally I'll try and work something into my music vocabulary and it just doesn't feel like me. Some players sound great playing certain things and when I play them they either sound too much like that other great player or I just don't feel it. Music has to be personal, it's OK to weed out stuff that you don't want to use, even when those 'weeds' are a rose garden to others.

The last idea is something very important I think. That is the idea that when you work on some new vocabulary or a new harmonic idea, that you fully understand how to use it and just as importantly, how to work it into your playing so it comes out naturally. Let's assume you are transcribing a lick on a CD you like. The first thing to do is to make sure you get the notes right. You might slow it down (there is plenty of software on the market that enables you to do this now). Whatever it takes, make sure the notes you are transcribing are correct. Then it is a matter of practicing that phrase so it feels good when you play it.

Now most folks stop right there and wonder why the phrase never shows up in their playing. The secret is to figure out exactly what chord (or group of chords) is being played underneath that line. After that, figure out what other chords could also be played underneath that phrase.

Next, learn how to play that phrase everywhere on the fretboard, in different positions and keys. Finally and the most important, work the phrase into your own playing. To do this, start by improvising in any way that you normally might and focus on ways to connect that new phrase you want to play. The new phrase starts on a certain note and you will need to focus on that starting note in order to make a connection to it. Practice improvising freely and connecting to that new phrase, focusing on its starting note. Do this in all keys. Pretty soon you will know if the phrase is going to come out into your playing or not.

The art of practice is a huge subject and musicians have written complete books on it. But I do believe the real success starts with clear thinking. Make a decision to focus on something specific. Here is a more detailed roadmap to take on board:

1) Visualize. What do you want to work on - what do you want to achieve? 2) Plan. What exactly do you have to do in order to achieve that goal? 3) Action. Explore the subject in enough detail. 4) Surmount. Expect problems along the way - this is normal - don't give up! Just level the terrain. 5) Score - making sure that the subject is fully absorbed and part of your new musical make up, unless you decide otherwise.

Great players really got to grips with practicing in the early stages. It became fascinating to them and the results they saw fueled more practice. It's a self perpetuating phenomenon. By simply not practicing, the incentive to pick up your instrument diminishes over time. Then the excuses start to pour out in torrents. Then regrets. Then a very dusty guitar possibly in a dark attic somewhere.

Get practicing. Quality practice. Ask yourself questions. Look for the answers. Insist on results. This is the key to improving.

How To Seriously Improve Your Guitar Playing

by Chris Standring

"You just cannot expect to perfect your instrument without real world performing experience. You can't get that experience any other way."

There are bedroom guitar players and there are live performers. There doesn't seem to be anything in between. The minute you walk on to a stage (whether you get paid or not) you are a professional. You are in the business of entertaining and displaying your wares, so to speak. And if you really want to seriously get your guitar playing together it is the latter you need to strive for in my opinion. I am not suggesting you 'turn pro', you know attempt to do this thing full time, that is a whole other set of issues itself, but in order for your guitar playing to really get to where it needs to get to, you simply have to play in a live performance setting, preferably in a public forum. Ideally with other musicians you can interact with.

You can spend a lifetime reading books, studying your musical heroes, playing along to music minus one records, but none of this will ultimately give you the full picture. In order to be a true well rounded musician, you have to have real world experience. I'll try to explain why...

When I was just starting out in the profession as a fresh untainted fish in the vast sea of the London music business, I had to get myself known in order to find work. So I set about to answer ads in music papers. Now, after studying classical guitar at the London College of Music, I came out of a 3 year course with a facility to sight-read. Or should I say the beginnings of sight-reading ability, as jazz and pop music written on paper is a whole other world, as I was about to find out. I remember having to sight-read a piece of jazz music with a dance band at an audition. There were about 10 guitar players going for this gig. I must have been about 23 years old. The musical director said "I kind of like what you did Chris but you didn't really cut it mate! There are other guys here that have what I need". Ouch!!! That hurt. But I was young. It was actually good to hear. So I went back to my music library, pulled out a ton of violin music and practiced reading in different positions on the fretboard. Not to mention learning how to grab chords on sight in different fret positions.

Another time, I went down to audition for the National Youth Jazz Orchestra, a band known to be extremely taxing musically, and a training ground for London session players. I sat in the guitar chair with my Gibson 335 on my lap, ready to play. The director called a chart, I placed it on the stand and he counted it off. He counted it off around 250 BPM. Frighteningly fast! Well, it was all I could do to get my eyes to follow the music, measure by measure, much less play the music that was written within those bars! I didn't even touch my guitar that rehearsal. I simply placed it back in its case and went home. Ouch again! That was a hard knock! I gave myself exactly a year to get it together. I went back to my practicing with a vengeance. A year later I joined the band for about a year and a half.

Another for instance; about 13 years ago I was playing with a jazz singer in a trio situation with an eminent LA drummer and acoustic bassist. I hadn't done much trio playing, if any at the time, but I was looking forward to playing. At the end of one of the songs I completely messed up the ending. In fact I would go further, I hadn't really worked on any song endings. Didn't really have that together at all. The drummer scowled at me, particularly because I threw him off, as I was not definite in how I wanted to end the song (because I didn't know myself!). He was furious when I made him look bad. He said to me "Dude, you've got to dictate these endings, you're the one playing the chords!". He was right. I was crushed! I went home, sulked for a week (maybe two). Then I went back to my practice room. I was not to be defeated.....

These are the hard knocks you simply have to get in your music life to dictate what you need to work on to get your total musicianship together! You just cannot expect to perfect your instrument without real world experience. You can't get that experience any other way. I can recount tons of times that this sort of thing has happened, and there are still things today that I learn on a weekly basis at live gigs, telling me what I need to work on. The difference today of course is that it's me who is being critical of myself, rather than other bandmates and musical directors telling me I suck!

And the neccessity of performing live is true of any musical genre you choose. Interacting with other musicians is an art in itself. I know technically great players who can't play with others. Does this make them great musicians? I'm not so sure. But they sure can get round the instrument. But if they were to do any amount of live ensemble playing they would have one or two knocks coming, and if they are smart they would work on those issues. Otherwise it's back to solo guitar playing in the back of their local restaurant. (A noble and valid thing to do, let me also say).

There are many issues that come up in a real live playing situation that just don't come up in a bedroom practice session. Time, time-feel, supportive ensemble playing, projection of sound and tone, and most of all a sense of energy and commitment within a performance that is extremely different, and is very difficult to even put into words frankly. You just need to experience it, and that experience will improve your playing tenfold.

So get out there and do some gigs. I know it is hard to make that happen sometimes, but if you cannot make it happen then start a rehearsal band with a few others and play through repertoire. Get together with other guitarists and play through tunes, take solos and take turns being supportive. As you improve, take the plunge and take yourself to the next level.

And by recommending you do all this I am by no means suggesting you put away your books, records and Jamie Abersold play alongs. Absolutely not. This is something of course you should continue to do. But it is only 50% of your musical makeup. I promise you, by performing live you will improve yourself as a guitar player, but most of all as a musician, and at the end of the day this is what we all need to aspire to.

Go to it and have fun!

How To Reduce Feedback

If you've performed live on stage or even a casual jam with your friends at band practice -- one of the most annoying things guitarists have is a thing called FEEDBACK!

If you don't know what feedback is -- it's that terrible high pitched sound that comes from speakers.

It usually happens when you place your microphone too close to the speaker or play your guitar directly in front of the amplifier.

Not only does this damage your ears, but it puts your audience off when they come to hear you play!

Now I'm not an expert on the dynamics of feedback. But I have performed on stage many times and have learnt a few tricks to avoid feedback from occurring...

The first step is to turn down your treble on your amplifier. Too much treble invites feedback so don't have too much treble in your amplifier settings.

The second step is to turn the volume on your guitar up only 3/4. Don't turn your volume up full as this is invites huge feedback! Always leave a little room on your volume, so don't turn it up all the way. Only 3/4 and I guarantee you will reduce feedback at least 80% with this trick.

One other trick is to turn down the gain or distortion on your amp. When you play softly, you can turn your gain or distortion full. But when you start playing with some serious volume, turn your gain only 50%.

You will still get the same sound and distortion, but this is the trick to avoiding feedback from occurring when you play loudly.

Finally, if you're using an effects pedal, only turn it up 3/4 the way. Like your guitar -- always leave a bit of leeway as it offers more control over the sound and keeps your playing tight!

Remember this -- if you keep control of your volumes, you reduce the level of feedback and have a much tighter sound as an over all band. If you turn everything up full and try to rule the world -- you'll sound a mess and out of control.

Written by ELMORE MUSIC

STAIRWAY TO HEAVEN

The Story Behind the Song

By Kathy Unruh

Stairway to Heaven was the song that everyone wanted to learn when I first started playing the guitar. It was the one song that could define you as a good guitarist among your peers.

Stairway to Heaven was written by Robert Plant and Jimmy Page of Led Zeppelin. They began recording in 1970 and the project was slowly brought to completion one year later in 1971 (after the lyrics were added.) Here are some interesting facts about Stairway to Heaven...

• It was performed by Led Zeppelin for the very first time in conjunction with the first concert they gave in Northern Ireland at Belfast's Ulster Hall.

• It is cited as the most played song on FM radio stations in the United States, despite never being released as a single there.

• Stairway to Heaven is one of the most well-known popular songs in rock and roll history, despite the fact that it was never released as a single.

• It is the biggest-selling single piece of sheet music clocking up an average of 15,000 copies yearly.

• It is considered by many to be one of the greatest rock and roll songs of all time.

• The opening chord progression in Stairway to Heaven is nearly identical to the 1968 instrumental "Taurus" by the group Spirit.

Some critics have accused Led Zeppelin of recording a hidden Satanic message in Stairway To Heaven that can be heard when it's played backward. The band has ignored such claims for the most part. Singer/composer Robert Plant replied to a question on this subject by saying:

"To me it's very sad, because 'Stairway To Heaven' was written with every best intention, and as far as reversing tapes and putting messages on the end, that's not my idea of making music."

Swan Song Records also issued the following statement at the time which said:

"Our turntables only play in one direction—forwards."

I personally don't believe there is anything sinister at all about the song Stairway to Heaven. The words are really quite thought provoking. It begins with words about living a life that is only satisfied with material things...

"There's a lady is sure,
all that glitters is gold,
and she's buying a stairway to heaven.
When she gets there she knows,
if the stores are all closed,
with a word she can get what she came for."

As the song progresses it becomes more reflective and even somewhat spiritual...

"Your head is hummin' and it won't go, in case you don't know,
the piper's calling you to join him.
Yes, there are two paths you can go by, but in the long run,
there's still time to change the road you're on."

I guess everyone must decide for themselves how they feel about this song. As a guitar teacher, I definitley think it's worth learning because it is a true rock and roll classic.

If you're just beginning to learn guitar, you might find Stairway to Heaven a bit of a challenge to play, but it's not impossible. Those of you who have been playing for awhile shouldn't have any problem. Of course, if your in a band, then this song is a must to know as it is a great crowd pleaser. You will definitely gain recognition and a good response if you can play it well.

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Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 25 years.

Four Online Promotional Steps

By Lance Trebesch

Today’s artists have a wide range of possibilities to promote themselves, especially online. But that means you must compete with other groups to gain an online presence. There are four key steps in online marketing to gain a successful start with promoting your music on the internet.

1. Submit to Directories

The first step is to submit. Submit to directories, online radios, and online magazines – anywhere that plays or features music. The more places that play your track, the more people will hear and recognize your music. Thousands of people listen to free online radios daily and most of these stations allow artists to submit their music to them. Similarly, directories permit you to add your website with a brief description, which is then added to the directory site. An even better idea is to make a friend submit your site or music for you so you are not always pushing your own music.

You must be careful when submitting to sites, however, because search directories like Google will downgrade you if your incoming links look unnatural. This means that when someone performs a search for your site, it will not show up in the top search results because the search engine is punishing you. Try submitting your site or music to a couple sites weekly with various anchor texts. For example, the words “an awesome rock blog” are the anchor text to the link www.motorcityrocks.com. Also, do not always submit your site with a link pointing to your homepage. Sometimes submit your site with a link to the secondary page of your website to make the links seem more natural.

* Anchor text – visible, descriptive text you click on for a hyperlink.

2. Give Away Music

Secondly, offer your music at no cost. With the plethora of options available to users to download free MP3s, strictly offering your music for purchase hurts your online status. When a listener gets your MP3 for free, he or she has a greater possibility of returning to your site to hear more music by you if they liked what they heard. Only after listening and liking your music will they purchase your album. You have to be sure not to give away too much music, though, because the listener will have no reason to purchase your album if they can find everything for free.

Adding a podcast or MP3 to your sites also allows users to hear your music without paying anything for it. The hardest part in adding music to the site, however, is the recording, so start by focusing on a quality recording of your music. To add music to the site:

• Find a computer with audio input capability and an easy to use audio encoding application. This is easy if your music is on CD, just rip it with iTunes or a similar application. If it is in some other analog or digital (mini-disc) format, it gets a little harder, but applications are freely out there.

• Then with MP3 file in hand, you can upload the file to your web site and link like you would link a web page or other media/image file.

• From there, there are more complicated ways of doing it so it is more "presentable" with a nice embedded player, etc.

3. Make Business Friends

The third step is to build professional online relationships to boost your online presence. You know a lot about music, so comment on it. Look up blogs related to rock music and add meaningful comments to help others reading the blogs. Most of the time the comment box asks for your URL, which is a great way to promote your own website or blog while helping others by posting comments.

Blogger ethics state if one blogger comments or links to another’s site, the other blogger will comment or link back. This is a great way to build an online relationship and promote one another’s music. An additional option, besides just commenting on their blogs, is to help them out somehow. When you find online radio stations to submit your music to, compile a list and send the list to them. They will in return promote your music to thank you for your help.

Besides commenting on blogs, creating a blog can prove very beneficial in online rock music marketing as well.

4. Utilize Social Networks

Connect yourself to tons of different social networking sites. YouTube, Yahoo Video, and Google Video allow you to post different videos onto the site at no cost, like the OKGo video that was fairly inexpensive and still receives views daily. Post all your music videos and add links to your website to these videos.

MyBlogLog allows users to share different sites and build a community based on various interests. You can also add your site to your profile and view who else has your site as their favorite. Although just over a year old, MyBlogLog is quickly gaining popularity, which presents a great way establish yourself early in the community. Similarly, Ning allows you to create a social network for any topic. Joining and commenting on various rock music networks and creating your own network for group provides the best methods to get the most out of Ning.

Finally, joining the additional social network sites like LinkedIn, Facebook and MySpace are all necessary in promoting you or your band. Finding friends and friends of friends can boost you music and be helpful in additional ways. Network as often as possible both online and offline.

These four simple steps provide a great way to start promoting your music online. Remember to submit, give away, and comment. Online marketing is a continuous process you must constantly work on, but it pays off in the end.

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This article was contributed by Lance Trebesch of TicketPrinting.com

Contact: lance@ticketprinting.com

Guitar Chord Charts

Below is a great list of FREE GUITAR CHORD CHARTS. They are easy to read and understand. The circles on the fretboard show where to put your fingers. With quality practice time, they should help you learn and memorize new guitar chords. Enjoy them!

PLAY YOUR FAVORITE SONGS - Clapton, Green Day & More...

Basic Major Guitar Chord Charts

Major Chords
E 6 5 4 3 2 1 o_______o_o |_|_|_o_|_| |_o_o_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	A 6 5 4 3 2 1 __o_______o |_|_|_|_|_| |_|_o_o_o_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	C 6 5 4 3 2 1 ______o___o |_|_|_|_o_| |_|_o_|_|_| |_o_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	D 6 5 4 3 2 1 x___o______ |_|_|_|_|_| |_|_|_o_|_o |_|_|_|_o_| |_|_|_|_|_| |_|_|_|_|_|	G 6 5 4 3 2 1 ____o_o_o__ |_|_|_|_|_| |_o_|_|_|_| o_|_|_|_|_o |_|_|_|_|_| |_|_|_|_|_|

Basic Minor Guitar Chord Charts

Minor Chords
Em 6 5 4 3 2 1 o_____o_o_o |_|_|_|_|_| |_o_o_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Am 6 5 4 3 2 1 __o_______o |_|_|_|_o_| |_|_o_o_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Cm 6 5 4 3 2 1 ______o___x |_|_o_|_o_| |_|_|_|_|_| |_o_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Dm 6 5 4 3 2 1 x___o______ |_|_|_|_|_o |_|_|_o_|_| |_|_|_|_o_| |_|_|_|_|_| |_|_|_|_|_|	Gm 6 5 4 3 2 1 ____o_o_x_x |_o_|_|_|_| |_|_|_|_|_| o_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|

Minor 7 Guitar Chord Charts

Minor 7 Chords
Em7 6 5 4 3 2 1 o___o_o_o_o |_|_|_|_|_| |_o_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Am7 6 5 4 3 2 1 __o___o___o |_|_|_|_o_| |_|_o_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Cm 6 5 4 3 2 1 ______o___x |_|_o_|_o_| |_|_|_|_|_| |_o_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Dm7 6 5 4 3 2 1 x___o______ |_|_|_|_o_o |_|_|_o_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Gm7 6 5 4 3 2 1 __x________ |_|_|_|_|_| |_|_|_|_|_| o_|_o_o_o_o |_|_|_|_|_| |_|_|_|_|_|	Bm7 6 5 4 3 2 1 x___o___o__ |_|_|_|_|_| |_o_|_o_|_o |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|

Dominant 7 Guitar Chord Charts

Dom 7 Chords
E7 6 5 4 3 2 1 o___o___o_o |_|_|_o_|_| |_o_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	A7 6 5 4 3 2 1 __o___o___o |_|_|_|_|_| |_|_o_|_o_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	C7 6 5 4 3 2 1 __________o |_|_|_|_o_| |_|_o_|_|_| |_o_|_o_|_| |_|_|_|_|_| |_|_|_|_|_|	D7 6 5 4 3 2 1 x___o______ |_|_|_|_o_| |_|_|_o_|_o |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	G7 6 5 4 3 2 1 ____o_o_o__ |_|_|_|_|_o |_o_|_|_|_| o_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	B7 6 5 4 3 2 1 x_______o__ |_|_o_|_|_| |_o_|_o_|_o |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|

Major 7 Guitar Chord Charts

Major 7 Chords
Ema7 6 5 4 3 2 1 o_______o_o |_|_o_o_|_| |_o_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Ama7 6 5 4 3 2 1 __o_______o |_|_|_o_|_| |_|_o_|_o_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Cma7 6 5 4 3 2 1 ______o_o_o |_|_|_|_|_| |_|_o_|_|_| |_o_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Dma7 6 5 4 3 2 1 x___o______ |_|_|_|_|_| |_|_|_o_o_o |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|	Gma7 6 5 4 3 2 1 __x_o_o_o__ |_|_|_|_|_| |_|_|_|_|_o o_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|

Movable Guitar Chord Charts

You have probably noticed that the above list of Guitar Chord Charts omits several letter names. The tuning of the guitar is such that only certain keys can take advantage of the "easy" chords. The other keys require the use of movable chords, guitar chords that do not use open strings. The value of learning movable chords is that one chord formation can be used in several different keys simply by moving the chord up or down the neck of the guitar. Below is a list of Guitar Chord Charts of several of the standard movable guitar chords.

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E-asy Blues

In this guitar lesson you will learn how to play a simple blues base line in the key of E. It's important to use first position fingering at this stage, since it will help to reinforce your awareness of the fretboard. You will find this base run to be a great exercise too, since all your fingers will be involved.

Try to keep your arm relaxed and relatively straight from your elbow through to your wrist. This may be a little difficult when trying to reach for the lower strings, but do not hyper-extend your wrist as this will create undue stress. When the wrist is stressed over a prolonged period of time it can lead to carpal tunnel syndrome. This is a very common injury of musicians and can be quite disabling. So, be careful when practicing this guitar lesson, not to overdue it. If your hand begins to feel tired, take a break! You need to give yourself time to develop strength and coordination skills when you are new to playing the guitar.

This base line is intended to compliment the basic 12-bar blues rhythm covered in lesson 9 .

If you have access to a tape recorder, you can record the rhythm part and then practice playing the base line along with it. Or, if you have a friend who plays the guitar, one of you can play the the rhythm, while the other one plays the base line. Be sure to alternate with each other so that you can practice both parts.

You will also notice these symbols > > above the notation. They are called accent marks. An accent mark simply emphasizes the duration of a beat slightly. In this case the first down beat of each pair of eighth notes is emphasized. So, you would strike the notes that fall on the numbered part of the count a little stronger and the &'s a little lighter.

Example:

1- & 2- & 3- & 4- & (etc.)

One of the best things you can do to help increase your understanding of the blues is to listen to some recordings. Eric Clapton's acoustic blues CD "Unplugged" is one of my favorites. It's just great. He also recorded a CD with B.B. King called "Riding With the King" which I highly recommend. Playing the blues is very dependent on "feel" so why not listen and learn from than the best?

But for now, it's time for you to click the following link so that you can...

Play the Blues Base Line!

Blues You Can Use!

Many hundreds of songs have been written using an easy format known as the 12-Bar Blues. Jimi Hendrix, Janice Joplin, Eric Clapton, B.B. King, Elvis Presley, and The Beatles, are only a few of the famous names that have used this structure to create hit songs. So you can see that it's not something to be taken too lightly! If you have any desire at all to play rock n' roll, or lead guitar, then you definitely should gain an appreciation for, and an understanding of, the 12-bar blues. But what does it mean exactly? It's really quite simple...

The term "12-Bar" is referring to the number of measures in a particular song or chord sequence. In music, a measure (or bar) is the space between two vertical (bar) lines on a staff. Note values (beats) are measured to create a specific rhythm which is then indicated by a Time Signature such as 4/4 or 3/4, etc.

So the 12-bar Blues is basically a chord progression comprised of 12 measures. The cool thing is that the chord sequence (I, IV, V) is virtually always the same, with only a few minor variations occasionally. This makes it fairly easy to learn for most people, because it sounds so familiar. The simple structure also provides a great format for practicing chords, licks, and riffs, not to mention bass and lead guitar runs.

So, how do you get started? Well, I've created a 12 bar blues chord progression in the Key of E for you to practice. You will notice that you strum E for the first four measures, then A for two measures and then back to E for two measures. Next you play one measure each of B7, A, E and B7. That completes the 12 bars! Return to the beginning to play the chord progression again. When you are ready to stop, just strum E after the 12th measure and count to four. Remember that the arrows indicating the strum pattern are pointing in the direction of the strings.

DOWN = UP =

Here is a pdf file I created for you to try:

EASY 12 BAR BLUES CHORD PROGRESSION.

Common Chord Progressions

Chord progressions for guitar are easy to learn once you have a basic understanding of how the major scales work. Acquiring this knowledge will enable you to see how every degree of the major scale can be used to create a chord. Each of the guitar chords created from a particular scale will also have a unique relationship to the Key.

The letters associated with the Key of C Major are:

C D E F G A B C

Here is the C Major scale:

Today, I want to show you how to put a chord progression together using any given Key. So, with that in mind lets continue...

I'll use the letters of the C Major Scale: C D E F G A B C to help you understand some basic music principles. For instance, these letters can be used to represent either notes or chords.

Remember:

a note is a single tone



a chord is 3 or more tones sounded simultaneously

Because of this, the numbers: 1 2 3 4 5 6 7 8 are commonly used to represent each note, or degree of the scale,

and the Roman Numerals: I II III IV V VI VII VIII are use to represent each of the chords in a given Key.

The chords will correspond with, and have the same letter name as, the degrees of the major scale that they are associated with.

Lets look at how a chord progression is made when using the C Major Scale above:

Notice how the I chord has the same letter name as the 1st degree of the scale, the IV chord has the same letter name as the 4th degree and the V chord has the same letter name as the 5th degree. This is called a I IV V chord progression. The progression ends by returning again to the I chord.

• C = 1 = I
• D = 2 = II
• E = 3 = III
• F = 4 = IV
• G = 5 = V
• A = 6 = VI
• B = 7 = VII
• C = 8 = VIII (same as I)

I IV V chord progressions are used for the 12 bar blues, plus many rock, blue-grass, folk and other popular tunes. The V chord (G) is commonly played as a dominant 7th in order to create more tension or pull back toward the I chord (C).

This would slightly alter the chord progression given above to:

In other words, the G7 chord can be used as a substitute for the G Major chord and vice-versa.

Now, if you are new to the guitar, this chord progression might be a little hard to play in the Key of C. In that case, we can simply transpose it into another Key!

For example, the next Key in order of sharps is G. The scale degrees are:

G A B C D E F# G

So, our I IV V I chord progression for the Key of G is: G C D G

If we convert the V chord to a dominant 7th chord we have:

Here are the remaining I IV V7 I chord progressions for the Keys of D A and E. This completes the first five Keys (in order of sharps).

Now that you are equiped with this information, you have the tools to start playing a wide variety of songs!

Here is a simple strumming pattern you can use...

Remember- two eighth notes equal one quarter note. Since a quarter note has a value of one beat, an eighth note has a value of only 1/2 a beat. That means you will have twice as many eighth notes when counting a 4/4 rhythm. Therefore, eighth notes are counted: 1 & 2 & 3 & 4 &

Another thing that will help your understanding is to realize that the numbers are thought of as downbeats and the &s are upbeats (ignore the arrows for now).

Try this simple arrangement of the song...

Wild Thing

Feel free to download it if you'd like. You'll need Adobe Acrobat Reader to view it. Don't worry, it's free!

The strummming pattern for Wild Thing is:

The first and second beats are DOWN strums. Then there is an eight rest on the third beat. This is followed by an UP, DOWN, UP strum to end the measure. Notice that the arrows are pointing in the direction of the first string, which is DOWN. This can be a bit confusing at first, because the arrows are pointing up on paper. But if you think in terms of your guitar strings you should be ok.

Primary Guitar Chords

Learning guitar chords may seem a bit overwhelming at first, especially if you don't use a systematic approach! There are so many shapes and positions available that it could literally take years to try and memorize them all!

In my opinion, it's better to gain an understanding of how chords are made and to focus on learning the most essential ones you need to start playing right away.

There are three types of PRIMARY chords:

MAJOR

MINOR

DOMINANT 7TH

All other guitar chords are a modification of one of these 3 basic types! To begin with, I encourage my students to learn these three primary types because they are used in hundreds of popular songs!

When you are learning guitar chords it helps to understand how they would be used in a song or chord progression. Songs are written in KEYS, of which there are only twelve.

The KEY is determined by the scale that is used to write the melody of a song.

The MELODY of a song is the tune which is sung or played instrumentally.

So, if "Mary Had A Little Lamb" was written in the Key of C, the notes used to sing or play the song would come from the C Major Scale. The chords used to strum the rhythm and accompany the melody would also be related to the C Major Scale.

Learning all the Major, Minor and Dominant 7th primary guitar chords in relationship to each Key provides a good solid foundation from which you can continue building your chord vocabulary. This is the approach I use with all my students.

If you've been following ABC Free Beginner Guitar Lessons, you should already be familiar with:

two MINOR chords - Am and Em

and one Major chord - C

I introduced these guitar chords first because they are fairly easy to play and you can move from one to the next without lifting your second finger. This gives you an "anchor" and helps you to remember the guitar chords faster.

If you've been LISTENING AS YOU PLAY, you have probably noticed that

Minor chords sound sad or dramatic

Major chords sound positive or happy

This is an important point to recognize if you wish to develop your ear. You want to be able to distinguish the sound of one type of chord from another.

A DOMINANT 7TH CHORD has a distinct sound also. It seems to be asking a question: "Are we there yet?" or "When is this song going to end?"

This is an important question and it is the reason why you often see dominant 7th chords near the end of a song. They tend to draw the ear back to the Tonic or keynote chord (usually the first chord of a song) for resolution, bringing the song to an end. Dominant 7th chords are always written using a letter from the Musical Alphabet along with the number 7.

So, to sum up, there are three basic types of primary guitar chords: Major, Minor & Dominant 7th. Each letter of the Musical Alphabet can be made into one of these three types. For example, we could have an A major, an A minor or an A dominant 7th chord, etc.

MINOR

DOMINANT 7th

Notice how the second finger is on the same string in each of the primary chords above.

Exercise:
Strum the chords and listen to the difference in sound between them.

When a song is written, various chords from a Key will be played together in a specific sequence known as a CHORD PROGRESSION. I will be covering more of this in another lesson, but for now, try the following simple version of the Beatles tune "Yellow Submarine" using the primary chords A MAJOR, E MAJOR and E DOMINANT 7 from the Key of A.

• Each chord is strummed four times, which is equivalent to four beats per measure.

• Notice how the first finger is on the same string for all three guitar chords!

• Remember "economy of motion" as you move from chord to chord. Do not pick up your first finger when moving from A to E. Instead, Slide your finger to the first fret, play E and E7, then slide back to the 2nd fret to play A.

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YELLOW SUBMARINE

We all live in a

Yellow submar-ine -

Yellow submar-ine -

Yellow submar-ine -