Newsgroup: it.arti.musica.strumenti.chitarra
Titolo: INFO: Guitar_tips

Salve a tutti,
questo post e' il seguito del mio post di ieri, 7 ottobre (INFO:Puo'
interessare?)
Considerato l'interesse manifestato per l'argomento (post di Francesco
Bertozzi,
Thomas e Angelo Dinelli) avvio il mio contributo al ng.
Ricapitolo brevemente l'argomento.
Da tempo sto raccogliendo e convertendo in formato testo
i *guitar tips* di Jim Campilongo. Il materiale quindi NON E' DI MIA
PROPRIETA':
io sto semplicemente rendendo accessibili, in altra forma, queste
informazioni.
Seguendo il suggerimento di Angelo Dinelli, ho provveduto a suddividere
i
guitar-tips in singole parti non piu' grandi di 10/13 KB, numerate
progressivamente. Ho ritenuto utile ed opportuno preparare anche un
indice
dei primi 9 guitar_tips con l'indicazione dei singoli argomenti
contenuti in
ciascuna parte.
A questo post, quindi, ne seguiranno altri 10 come sotto thread, con
questi subject:
INFO: Guitar_tips_index
INFO: Guitar_tips_1
INFO: Guitar_tips_2
INFO: Guitar_tips_3
INFO: Guitar_tips_4
INFO: Guitar_tips_5
INFO: Guitar_tips_6
INFO: Guitar_tips_7
INFO: Guitar_tips_8
INFO: Guitar_tips_9
Una precisazione riguardo le tablature contenute nei Guitar_tips: ho
cercato di
fare attenzione, nel passaggio da html a txt, all'allineamento corretto
dei
caratteri. Non posso escludere pero' che, in questo passaggio, si sia
generato
qualche errore di allineamento; chiedo venia a tutti nel caso di errori
:-)
e saro' grato a chi segnalera' evventuali imperfezioni.
Un saluto a tutto il ng con l'augurio di un buon fine settimana.
Maurizio
email di lavoro: 
sam...@unina.it
email personale: 
maur_...@libero.it

Indice Guitar_tips_1 (302 linee - 13 KB)
TUNING YOUR GUITAR WITH AN ELECTRONIC TUNER
RIGHT-HAND MUTING AND BENDING STRINGS
TUNING YOUR GUITAR USING HARMONICS
DOUBLE-STOPS IN A
HENDRIX-STYLE BLUES LICK IN A
PRACTICING THE BLUES SCALE
STRING BENDING
THE A-MINOR PENTATONIC BLUES SCALE
THE A-MAJOR PENTATONIC SCALE
BUYING AN ELECTRIC GUITAR
MAKING PRACTICE INTO A HABIT
HAVE A GOAL WHEN YOU PRACTICE
Indice Guitar_tips_2 (293 linee - 12 KB)
A COOL HENDRIX-STYLE CHORD CHANGE
A JAZZY BLUES TURNAROUND IN F
SITAR BLUES LICK IN E
MORE SITAR GUITAR
TRAVIS PATTERN ONE
TRAVIS PATTERN TWO
TRAVIS PATTERN THREE
APPLYING THE TRAVIS PATTERNS
A HARPLIKE C MAJOR SCALE
WRAP THAT CORD
BLUES TURNAROUNDS
HIDE-A-PICK
COUNTRY-STYLE ENDING
STRUMMING VS. PICKING
JAZZING UP YOUR BLUES
WES MONTGOMERY
Indice Guitar_tips_3 (299 linee - 11 KB)
DOMINANT CHORDS
JAZZY C13 AND F9 CHORDS
JAZZY NEW E MINOR 7 AND D MINOR 7 CHORDS
JAZZY NEW A7 AND G7 CHORDS
FOUR CHORDS, SIX SONGS
BEGINNER BLUES RHYTHM IN A
BEGINNER BLUES RHYTHM IN D
BEGINNER BLUES RHYTHM IN E AND THE 12-BAR BLUES IN A
POWER CHORDS
FEATHER DUSTER AND POLISH
PICK RESCUE
D MAJOR CHORD IN HARMONICS
G MAJOR CHORD IN HARMONICS
ANOTHER G MAJOR CHORD IN HARMONICS
SING WHAT YOU PLAY
SPY MINOR CHORD
SPY GUITAR RIFF
BARRE CHORD TRICK
BEATLES FOR BEGINNERS
Indice Guitar_tips_4 (295 linee - 11 KB)
HOT LICKS VIDEO SERIES
EIGHT-BAR BLUES
THE MAJOR SCALE STRUCTURE
THE C-MAJOR SCALE (ONE OCTAVE)
EXTENDED C-MAJOR SCALE IN FIRST POSITION
EXTENDED C-MAJOR SCALE FROM G TO G
EXTENDED C-MAJOR SCALE FROM A TO A
EXTENDED C-MAJOR SCALE IN SEVENTH POSITION
EXTENDED C-MAJOR SCALE FROM D TO D
CHORD PROGRESSION FOR C-MAJOR SCALES
ANOTHER CHORD PROGRESSION FOR C-MAJOR SCALES
BLUES SCALE IN G WITH BLUE NOTE
Indice Guitar_tips_5 (285 linee - 10 KB)
BLUES LICK IN G WITH BLUE NOTE
STEVIE RAY-STYLE BLUES LICK IN G
ANOTHER BLUES LICK IN G WITH BLUE NOTE
THE GUITAR HANDBOOK
E TUNING
BUYING A SLIDE
BLUES-RHYTHM RIFF IN G
COUNTRY GUITAR WEB SITE
DOWN-UP PICKING ON "IRISH WASHERWOMAN," PART 1 OF 6
"IRISH WASHERWOMAN," PART 2 OF 6
"IRISH WASHERWOMAN," PART 3 OF 6
"IRISH WASHERWOMAN," PART 4 OF 6
"IRISH WASHERWOMAN," PART 5 OF 6
"IRISH WASHERWOMAN," PART 6 OF 6
Indice Guitar_tips_6 (274 linee - 9 KB)
HAMMER-ONS AND A B.B. KING-STYLE BLUES LICK IN G
ANOTHER B.B. KING-STYLE LICK
B.B. KING-STYLE CHORD LICK
B.B. KING-STYLE OCTAVE LICK
JIMMIE RIVERS
JIMMIE RIVERS DOUBLESTOP
JIMMIE RIVERS BLUES LICK IN G
CHORD MELODY, PART 1 OF 4
CHORD MELODY, PART 2 OF 4
CHORD MELODY, PART 3 OF 4
CHORD MELODY, PART 4 OF 4
CHORD SLIDE BLUES RIFF IN B FLAT
PULL-OFFS AND A BLUES ENDING IN G
DOWN-UP PICKING EXERCISE
"REBEL REBEL"
Indice Guitar_tips_7 (292 linee - 12 KB)
FREDDIE GREEN-STYLE CHORD SHAPES
MORE FREDDIE GREEN-STYLE CHORD SHAPES
COUNTRY-STYLE LICK
"PEDAL-STEEL" GUITAR LICKS
MORE "PEDAL-STEEL" GUITAR LICKS
DESCENDING "PEDAL-STEEL" GUITAR LICKS
WHOLE-TONE SCALE
WHOLE-TONE LICK
MIXING UP THE WHOLE-TONE SCALE
"MYSTERY TRAIN"
JAMES BURTON LICK
RALPH MOONEY STEEL-GUITAR LICK
DIMINISHED ARPEGGIO (D7FLAT9)
MORE ON THE DIMINISHED ARPEGGIO
DOUBLESTOPS
MORE DOUBLESTOPS
Indice Guitar_tips_8 (289 linee - 10 KB)
DUANE ALLMAN LICK
"STORMY MONDAY" PROGRESSION
STEVE CROPPER LICK
PRACTICING A TRILL
TURNAROUND IN G
COUNTRY LICK IN E
DOUBLESTOP PHRASE IN A
POWER CHORDS
OPEN G STRUM PATTERN
HARMONY CENTRAL
BLUES INTRO IN A
SWING BLUES LICK IN B FLAT
ANOTHER SWING BLUES LICK IN B FLAT
II-V-I JAZZ CHORD PROGRESSION IN G
THIRDS IN G
MORE THIRDS IN G
C6 to C9 CHORD INVERSIONS--PART 1 OF 3
C6 to C9 CHORD INVERSIONS--PART 2 OF 3
C6 to C9 CHORD INVERSIONS--PART 3 OF 3
Indice Guitar_tips_9 (275 linee - 11 KB)
DJANGO REINHARDT STYLE
MORE DJANGO
DJANGO LICK
DJANGO SWING LICK IN G
DJANGO RHYTHM
COUNTRY LICK IN D
COUNTRY LICK IN C
OUTLINING THE C MAJOR TRIAD
OUTLINING THE F MAJOR TRIAD
OUTLINING A ii-V ( Gm/C7) CHORD CHANGE BY HALF STEPS
INTRO TO "MORE THAN A FEELING" (4/10/1999)
LUTHER PERKINS-STYLE ALTERNATE BASS (5/10/199)
MORE ALTERNATE BASS (6/10/1999)

TUNING YOUR GUITAR WITH AN ELECTRONIC TUNER
Tuning your guitar with an electronic tuner can be tricky,
but you can simplify the process by following these
general guidelines:
Use harmonics, not open strings, to tune your guitar. Harmonics are those
tones created by placing your finger above a fret, barely touching it, and
striking the string. Because harmonics have fewer overtones than open
strings,
the electronic tuner hears their pitch with more precision.
Mute the strings you aren't tuning with your right hand to avoid creating
overtones that can confuse the electronic tuner.
Tune UP in pitch. If a string is sharp, tug on it to make it flat, then
bring
the pitch back up. By tuning up, you keep the tension on the string tight,
and
it is less likely to slip out of tune.
To get started tuning your guitar, tug on your low E (6th
string) to make it flat. Hit the 12th-fret harmonic, and while
you are muting the other strings, tune up until the
electronic tuner's pointer shows that the E is in tune.
Repeat the process with each string, going from low E (6th
string) to high E (1st string).
RIGHT-HAND MUTING AND BENDING STRINGS
For a right-handed guitarist (lefties, please reverse), the
right hand is like the foot brake of your car. If you play an
unwanted note, use the "meat" (little finger side) of your
right hand and place a soft "karate chop" on the strings.
This will stop any unwanted notes or overtones. Practice
right hand.
Right-hand muting is an invaluable technique when bending
strings. Try bending a note up a whole step. Place the
third finger of your left hand on E (2nd string, 5th fret).
Bend it up a whole step to F sharp and then mute it with
the right hand. This will stop the note from coming down in
pitch. The result is a nice expressive bend, rather than a
wimpy "cat's meow."
TUNING YOUR GUITAR USING HARMONICS
Last time, we explained the process of tuning your guitar
with an electronic tuner. If you don't have access to an
electronic tuner, you can still tune your guitar using
harmonics. (Note, however, that you won't have any way of
knowing whether the pitch is at A440 unless you have a
really good ear!)
Begin by playing a harmonic on your low E (6th) string at
the 5th fret and let it ring while you play a harmonic at the
7th fret of your A (5th) string. If the strings are not in tune
with each other, you will hear "beats" in the tones that
accelerate and disappear as you tune the A string to the
low E string. When you are able to play the two harmonics
together without hearing any beats, they are in tune.
Next, play the 5th-fret harmonic of your A string against
the 7th-fret harmonic of your D (4th) string. Adjust the D
string until the beats disappear. You can tune all the
strings playing the 5th-fret harmonic of the lower string
against the 7th-fret harmonic of the upper EXCEPT for the
B (2nd) string (which is not part of a perfect fourth interval,
like the other strings). To tune your B string, play a
harmonic on the 7th fret of the low E (6th) string against
the harmonic found on the 12th fret of the B string.
When you think all the strings are in tune, play an open D
chord. If it sounds good, play a D barre chord on the 5th
fret. If that sounds good to you too, play a D barre chord
on the 10th fret. If you're happy with the way it sounds,
then quit tuning and get playing!
DOUBLE-STOPS IN A
"Double-stop" is a fancy term for playing two notes
simultaneously. Chuck Berry, Jerry Reed, and Andres
Segovia, who come from the rock, country, and classical
guitar traditions respectively, all use double-stops in their
playing. You can, too!
Practice the following double-stop scale in A major,
ascending and descending. Put your left hand in fifth
position by placing it over the 5th fret. Lay (barre) your
fourth finger over strings 2 and 1, 8th fret. Play both notes
simultaneously. Barre your third finger on strings 2 and 1,
7th fret, and strike the notes. Then place your first finger
on strings 2 and 1, 5th fret, and play.
Repeat this pattern on strings 3 and 2, barring at the 8th,
7th, and 5th frets; on strings 4 and 3, barring at the 7th
and 5th frets; and on strings 5 and 4, barring at the 7th
fret.
Once you are comfortable with this double-stop scale, play
it over a 12-bar blues in A. Remember, there is NO
WRONG WAY to improvise. Play this double-stop pattern
in any order, and feel free to play the same two notes over
and over. This can create a nice combination of rhythm
and tension.
HENDRIX-STYLE BLUES LICK IN A
Here's a blues lick in the key of A. In fifth position, put your
third finger on D (3rd string, 7th fret). Using the method I
described in the last tip, bend that note up to E. Now lay
(barre) your first finger over E and A on strings 2 and 1, 5th
fret. Play string 2, and then string 1. This lick should be a
fluid line. To give it a Hendrix flavor, play B with your third
finger (1st string, 7th fret), A with your first finger (1st
string, 5th fret), then G with your fourth finger (2nd string,
8th fret), E with your first finger (2nd string, 5th fret), D with
your third finger (3rd string, 7th fret) and C with your first
finger (3rd string, 5th fret).
PRACTICING THE BLUES SCALE
The best advice I have for learning the blues scale is to
practice with a prerecorded rhythm guitar track. If you have
a cassette player with a built-in condenser microphone,
you can record the backup track yourself.
The following chord progression is a 12-bar blues in A:
/A7/D7/A7/A7/D7/D7/A7/A7/E7/D7/A7/E7/. Strum each
chord four times, keeping the rhythm steady. Record the
whole progression eight times in a row. Now you can play
the track while you improvise on the A-minor pentatonic
scale, which I introduced in the last tip. Try to think of the
notes as an extension of your voice. Listen to each note
carefully and decide which ones sound good. Play any
note in the scale as often as you want, and in any order.
Remember, there is NO WRONG WAY to improvise.
Listen to the three Kings--B.B., Freddie, and Albert--for
direction and inspiration. They played with feeling and a
wonderful sense of phrasing. The more you listen to great
players and practice improvising in a musical setting,
instead of mindlessly running through scales, the quicker
you will master the blues.
STRING BENDING
Bending strings is an essential technique in many guitar
idioms. Put your third finger on E (3rd string, 9th fret).
Strike the note and try to remember its pitch. If you can't
hear it in your head, try singing it. Now move your third
finger back a whole step to D (3rd string, 7th fret). Before
you bend the note up in pitch, make sure that you have
firmly positioned your first and second fingers on frets 5
and 6 of the 3rd string (don't let them bunch up!). They
serve as anchors and give your third finger, which will be
bending the string, greater strength and accuracy.
Now try to push D up a whole step to E, bending the string
UP (toward the sky). After finishing the bend, play E again,
and see how close you got. You are likely to be flat, so
don't be afraid to bend the heck out of that string.
Repeat this exercise over and over. After a while, you will
get the feel of a whole-step bend. Practice this technique
using other notes and fingers. The general rule is to PUSH
strings 1 through 4 UP toward the sky, and PULL strings 5
and 6 DOWN toward the floor.
To hear masterful string-bending technique, check out the
Albert King recording of "King of the Blues Guitar."
THE A-MINOR PENTATONIC BLUES SCALE
The beginning blues guitarist usually starts improvising
with the pentatonic scale. These five-note scales work well
in a modern blues context, even though they are ancient
and used in many different music traditions.
Let's go ahead and learn an A-minor pentatonic scale. Put
your left hand in fifth position by placing it at the 5th fret
(your hand will not move from this position as you play the
scale). Put your first (index) finger on the 6th (low E)
string, 5th fret. This is A, your tonic note, which tells you
what key you are in. Without changing position, put your
fourth (baby) finger on C, (8th fret). If this feels awkward,
make sure your thumb is behind the guitar neck, not over
it.
Move to the 5th (A) string and put your first finger on the
5th fret to play D. Then put your third (ring) finger on the
7th fret to play E. Proceed to the 4th string and play G (5th
fret). Then place your third finger on A (7th fret).
We've completed one octave, but let's proceed to the 3rd
string. Put your first finger on C (5th fret) and your third
finger on D (7th fret). Going up to the 2nd string, place your
first finger on E (5th fret) and your fourth finger on G (8th
fret). On the 1st string, put your first finger on the A (5th
fret). Now place your fourth finger on C (8th fret).
To summarize, you have played two octaves of A C D E G
A. Note that the fingering (from low to high) is 1-4, 1-3, 1-3,
1-3, 1-4, 1-4. After you feel comfortable ascending, try
descending the scale. The fingering (from high to low) is
4-1, 4-1, 3-1, 3-1, 3-1, 4-1. Practice this scale up and
down and try not to play any note two times in a row.
THE A-MAJOR PENTATONIC SCALE
To give the A-minor pentatonic scale we learned in a
previous tip a major sound, move your left hand from fifth
position down to second position by placing it at the 2nd
fret. Use the same fingering pattern you learned for the
minor pentatonic scale (ascending, 1-4, 1-3, 1-3, 1-3, 1-4,
1-4). The notes are: F sharp, A, B, C sharp, and E, which
are diatonic to A major. (That means they are found in the
A-major scale.)
You will notice that it is the C sharp that gives the scale a
major sound. To really get a feel for this scale, tape the
following chord progression using the method I described
in yesterday's tip, and play the A-major pentatonic scale
over it:
/A/A/F#m/F#m/A/A/F#m/F#m/E/D/E/D/A/F#m/D/E/.
BUYING AN ELECTRIC GUITAR
It is important to own a guitar you really like and want to
play. Instead of buying the first instrument you see, take
the time to try out many guitars and compare how they
play and sound. Don't be intimidated by the music store
environment. You are a consumer who has a right to find
out as much as possible about a product you are thinking
about purchasing.
Here are some questions to keep in mind as you try out
instruments: Does the guitar stay in tune? Do you like its
tone? Do you feel comfortable playing it? (Before taking a
guitar for a test run, make sure that it is tuned to A440;
some stores tune guitars low so that the string tension is
loose. This may give you a false impression that it is easy
to fret.)
Before plugging into an amp, strum a chord and LISTEN to
it. Does it ring with life and overtones? Play chords up and
down the neck to see if they sound in tune. Then play
each note on the neck and check for buzzing. Bend each
note up a whole step on strings 1, 2, and 3 to hear if they
sustain.
After you have listened to the guitar unamplified, plug in
and play some music. (If you want to get on the store
employees' good side, play something other than blues
licks in A, which they hear 50 times a day! Also, ask
permission before cranking up the volume.) Get second
opinions about any instruments that interest you. A friend
or salesperson might be able to provide you with
information that will help you come to a final decision.
MAKING PRACTICE INTO A HABIT
The way to create a good practice schedule is by turning it
into a habit. Try to practice at the same time every day,
even if it's only a 15-minute session.
Graft practicing onto another daily activity that you enjoy,
such as drinking your morning coffee. After a while, playing
the guitar will be as necessary to starting your day right as
that first cup of coffee.
HAVE A GOAL WHEN YOU PRACTICE
Before you sit down with your guitar, tell yourself what you
want to achieve during this practice session. Don't sit
around noodling the intro to Jimi Hendrix' "Axis: Bold as
Love," unless your goal is to play one-tenth of a song for
the rest of your life.
On the other hand, don't formulate a goal that is
unreachable. I know too many students who have given up
under the pressure of goals they couldn't possibly
accomplish. (Would a beginning athlete run ten miles and
do 500 sit-ups on the first day of training?) Learning one
section of a song that is within your technical grasp is a
viable daily goal.
Find a transcription of a song you want to work on and
analyze the chord changes (you may be able to use them
in improvising); play slowly, keeping the beat with a
metronome; or try memorizing the song section by
section.
Setting goals like these helps you to engage with the
music. In a few weeks your practice session will start to
feel like a mini-series you can't wait to turn on instead of a
rerun you blankly stare at.

A COOL HENDRIX-STYLE CHORD CHANGE
Here is a cool way to go from C7sharp9 (dominant five) to
F13 (dominant one). Put your first finger on E, (4th string,
2nd fret), your second finger on B flat, (3rd string, 3rd fret),
and your third finger on D sharp (2nd string, 4th fret). This
is a "small" C7sharp9 chord. Move every note back
one-half step (that is, back one fret). You are now playing
E flat, A, and D, which imply an F13 chord.
Try using this simple but bold chord change in bars 12 and
1 of a jazz blues.
A JAZZY BLUES TURNAROUND IN F
Here is good turnaround you can use in Bars 11 and 12 of
a jazz blues: Barre your first finger on the 5th fret over
strings 4, 3, and 2. This is an A minor 7 chord (the notes
are G, C, and E). Next, play an implied D7sharp9 chord,
with your first finger on F sharp, (4th string, 4th fret), your
second finger on C (3rd string, 5th fret), and your third
finger on E sharp (2nd string, 6th fret). Now play a G minor
7 chord by barring your first finger on the 3rd fret over
strings 4, 3, and 2 (the notes are F, B flat, and D). Finally,
play a C7sharp9 chord by putting your first finger on E (4th
string, 2nd fret), your second finger on B flat (3rd string,
3rd fret), and your third finger on D sharp (2nd string, 4th
fret).
SITAR BLUES LICK IN E
The sound of an open string droning under lead lines is
reminiscent of Indian sitar music. Here is a blues lick in E
that creates this effect.
Put your first finger on E (2nd string, 5th fret). Play that E
simultaneously with the open 1st string E. Now put your
third finger on F sharp (2nd string, 7th fret). Play the F
sharp simultaneously with the open E above it. Now bend
the F sharp up a whole step to G sharp (see the April 2
tip). Pick the "bent" G sharp and the open E
simultaneously.
MORE SITAR GUITAR
Here is another blues lick that uses the exotic, Middle
Eastern sound of a droning open string under lead lines.
Put your first finger on A (3rd string, 2nd fret). Play it
simultaneously with the open D (4th string). Now move
your first finger up a half step (one fret) to A sharp (3rd
string, 3rd fret) and play it simultaneously with the open D.
Now move your first finger up to C sharp (3rd string, 6th
fret) and play it simultaneously with the open D. Finally,
move your first finger to D (3rd string, 7th fret). Play that D
and the open 4th string D at the same time.
Improvise by putting your first finger on any note on the 3rd
string while droning with the open D.
TRAVIS PATTERN ONE
Merle Travis, who was the granddaddy of all fingerpickers,
created some picking patterns that are very useful. They
combine the use of a flatpick with fingerpicking by your
middle and ring fingers. Here is the first of three patterns I'll
be showing you.
Play a D chord. With your pick and ring finger, play strings
4 and 1 simultaneously. These notes ring out for one
(quarter-note) beat. The rest of the notes in this pattern are
eighth notes played one at a time. Pick the 3rd string, then
strike the 2nd string with your middle finger. Pick the open
4th string, then strike the 1st string with your ring finger.
Pick the 3rd string, then strike the 2nd string with your
middle finger. Apply this picking pattern to the following
rhythm: 1, 2 and 3 and 4 and.
Practice this one-bar pattern over and over until it flows
easily. Don't cheat on the right hand! If you spend the extra
five minutes doing it correctly, you will play it RIGHT for the
rest of your life.
TRAVIS PATTERN TWO
You can apply this Travis pattern to any chord with a root
on the 5th (A) string. This includes A minor, A7, C7, and
any A-shaped barre chord. It's very much like Travis
Pattern One (see the April 19 tip) except that the picking
pattern applies to strings 5 through 2.
Play a C chord. With your pick and ring finger, play strings
5 and 1 simultaneously. These notes ring out for one
(quarter-note) beat. The rest of the notes in this pattern are
eighth notes played one at a time. Pick the 4th string, then
strike the 3rd string with your middle finger. Pick the 5th
string, then strike the 2nd string with your ring finger. Pick
the 4th string, then strike the 3rd string with your middle
finger. Apply this picking pattern to the following rhythm: 1,
2 and 3 and 4 and.
Try to play Travis Pattern Two in C, followed by Travis
Pattern One in D. Remember the rhythm and the
right-hand finger assignments.
TRAVIS PATTERN THREE
You can apply this Travis pattern to any chord with its root
on the 6th (low E) string. This includes E minor, E major,
E7, and any E-shaped barre chord.
Play an open G chord. With your pick and ring finger, play
strings 6 and 2 simultaneously. These notes ring out for
one (quarter-note) beat. The rest of the notes in this
pattern are eighth notes played one at a time. Pick the 4th
string, then strike the 3rd string with your middle finger.
Pick the 6th string, then strike the 2nd string with your ring
finger. Pick the 4th string, then strike the 3rd string with
your middle finger. Apply this picking pattern to the
following rhythm: 1, 2 and 3 and 4 and.
Practice until the pattern becomes second nature.
APPLYING THE TRAVIS PATTERNS
Now that you are familiar with Travis Patterns One, Two,
and Three, let's apply them to SOME MUSIC. Each
pattern I've shown you in the previous tips are one-bar
patterns. So, when you see a G chord followed by the
number 3, for example, it means that you play through
Travis Pattern Three one time while fingering the G chord.
A C chord followed by a 2 means you play through Travis
Pattern Two in C.
Work through the following progression: /G 3/C 2/D7 1/G
3/Em 3/Am 2/D7 1/Em 3/. This exercise will help you
master chord changes and learn the Travis patterns.
A HARPLIKE C MAJOR SCALE
Here is a way to play a C major scale that creates a
harplike effect with the use of a pick and the middle finger
of your LEFT hand. Put your fourth finger on C (1st string,
8th fret) and strike the note with your pick. Put your third
finger on B (1st string, 7th fret) and strike the note with
your pick. Put your first finger on A (1st string, 5th fret) and
strike the note with your pick. Put your fourth finger on G
(2nd string, 8th fret) and strike the note with your pick.
Now put your second finger on F (2nd string, 6th fret).
Strike the note with your pick and let it RING OUT. With
the middle finger of your LEFT hand, play the open 1st
string (E). You should have E and F ringing against each
other.
Now put your third finger on D (3rd string, 7th fret) and
strike the note with your pick. Put your first finger on C
(3rd string, 5th fret). Strike the note with your pick and let
it RING OUT. With the middle finger of your LEFT hand,
play the open 2nd string (B). You should have B and C
ringing against each other.
Practice this scale over C major and A minor chord
progressions.
WRAP THAT CORD
Have you ever been in the middle of a solo and pulled out
your own guitar cord by stepping on it? Here is an easy
way to avoid this embarrassing situation.
Before plugging in your guitar, wrap the cord once around
your guitar strap and tie it next to the guitar's input jack.
Now plug in and play!
BLUES TURNAROUNDS
What's a blues turnaround? (I'll give you a hint: It's NOT a
prescription for antidepressants.) It is a phrase you can
play at the beginning or end of a 12-bar blues. Here is a
classic two-measure turnaround in the key of B.
Put your second finger on B (3rd string, 3rd fret) and your
third finger on G sharp (1st string, 3rd fret). Downstroke B
(toward the floor), and then upstroke G sharp. Repeat the
down-upstrokes on the 3rd (B flat and G) and 2nd (A and F
sharp) frets.
Now put your first finger on G sharp (3rd string, 1st fret),
and strum it with the open B and high E strings (2 and 1).
Next, arpeggiate a B7 chord by playing B (string 5), D
sharp (string 4), A (string 3), and then open B (string 2).
The rhythm has a triplet feel.
HIDE-A-PICK
Have you ever been playing and dropped your pick? If you
have, here is a useful precaution that could save the day.
On any pick guard that is screwed to a guitar, there is
room to store an "emergency" pick. Just place about
one-half inch of the pick between the pick-guard plate and
the guitar body. If you do drop your pick, you can reach up
and grab a new one without missing a beat.
COUNTRY-STYLE ENDING
Here is a two-bar phrase in the key of A that can be used
as an ending to a country-style song. In second position,
put your fourth finger on A (6th string, 5th fret) and play
twice. Strike the rest of the notes in this sequence ONE
TIME: first finger on B (5th string, 2nd fret), second finger
on C (5th string, 3rd fret), third finger on C sharp (5th
string, 4th fret), first finger on E (4th string, 2nd fret), third
finger on F sharp (4th string, 4th fret), and first finger back
to E (4th string, 2nd fret).
Now for the good part. Keep your third finger on B (3rd
string, 4th fret) while your fourth finger goes to G sharp (1st
string, 4th fret). Using a pick and the middle finger of the
right hand, play B and G sharp together. Keeping your
third finger on B, move your fourth finger up a half step to A
(1st string, 5th fret). Use a pick and the middle finger to
play B and A together; then try to bend B up to C sharp.
The sound of B bending up to C sharp while the A rings
above it is a classic steel-guitar lick.
STRUMMING VS. PICKING
When strumming or playing rhythm, your strumming arm
should be loose and elastic. Movement should come from
both the wrist and the elbow. The more aggressive the
strum, the more movement comes from your elbow.
(Watch Pete Townshend for an example of aggressive
strumming technique.)
In contrast, when picking single-note lines, movement is
more economical. Movement comes from the wrist, NOT
the elbow. Keep your picking hand anchored to the bridge
with fingers parallel to the strings. This position will make
finding the strings easier and the down-up picking motion
more natural. (Watch Jimmy Bryant for an example of
subtle picking technique.)
JAZZING UP YOUR BLUES
There are many ways to harmonize a jazz blues. Here is a
basic example of a jazz blues chord progression in C
using dominant 7th chords: /C7/F7/C7/Gm7 C7/F7/F sharp
diminished7/C7/Em7 A7/Dm7/G7/Em7 A7/Dm7 G7/. Each
measure is made up of four strums. For example, /C7/
indicates that you strum a C7 chord four times. /C7 F7/
indicates that you strum a C7 chord two times and an F7
chord two times.
Play basic barre chords for now, and try to memorize the
progression so that you can feel the chord changes.
Helpful hint: If the F sharp diminished chord gives you
trouble, play an F7 barre chord on the 8th fret, and put
your second finger on F sharp (5th string, 9th fret).
In future tips, I'll introduce ways to embellish this basic
jazz blues.
WES MONTGOMERY
For anyone who is interested in playing jazz guitar, or who
simply loves the music, Wes Montgomery is a must-hear.
He is known for his mellow, woody sound, which he
created with his unique thumb-picking technique. (He
claims he started using his thumb to play quietly so his
practicing wouldn't bother anyone!)
Jazz aficionados should get to know Wes Montgomery's
recordings because he revolutionized the use of octaves in
jazz guitar; his lines are harmonically rich, and his chord
work is sublime. I think one of his best recordings is "Wes
Montgomery Trio," on the Riverside label.

DOMINANT CHORDS
For jazz players, there are three principal kinds of chords:
major, minor, and dominant. For example, a C7 (dominant)
chord consists of the root (C), third (E), fifth (G), and
lowered, or flatted, seventh (B flat). The lowered seventh
creates a tension that gives the chord a feeling of wanting
to go elsewhere. This is the essence of the dominant
chord.
Because of that pull to go elsewhere, I put diminished and
augmented chords in the dominant group along with 13th
chords, 9th chords, 7th sharp11 chords, 7th flat 9 chords,
7th sharp9 chords, etc. I suggest you look at these chords
as "fancy" dominant chords that have a different sound and
color. Learning how and when to play dominant chords will
enhance your jazz style and offer greater musical freedom.
JAZZY C13 AND F9 CHORDS
Let's add two embellished dominant chords, C13 and F9,
to the 12-bar blues chord progression we introduced in a
previous tip. Here it is for new subscribers: /C7/F7/C7/Gm7
C7/F7/F sharp diminished7/C7/Em7 A7/Dm7/G7/Em7
A7/Dm7 G7/.
Instead of playing a good old C7 barre chord, try this C13
chord in measures 1, 3, and 7. Your first finger goes on C
(6th string, 8th fret), second finger on B flat (4th string, 8th
fret), and third finger on E (3rd string, 9th fret). Lay your
fourth finger over strings 2 and 1 on the 10th fret (A and D).
Strum all six strings. Make sure your first finger mutes the
5th string (which should happen naturally).
Instead of the F7 chord in bars 2 and 5, try F9. Your
second finger goes on F (5th string, 8th fret) and your first
finger on A (4th string, 7th fret). Lay your third finger over
strings 3, 2, and 1 on the 8th fret (E flat, G, and C). If the
third finger gives you trouble, just keep trying until you
master it. Don't cheat on the fingering, because this is a
fundamental left-hand position, and it leaves your fourth
finger available to play other notes.
JAZZY NEW E MINOR 7 AND D MINOR 7 CHORDS
Let's try some new variations on the Em7 and Dm7
chords, which are found in the 12-bar blues chord
progression we introduced in a previous tip. Here it is for
new subscribers: /C7/F7/C7/Gm7 C7/F7/F sharp
diminished7/C7/Em7 A7/Dm7/G7/Em7 A7/Dm7 G7/.
Instead of playing an Em7 barre chord in measures 8 and
11, try this alternative. Put your second finger on E (5th
string, 7th fret), first finger on G (4th string, 5th fret), third
finger on D (3rd string, 7th fret), and fourth finger on G (2nd
string, 8th fret).
Now move the chord down a whole step so that your
second finger is on D (5th string, 5th fret), first finger on F
(4th string, 3rd fret), third finger on C (3rd string, 5th fret),
and fourth finger on F (2nd string, 6th fret). This is a new
Dm7 chord that can be played in measures 9 and 12 of the
12-bar blues chord progression.
JAZZY NEW A7 AND G7 CHORDS
Let's continue to expand our chord vocabulary with new A7
and G7 chords, which are found in the 12-bar blues chord
progression we introduced in a previous tip. Here it is for
new subscribers: /C7/F7/C7/Gm7 C7/F7/F sharp
diminished7/C7/Em7 A7/Dm7/G7/Em7 A7/Dm7 G7/.
Instead of playing an A7 barre chord in measures 8 and
11, try this A augmented 7 flat 9 chord. Your first finger
goes on A (6th string, 5th fret) and your second finger on G
(4th string, 5th fret). Lay your third finger over strings 3, 2,
and 1 on the 6th fret (C sharp, E sharp, and A sharp).
Now move the chord down a whole step so that your first
finger is on G (6th string, 3rd fret), your second finger on F
(4th string 3rd fret), and your third finger is barring B, D
sharp, and G sharp (strings 3, 2, and 1 on the 4th fret).
This is a G augmented 7 flat 9 chord that can be played in
measures 10 and 12 of the 12-bar blues chord progression.
TRY TO COMBINE these chords with the embellished
Em7 and Dm7 chords introduced in yesterday's tip.
FOUR CHORDS, SIX SONGS
Here are six songs you can play by strumming G, Em, C,
and D, two times each: "Sherry," "Earth Angel," "Blue
Moon," "You Send Me," "Heart and Soul," and "Why Do
Fools Fall in Love?" Have fun!
BEGINNER BLUES RHYTHM IN A
To play a blues rhythm in A, put your first finger on E (4th
string, 2nd fret) and strike it along with the open A (5th)
string two times. Now move your third finger up to F sharp
(4th string, 4th fret) and strike it along with the open A
(5th) string two times.
Repeat, using an eighth-note pattern: 1 and 2 and 3 and 4
and. These eight strums (E-F sharp-E-F sharp over open
A) make up one measure of a blues rhythm in A.
BEGINNER BLUES RHYTHM IN D
To play a blues rhythm in D, put your first finger on A (3rd
string, 2nd fret) and strike it along with the open D (4th)
string two times. Now put your third finger on B (3rd string,
4th fret) and strike it along with the open D (4th) string two
times.
Repeat, using an eighth-note pattern: 1 and 2 and 3 and 4
and. These eight strums (A-B-A-B over open D) make up
one measure of a blues rhythm in D.
BEGINNER BLUES RHYTHM IN E AND THE 12-BAR BLUES IN A
To play a blues rhythm in E, put your first finger on B (5th
string, 2nd fret) and strike it along with the open low E
(6th) string two times. Now put your third finger on C sharp
(5th string, 4th fret) and strike it along with the open low E
(6th) string two times. Repeat, using an eighth-note
pattern: 1 and 2 and 3 and 4 and.
These eight strums (B-C sharp-B-C sharp over open low E)
make up one measure of a blues rhythm in E. You can join
this blues rhythm in E with the blues rhythms in A and D,
introduced in the previous two days' tips, to make up a
12-bar blues in A. In the following progression, each letter
represents one measure of the appropriate blues rhythm:
/A/D/A/A/D/D/A/A/E/D/A/E/.
POWER CHORDS
Power chords are two-note chords made up of the root and
the fifth. They sound great in a rock format.
To play a power chord in G, put your first finger on G (6th
string, 3rd fret) and your third finger on D (5th string, 5th
fret). Downstroke eighth notes on this chord for one
measure, then move it up to sixth position, so that your
first finger is on B flat (6th string, 6th fret) and your third
finger is on F (5th string, 8th fret). Now you have a B flat
power chord. Downstroke eighth notes on this chord for
one measure. Go back and forth from G to B flat.
FEATHER DUSTER AND POLISH
A clean guitar is a happy guitar. It doesn't look "cool" to
play an instrument covered with dust, fingerprints, and
grime.
To get off the first layer of dirt, use a feather duster. It isn't
hard on the wood, and it reaches hard-to-clean areas like
the headstock.
For the heavier dirt, I recommend using Martin guitar
polish, because it cleans well without damaging the wood.
Be sure to clean your fingerboard regularly--dirt builds up
quickly around the frets.
PICK RESCUE
If your pick falls into the sound hole of your guitar, try this:
Hold your guitar neck with both hands, sound hole facing
the floor.
Now pretend that you are making popcorn the
old-fashioned way--in a pan. Shake the guitar back and
forth until that pesky pick falls out.
D MAJOR CHORD IN HARMONICS
You can play a D chord by hitting harmonics on the 7th
fret. (Harmonics are those tones created by placing your
finger above a fret, barely touching it, and striking the
string.) Using your third finger, strike harmonics
consecutively on the 7th fret of the 4th, 3rd, and 2nd
strings. These notes, from low to high, are A, D, and F
sharp.
Try putting this lick at the end of a song in D.
G MAJOR CHORD IN HARMONICS
You can play a G chord by hitting harmonics on the 12th
fret. (Harmonics are those tones created by placing your
finger above a fret, barely touching it, and striking the
string.) Using your third finger, strike harmonics
consecutively on the 12th fret of the 4th, 3rd, and 2nd
strings. These notes, from low to high, are D, G, and B.
Try putting this lick at the end of a song in G, or try
alternating between D (see yesterday's tip) and G.
ANOTHER G MAJOR CHORD IN HARMONICS
You can play a high G chord by hitting harmonics on the
5th fret. Using your third finger, strike harmonics
consecutively on the 5th fret of the 4th, 3rd, and 2nd
strings. These notes, from low to high, are D, G, and B.
These high harmonics create a pure, beautiful sound.
SING WHAT YOU PLAY
When improvising single-note lines, try singing along with
what you are playing. This will keep your mind and heart
engaged with what your fingers are doing.
Remember, your instrument is an extension of your voice,
and combining the two is a valuable exercise.
SPY MINOR CHORD
Here is a chord I call "Spy Minor," otherwise known as E
minor/major 7 add 9. It is the final chord of the James
Bond movie theme. Left-hand fingering (low to high): 4, 3,
2, and 1.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard. "O" means "open string."
------------------------O HIGH
-----------7------------
-----------8------------
-----------9------------
----------10------------
------------------------O LOW (fattest string)
SPY GUITAR RIFF
Here is a riff in the style of "Secret Agent Man." (It is also
a great right-hand exercise.) Play it in first position, and
use down-up (alternate) picking. Repeat this pattern for
"007" minutes.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
------0-------0-------0--------0------0------0-----HIGH
--0-------1-------1-------2--------1-----1---------
---------------------------------------------------
---------------------------------------------------
---------------------------------------------------
---------------------------------------------------LOW
BARRE CHORD TRICK
Try this cool barre chord move. When you're going from a
third position G major chord to E major, there is no need to
rearrange your fingers. Simply raise your first finger, which
has been barreing the third fret, and slide down to first
position. Left-hand fingering (low to high): 3, 4, and 2.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
---3------------------0------------HIGH
---3------------------0------------
---4------------------1------------
---5------------------2------------
---5------------------2------------
---3------------------0------------LOW
BEATLES FOR BEGINNERS
Beginning guitarists looking for a good songbook should
check out Beatles Complete: Easy Guitar (Hal Leonard
Publishing). It contains simplified yet authentic-sounding
versions of over 150 Beatles songs, and lyrics are
included.

HOT LICKS VIDEO SERIES
For those of you looking for guitar tips on video, check out
Arlen Roth's Hot Licks instructional music video series.
These videotaped lessons offer guitar players the chance
to watch and listen to such masters as Duke Robillard
(blues), Brent Mason (country), and Brian Setzer
(rockabilly). Sometimes a great player does not make the
transition to being a great teacher, but most of these
videos are well produced and informative.
However, beginners should be aware that some of the
tapes in the Hot Licks series focus on technique that may
be too advanced for their current level of playing.
EIGHT-BAR BLUES
Here's an eight-bar blues progression (forgotten little
brother of the standard 12-bar blues) with a gospel sound.
Each bar represents four strums: / E / B7 / E / A / E / B7 /
E A / E B7 /.
THE MAJOR SCALE STRUCTURE
To understand major scales, it is helpful to grasp their
tonal structure. Fortunately, the fretted guitar fingerboard
can help us to visualize this structure. Scales are
composed of "half steps" and "whole steps." Put your left
hand on the fingerboard of your guitar and play a note. Now
strike the note ONE FRET above or below your starting
point, and you have played a HALF-STEP interval. If you
skip a fret--that is, play the note TWO FRETS above or
below your starting point--you have played a WHOLE
STEP interval.
A major scale consists of a fixed series of whole steps and
half steps. Here is the structure for all major scales: whole
step-whole step-half step-whole step-whole step-whole
step-half step.
Let's apply this formula to the C-major scale, starting on C
(2nd string, 1st fret). Move your finger up a WHOLE STEP
(two frets) to D (2nd string, 3rd fret), then up another
WHOLE STEP to E (2nd string, 5th fret). Now move your
finger up a HALF STEP (one fret) to F (2nd string, 6th fret).
The series continues with a WHOLE STEP (two frets) to G
(2nd string, 8th fret), followed by another WHOLE STEP to
A (2nd string, 10th fret), and yet another WHOLE STEP to
B (2nd string, 12th fret). The scale ends with a HALF
STEP (one fret) to C (2nd string, 13th fret).
THE C-MAJOR SCALE (ONE OCTAVE)
Let's play the C-major scale in first position (that is, the left
hand is positioned at the first fret). Play it ascending and
descending, using down-up picking. Left-hand fingering
(low to high): 3-0-2-3-0-2-0-1.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
---------------------------------- HIGH
-----------------------0---1------
----------------0--2--------------
------0--2--3---------------------
--3-------------------------------
---------------------------------- LOW
EXTENDED C-MAJOR SCALE IN FIRST POSITION
Let's learn a C-major scale that incorporates every
possible note in C (C-D-E-F-G-A-B-C) that can be played
in first position. This is not a tidy eight-note scale that
begins and ends with C. Instead, it starts with E and ends
with G (from low to high). Learning extended scales
improves your improvisational skills by opening up
unexpected melodic possibilities. It's a good exercise for
improving playing technique, too. We will be exploring a
series of extended C-major scales in future tips. Practice
this C-major scale ascending and descending, using
down-up picking. Left-hand fingering (low to high):
0-2-3-0-2-3-0-2-0-1-3-0-1-3.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
-----------------------------------------0--1--3---HIGH
---------------------------------0--1--3-----------
----------------------------0--2-------------------
--------------------0--2--3------------------------
------------0--2--3--------------------------------
--0--1--3------------------------------------------LOW
EXTENDED C-MAJOR SCALE FROM G TO G
This C-major scale, which spans two octaves from G to G,
also functions as a G7 scale. Pay attention to left-hand
fingering; your hand should move from second to third
position at string 2. Play this scale ascending and
descending, using down-up picking. Left-hand fingering
(low to high): 2-4-1-2-4-1-2-4-1-3-4-1-3-4-1.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
------------------------------------------3----HIGH
--------------------------------3--5--6--------
------------------------2--4--5----------------
----------------2--3--5------------------------
--------2--3--5--------------------------------
--3--5-----------------------------------------LOW
EXTENDED C-MAJOR SCALE FROM A TO A
This C-major scale, which spans two octaves from A to A,
also functions as an A natural minor scale. Pay attention
to left-hand fingering; your hand should move from fifth to
fourth position at string 3, and back to fifth at string 2. Play
this scale ascending and descending, using down-up
picking. Left-hand fingering (low to high):
1-3-4-1-3-4-1-3-1-2-4-1-2-4-1.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
---------------------------------------5-------HIGH
------------------------------5--6--8----------
----------------------4--5--7------------------
-----------------5--7--------------------------
---------5--7--8-------------------------------
-5--7--8---------------------------------------LOW
EXTENDED C-MAJOR SCALE IN SEVENTH POSITION
This C-major scale, played at seventh position, spans two
octaves from C to C. Play this scale ascending and
descending, using down-up picking. Left-hand fingering
(low to high): 2-4-1-2-4-1-3-4-1-3-4-2-4-1-2.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
----------------------------------------7--8--HIGH
----------------------------------8--10-------
-------------------------7--9--10-------------
----------------7--9--10----------------------
-------7--8--10-------------------------------
-8--10----------------------------------------LOW
EXTENDED C-MAJOR SCALE FROM D TO D
This C-major scale spans two octaves from D to D. Pay
attention to left-hand fingerings; your hand should move
from tenth to ninth position at string 4, and back to tenth at
string 2. Play this scale ascending and descending, using
down-up picking. Left-hand fingering (low to high):
1-3-4-1-3-1-2-4-1-2-4-1-3-4-1.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
----------------------------------------------------10 HIGH
---------------------------------------10--12--13-----
-----------------------------9--10--12----------------
-------------------9--10--12--------------------------
------------10--12------------------------------------
-10--12--13------------------------------------------- LOW
CHORD PROGRESSION FOR C-MAJOR SCALES
The C scales that we have been mastering are NOT
mindless exercises designed by guitar teachers to torture
students! Scales are the prime matter out of which music
is made. Knowing how to play them at different positions
will give you improvisational powers you never knew you
had. To start using these scales improvisationally, learn
the following chord progression and tape it, or have a friend
play it while you try to invent melodies out of the C scales
that we have learned. Think of the notes as an extension of
your voice. Play each chord four times.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard. "X" means "don't play." "O"
means "open string."
C major 7 (use fingers 3 and 2 from low to high)
-------------O HIGH
-------------O
-------------O
------2------
------3------
-------------X LOW
F major 7 (use fingers 3, 2, and 1 from low to high)
--------------O HIGH
------1-------
------2-------
------3-------
--------------X
--------------X LOW
ANOTHER CHORD PROGRESSION FOR C-MAJOR SCALES
Here is another chord progression to improvise over, using
the C-major scales you've been working on. Each chord is
strummed two times.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard. "X" means "don't play." "O"
means "open string."
C major 7 (use fingers 3 and 2 from low to high)
--------------O HIGH
--------------O
--------------O
-----2--------
-----3--------
--------------X LOW
A minor 7 (use fingers 2 and 1 from low to high)
--------------O HIGH
------1-------
--------------O
------2-------
--------------O
--------------X LOW
E minor (use fingers 2 and 3 from low to high)
--------------O HIGH
--------------O
--------------O
------2-------
------2-------
--------------O LOW
G major (use fingers 3, 2, and 4 from low to high)
-------3-------- HIGH
----------------O
----------------O
----------------O
-------2--------
-------3-------- LOW
BLUES SCALE IN G WITH BLUE NOTE
Let's work on a modified pentatonic scale. (Pentatonics
are five-note scales that work well in a modern blues
context.) I have modified it by adding the flat 5 of the scale,
which is sometimes called "the blue note." It is also known
as the "devil's interval," and its use was supposedly
forbidden to musicians several hundred years ago because
of its dark, seductive quality. The flat 5 (D flat), which I've
indicated in the following tab notation with quotation
marks, is found on the 5th string, 4th fret and the 3rd
string, 6th fret. Left-hand fingering (low to high):
1-4-1-2-3-1-3-1-3-4-1-4-1-4.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
-----------------------------------3---6----HIGH
-----------------------------3---6----------
---------------------3--5--"6"--------------
----------------3--5------------------------
--------3--"4"--5---------------------------
--3---6-------------------------------------LOW

HAMMER-ONS AND A B.B. KING-STYLE BLUES LICK IN G
Here's a lick in the style of B.B. (Blues Boy) King that
features a "hammer-on" from B flat to B natural. A
hammer-on is a note that is played without picking the
string. This is done by bringing your left-hand finger down
firmly on the fret of the desired note. All other notes in this
lick are picked. Left-hand fingering: 3-1-2-1-3-1-1. In the tab
notation, (h) indicates a hammer-on.
E-----------------------3--3-------------HIGH
B----------------3--5--------------------
G--------3(h)4---------------------------
D----5-----------------------------------
A----------------------------------------
E----------------------------------------LOW
ANOTHER B.B. KING-STYLE LICK
Here's another lick in G in the style of B.B. King. The
repeating three-note phrase creates tension that is
released in a whole-step bend from C up to D. In the tab
notation, (b) indicates a bend.
E--6-7-8--6-7-8--6-7-8--6-7-8---8(b)10-----------HIGH
B------------------------------------------------
G------------------------------------------------
D------------------------------------------------
A------------------------------------------------
E------------------------------------------------LOW
B.B. KING-STYLE CHORD LICK
This lick in the key of G starts off with a G6 triad. Left-hand
fingering (low to high): 2-3-1.
E--3--3------------------------------HIGH
B--5-----5--3--5---------------------
G--4--------------3------------------
D---------------------5--------------
A------------------------------------
E------------------------------------LOW
B.B. KING-STYLE OCTAVE LICK
This lick in the key of C starts off with an octave interval
and quickly shifts into a blues phrase in eighth position.
Play the octave with fingers 1 and 4. Lay your first finger
over the second string to mute it. This way, you can
"strum" the top three strings and only hear sound from
strings 3 and 1.
E-20-------------------------------HIGH
B-------10--8--10------------------
G-17-----------------8-------------
D-----------------------10---------
A----------------------------------
E----------------------------------LOW
JIMMIE RIVERS
Jimmie Rivers is a great jazz-country-swing guitar player
who can be heard on the album "Brisbane Bop." For those
interested in listening to hot country swing, this CD can be
found at
http://www.cosmic-cowboy.com
"Brisbane Bop" was crudely recorded in the late 1950s,
but the music shines through the sonic shortcomings.
JIMMIE RIVERS DOUBLESTOP
This Jimmie Rivers-style doublestop phrase is in the key of
G, but it can be played over the ii-v (Dm G7) progression
that occurs in bar 4 of the following jazz blues in G:
/G7/C7/G7/Dm7 G7/C7/Cdim7/G7/Bm7 E7/Am7/D7/Bm7
E7/Am7 D7/. In the tab notation, (sl) indicates a slide.
E--5--3--3---------------------------HIGH
B--6--5--3--5--2(sl)3----------------
G-----------5--3(sl)4----------------
D-------------------------5--3--2----
A------------------------------------
E------------------------------------LOW
JIMMIE RIVERS BLUES LICK IN G
This is a soulful-sounding lick in the style of Jimmie Rivers.
In the tab notation, (h) indicates a hammer-on.
E--------10--8----------------------------------HIGH
B-----8---------8--11---8---------------8-------
G--9--------------------------------------------
D---------------------------10--8(h)9-----------
A-----------------------------------------------
E-----------------------------------------------LOW
CHORD MELODY, PART 1 OF 4
This basic chord melody is in the style of "Love Me
Tender." Play this section two times. Chord shapes are
listed at the bottom of the tab.
E--------------------------------------------------------HIGH
B-----1--0--1-----3-----3---1--0-----0---1---------------
G--0--------------2--2------0-----2------0---------------
D--2--------------0---------0------------2---------------
A--3------------------------2------------3---------------
E---------------------------3----------------------------LOW
   C              D         G sus        C
CHORD MELODY, PART 2 OF 4
Let's continue with our chord melody in the style of "Love
Me Tender." To make the most of the richness of the
underlying chord accompaniment, make sure you play all
six strings of the E7 chord. Chord shapes are listed at the
bottom of the tab.
E--0--0--0-----0--0--0---0------------0---------HIGH
B--1-----------0---------1--3--1--3---0--------
G--0-----------1---------2------------1--------
D--2-----------0---------2------------0--------
A--3-----------2---------0------------2--------
E--------------0----------------------0---------LOW
   C           E7        Am           E7
CHORD MELODY, PART 3 OF 4
Once you have mastered today's section of the chord
melody in the style of "Love Me Tender," practice it
together with the previous two sections. (Don't forget to
play the first section twice.) Chord shapes are listed at the
bottom of the tab.
E--0---0----1---0-------------------HIGH
B--1--------2--------3------3-------
G--0--------0--------2---2----------
D--2--------2--------0--------------
A--3--------0-----------------------
E-----------------------------------LOW
   C        A aug 7  D
CHORD MELODY, PART 4 OF 4
Here is the finale to our chord melody in the style of "Love
Me Tender." If the upper notes sound weak because you
are trying to avoid sounding the high E string, strike the
notes as though you were playing THROUGH the B string,
so that the pick lands in the "safety net" of the high E
string. This way, you won't strike the high E string, and the
notes on the B string will sound loud and clear. Chord
shapes are listed at the bottom of the tab.
E-----------------------------------------X HIGH
B--1--0---5---3-----1---------------------
G--2--0---4---2-----0---------------------
D---------5---3-----2---------------------
A-------------------3---------------------
E-----------------------------------------LOW
          G6  G9    C
CHORD SLIDE BLUES RIFF IN B FLAT
This riff is created by moving a B flat 13 chord. Try barreing
over strings 4 through 1 and play the remaining notes with
fingers 2 and 3. This blues riff has a sophisticated sound
despite its simple movement.
E--6---9----11---12---11---9---6---------------  HIGH
B--8---11---13---14---13---11--8---------------
G--7---10---12---13---12---10--7---------------
D--6---9----11---12---11---9---6---------------
A----------------------------------------------X
E----------------------------------------------X LOW
PULL-OFFS AND A BLUES ENDING IN G
Here is a flashy phrase in G that is a classic ending in a
blues or swing format (as well as a good "pull-off"
exercise). A pull-off is a note that is played by pulling the
left-hand finger away from the fret at a 45-degree angle so
that your fingertip picks the string and allows the new note
to sound. In the tab notation, (p) indicates a pull-off.
E-6(p)5(p)3--------------------------------------HIGH
B-----------6(p)5(p)3-------------------------3--
G---------------------6(p)5(p)3---------------2--
D-------------------------------5---2--4--5---3--
A---------------------------------5-----------2--
E------------------------------------------------LOW
DOWN-UP PICKING EXERCISE
If down-up picking gives you trouble, here's a tip that might
help. Tap your foot and synchronize your picking hand with
your foot. A downstroke happens when your foot hits the
ground, and an upstroke happens when your foot lifts up.
This exercise ought to get your down-up picking
"kickstarted." (This tip was submitted by Mark Crafts, of
San Francisco, California.)
"REBEL REBEL"
This is the introduction to David Bowie's "Rebel Rebel." It's
a great rock riff, right up there with "Smoke on the Water,"
"Sunshine of Your Love," and "Dazed and Confused." It
also happens to be a good picking exercise.
E-------0--------------------------------------------
B-----------3--2----0----0----0----2--0--------------
G-------------------1----1----1-----------1----------
D--0----------------2----2----2--------------2-------
A----------------------------------------------------
E----------------------------------------------------

BLUES LICK IN G WITH BLUE NOTE
Here is a descending phrase in G that emphasizes the flat
5 blue note, indicated in the following tab notation with
quotation marks, in a musical way. Left-hand fingering
(high to low): 1-4-3-1-3-2-1-4-1.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
--3------------------------------HIGH
---------------------------------
-----"6"--5--3-------------------
-------------5-------------------
----------------"4"--3-----------
---------------------6--3--------LOW
STEVIE RAY-STYLE BLUES LICK IN G
Here is a blues lick in the style of Stevie Ray Vaughan. It
may give you some trouble at first because you need to
play two notes simultaneously on the first and third
strings. The G on the first string should be played with the
middle finger of your right hand. All other notes are played
with a pick. Start this lick with a half-barre over strings 3,
2, and 1 with your first finger. This will set up the B flat and
G on strings 3 and 1. Left-hand fingering (high to low): 1
and 4, 1 and 3, 1 and 1 (barred), 5.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
--3--3--3----------HIGH
-------------------
--6--5--3----------
------------3------
-------------------
-------------------LOW
ANOTHER BLUES LICK IN G WITH BLUE NOTE
Let's try another blues lick in G that begins on the flat 5 (D
flat). Left-hand fingering: 2-1-4-1-3.
Here's how to read the following tablature notation: Each
line represents a string. The top line is the highest string in
pitch. The numbers represent the fret where each note is
played on the fingerboard.
---------------------HIGH
---------------------
---------------------
------------------5--
--"4"-3--------------
-----------6--3------LOW
Try it an octave higher. Left-hand fingering: 4-3-1-3-1.
------------------3--HIGH
---------------------
--"6"-5--3-----------
---------------5-----
---------------------
---------------------LOW
THE GUITAR HANDBOOK
Guitar players looking for a reference book should check
out The Guitar Handbook by Ralph Denyer (Alfred A. Knopf
Publishing), the most comprehensive guitar manual I have
ever seen. The Guitar Handbook is NOT a "how-to-play"
book. Instead, it offers in-depth coverage of music theory
for guitar, gear, and history, including such topics as
harmony, scales, tunings, amplification, influential
guitarists, and much more. If one Guitar tip a day isn't
enough for you, then I highly recommend this book.
E TUNING
Slide guitar players love to play in E tuning--that is, with
open strings tuned to the sound of an E major chord. With
E tuning, players can produce major chords simply by
laying a slide or a finger on the fretboard.
Here is an E tuning for you to try (low to high): The sixth
string low E stays the same. Tune fifth string A up a whole
step to B and fourth string D up a whole step to E. Third
string G goes up a half step to G sharp, and second and
first strings B and E stay the same. Strum all the open
strings now, and they will sound like an E major chord.
Barre the 5th fret for an A major chord. Barre the 7th fret to
play B major. Experiment with these chords, or apply them
to a 12-bar blues.
BUYING A SLIDE
Slides come in different materials, including glass and
metal. Choosing one material over another comes down to
figuring out the sound and feel that is right for you. I
personally prefer the rounder sound and lightness of glass
slides, but they are fragile, and I always seem to break
them. Metal slides are sturdy, but they are heavier and
produce a sharper, metallic sound.
I suggest that you play with the slide on the third or fourth
finger of your left hand. This will leave your other fingers
free to play chords and licks. It may seem uncomfortable
at first, but you'll appreciate the freedom of movement it
gives. Be sure to try on a slide before purchasing it. You
don't want to buy one that doesn't fit.
BLUES-RHYTHM RIFF IN G
Here is a blues-rhythm riff in the key of G played on the
third fret. To transpose it to C, move it to the eighth fret,
and to the tenth fret for D. Apply it to the following 12-bar
blues: /G/C/G/G/C/C/G/G/D/C/G/D/. Left-hand fingering:
1-2-3-1-1, with the G6 to G9 chord movement fingered
2-1-3.
E------------------------------------X HIGH
B----------------------5----3--------
G----------------------4----2--------
D--3--4--5-------------5----3--------
A------------------------------------
E------------3--3--------------------- LOW
COUNTRY GUITAR WEB SITE
A cool source for info and country guitar licks is Mike
Scaggs' Web site at
http://www.countryguitar.com
Check it out, y'all!
DOWN-UP PICKING ON "IRISH WASHERWOMAN," PART 1 OF 6
The traditional tune "Irish Washerwoman" (you'll recognize
it even if the name isn't familiar) makes a great down-up
picking warm-up exercise for guitar players at any level.
This tune is in 6/8 (six eighth notes per measure), so
emphasize the first of every six notes. It is played in first
position; left-hand fingering corresponds to the fret number.
E-------------------------------------------------HIGH
B--3--1--0-----------------0----0--3--1--0--------
G-----------0--0----0--0-----0--------------------
D-----------------0-------------------------------
A-------------------------------------------------
E-------------------------------------------------LOW
"IRISH WASHERWOMAN," PART 2 OF 6
As you practice "Irish Washerwoman," make sure each
note is clear. Try to achieve consistency in tempo and
tone. This tune is in 6/8 (six eighth notes per measure), so
emphasize the first of every six notes. It is played in first
position; left-hand fingering corresponds to the fret number.
E-----------------------------0---------------------HIGH
B--1-----------------1----1----3--1--0--------------
G-----2--2----2--2----2-----------------0--0--------
D-----------0---------------------------------------
A---------------------------------------------------
E---------------------------------------------------LOW
"IRISH WASHERWOMAN," PART 3 OF 6
Remember to use "Irish Washerwoman" as a down-up
picking warm-up exercise. Play it at a tempo that is
comfortable and that allows you to stay in control. Before
you pick up speed, you must play it SLOWLY. This tune
is in 6/8 (six eighth notes per measure), so emphasize the
first of every six notes. It is played in first position;
left-hand fingering corresponds to the fret number.
E------------------------------------------------------------------HIGH
B------------0---0--3--1--0--1--0--1----3--1--0--------------------
G-----0--0-----0-------------------------2-----------0--0--0-------
D--0---------------------------------------------------------------
A------------------------------------------------------------------
E------------------------------------------------------------------LOW
"IRISH WASHERWOMAN," PART 4 OF 6
This tune is in 6/8 (six eighth notes per measure), so
emphasize the first of every six notes. It is played in first
position; left-hand fingering corresponds to the fret number.
E------------------------------------------------------------HIGH
B---------0----------------0--0--0--0------------------------
G--0--2-----0--0----0--0--------------2--0----2--------------
D-----------------0---------------------------4---4----0-----
A------------------------------------------------------------
E------------------------------------------------------------LOW
"IRISH WASHERWOMAN," PART 5 OF 6
This tune is in 6/8 (six eighth notes per measure), so
emphasize the first of every six notes. It is played in first
position; left-hand fingering corresponds to the fret number.
E--------------------------------------------------------------HIGH
B--------------------------------------------------------------
G--------2-2-2-2--0-------0--------0---------0---------0-------
D--4--4--------------4--2----2--0----0-------------------------
A------------------------------------------3----3---2-----2----
E---------------------------------------------------------------LOW
"IRISH WASHERWOMAN," PART 6 OF 6
Here is the final installment of "Irish Washerwoman." Every
musician needs a warm-up exercise, and "Irish
Washerwoman" is now yours. Play it at the beginning of all
practice sessions for the next few months. This tune is in
6/8 (six eighth notes per measure), so emphasize the first
of every six notes. It is played in first position; left-hand
fingering corresponds to the fret number.
E---------------------------3-----------------------------HIGH
B--1--0--1-----3--1--0-----0------0-----------------------
G------------2--------------------0-----------------------
D----------------------------------------0----------------
A--------------------------------------------2------------
E-----------------------------------------------3----------LOW

FREDDIE GREEN-STYLE CHORD SHAPES
Freddie Green played rhythm guitar for Count Basie for
almost 50 years. His sparse, unobtrusive, yet highly
rhythmic style is commonly used in jazz, country swing,
and blues. Freddie used primarily three-note voicings that
would flow in and out of each other with small intervallic
movements. These chords are an introduction to this style.
Apply them to the following 12-bar blues in G:
/G7/C7/G7/G7/C7/C7/G7/G7/D7/C7/G7/D7/. The G7 chord
fingering (from low to high): 1-2-3. The C7 and D7 chord
fingerings (from low to high): 2-1-3. Lay your sixth-string
finger over the fifth string so that it is muted.
     G7         C7       D7
E-------------------------------------
B-------------------------------------
G----4----------3--------5------------
D----3----------2--------4------------
A-------------------------------------
E----3----------3--------5------------
MORE FREDDIE GREEN-STYLE CHORD SHAPES
Here are a few more Freddie Green-style chord shapes
that will be applied to the following jazz blues in the key of
G: /G6/C7/G6/Dm7 G7/C7/Cdim7/G6 Am7/Bm7
E7/Am7/D7/Bm7 E7/Am7 D7/. Remember that these
chords can be applied to standards and swing styles. The
jazz blues is just a format in which to get comfortable with
them. Left-hand fingering: G6: 2-1-3; A minor: 2-3-3; B
minor: 2-3-3; E7: 2-1-3; D minor 7: 2-1-3; Cdim7: 2-1-3. For
the other chords (G7 C7 D7), refer to our previous tip on
Freddie Green-style chord shapes.
     G6   Am7  Bm7  E7   Dm7  Cdim7
E-------------------------------------
B-------------------------------------
G----4----5----7----7----5----6-------
D----2----5----7----6----3----5-------
A-------------------------------------
E----3----5----7----7----5----6-------
COUNTRY-STYLE LICK
This is a "classic" country lick in the key of G. Left-hand
fingering: 1-2-3-4, 1-2-3-4, 1-2-3-4, 1-2-3-2. Try down-up
picking the notes on the third string and play the first-string
notes with the middle finger of your right hand.
E----------7---------6---------5---------3-----
B----------------------------------------------
G--5--6--7---4--5--6---3--4--5---2--3--4-------
D----------------------------------------------
A----------------------------------------------
E----------------------------------------------
"PEDAL-STEEL" GUITAR LICKS
Here are some guitar licks that sound like a pedal-steel
guitar. They can be applied to country, blues, or rock
songs. Try playing them with the third finger on the third
string and the fourth finger over strings 2 and 1. This may
seem difficult at first, but it creates a hand position that
allows for improvisation in the major pentatonic scale. By
bending the notes on the G string up a minor or major
third, you'll attain a pedal steel-guitar effect. In the tab
notation, (b) indicates a bend.
        G      Am      Bm      C      D
E-------3------5-------7-------8------10---------
B-------3------5-------7-------8------10---------
G-----2(b)4---4(b)5---6(b)7---7(b)9--9(b)11------
D------------------------------------------------
A------------------------------------------------
E------------------------------------------------
MORE "PEDAL-STEEL" GUITAR LICKS
Using the "pedal steel" triads we learned in our previous
tip, let's walk up to the C (IV) chord from G (I) and then the
D (V) chord from C. In the tab notation, (b) indicates a
bend.
    G      Am    Bm      C       C     C#      D
E---3------5-----7-------8-------8-----9------10----
B---3------5-----7-------8-------8-----9------10----
G-2(b)4--4(b)5--6(b)7--7(b)9--7(b)9--8(b)10--9(b)11-
D---------------------------------------------------
A---------------------------------------------------
E----------------------------------------------------
DESCENDING "PEDAL-STEEL" GUITAR LICKS
Let's descend over a D7 (V) chord using the "pedal-steel"
triads in G. Note that the D11, D9, and D6 chords
correspond, respectively, to the C, B minor, and A minor
chords in our previous tip. In the tab notation, (b) indicates
a bend.
    D        Dflat     D11     D9      Dflat9      D6
E---10-------9---------8-------7-------6-----------5---
B---10-------9---------8-------7-------6-----------5---
G--9(b)11---8(b)10---7(b)9---6(b)7---5(b)6-------4(b)5-
D------------------------------------------------------
A------------------------------------------------------
E------------------------------------------------------
WHOLE-TONE SCALE
A whole-tone scale is composed entirely of whole steps
(as opposed to major or minor scales, which are made up
of both whole and half steps) and can be played over
augmented chords. It creates a futuristic, unsettled sound.
The following whole-tone scale begins and ends on C,
spanning two octaves. Try using it over an E augmented
chord or an E dominant 7 (V). You can imply an
augmented chord by playing a whole-tone scale even if the
V chord voicing doesn't include a raised 5. Left-hand
fingering: 1-3-1-3-1-3-1-3-1-3-1-3-3.
E-----------------------------------4--6--8------
B-----------------------------5--7---------------
G-----------------------5--7---------------------
D----------------6--8----------------------------
A----------7--9----------------------------------
E--8--10-----------------------------------------
WHOLE-TONE LICK
This is a flashy whole-tone lick (a la Les Paul) that can be played over an
E
augmented or dominant 7 chord (E7). Left-hand fingering: 3-1-1. In the tab
notation, (p) indicates a pull-off.
E----------------------------------------------------------
B--15(p)13--13(p)11--11(p)9--9(p)7--7(p)5--5(p)3--3(p)1----
G---------13-------11-------9------7------5------3------1--
D----------------------------------------------------------
A----------------------------------------------------------
E----------------------------------------------------------
MIXING UP THE WHOLE-TONE SCALE
A soloist can imply chord voicings by his/her choice of intervals in
improvisation. The V chord is a good canvas for this, since it is a place
of
musical tension. The following phrase works over an E dominant 7
functioning
as the V chord of A. It starts out using a whole-tone scale and then
settles in to
an E mixolydian (major third flat 7) scale. This phrase sounds good in a
jazz,
country swing, or blues format. Left-hand fingering:
1-3-1-3-1-3-1-3-2-1-2-3-4-2-1-4.
E------------------------------4--5--6--7---------------
B---------------------------5---------------5--4--------
G---------------------5--7-------------------------7----
D---------------6--8------------------------------------
A---------7--9------------------------------------------
E--8--10------------------------------------------------
"MYSTERY TRAIN"
This lick is in the style of Elvis Presley/Scotty Moore's "Mystery Train."
Scotty
played on Elvis's first album, "The Sun Sessions," and he is a must-hear
for
rockabilly fans. Scotty plunged into uncharted musical waters,
incorporating the
styles of Merle Travis and Chet Atkins. This phrase will require the use of
hybrid
picking (the use of pick and fingers of your picking hand). Picking
pattern: p,
p-m-r, p, m-r, p-p (p indicates pick, m indicates middle finger, and r
indicates
ring finger). In the tab notation, (h) indicates a hammer-on.
E------------------------------------------
B----------------------2-------------------
G-------0(h)1----------2-------------------
D---------2---------------2---2------------
A---------2--------------------------------
E---0-------------0------------------------
JAMES BURTON LICK
This lick is in the style of James Burton. James played with Ricky Nelson,
Elvis
Presley, Merle Haggard, and Jerry Lee Lewis, to name a few. This phrase in
the
key of A is an ascending bend that sounds pedal-steel-like and allows you
to
pivot to other positions when improvising. In the tab notation, (b)
indicates a
bend.
E------------------------------------------------------------
B--------5--------7---------8---------10--------12-------14--
G--7(b)9---9(b)11---10(b)12---12(b)14---14(b)16---16(b)18----
D------------------------------------------------------------
A------------------------------------------------------------
E------------------------------------------------------------
RALPH MOONEY STEEL-GUITAR LICK
This lick in the key of E sounds like a Ralph Mooney steel-guitar lick.
Ralph
Mooney was an original member of Buck Owens' Buckaroos and Merle
Haggard's Strangers. He helped to define the West Coast pedal-steel guitar
sound. Form a half-barre on the ninth fret and hammer-on with fingers 2 and
3.
In the tab notation, (h) indicates a hammer-on.
E---9(h)10---10---9(h)10---10------------------
B-----9-------9-----9-------9------------------
G---9(h)11---11---9(h)11---11------------------
D----------------------------------------------
A----------------------------------------------
E----------------------------------------------
DIMINISHED ARPEGGIO (D7FLAT9)
Diminished scales and arpeggios are useful improvisational tools. Since a
diminished 7 chord could have four different names, it's easier to identify
the
chords and arpeggios as dominant7 flat nine chords. The improviser can play
these arpeggios over dominant chords. Try this arpeggio over a D7flat9
chord or
even a D dominant 7 chord . Start by applying it over the IV chord (D7) in
a
blues in A. When you've mastered this arpeggio, try moving it up or down in
minor thirds (three frets). It will remain a D7flat nine arpeggio.
Left-hand
fingering: 2-4-1-2-4-1-3.
E---5------------------------------
B------7---4-----------------------
G--------------5-------------------
D------------------7---4-----------
A--------------------------6-------
E-----------------------------------
MORE ON THE DIMINISHED ARPEGGIO
Here's a trick to get more out of a diminished arpeggio by "backtracking"
or
repeating the arpeggiated notes. Left-hand fingering:
2-4-1-2-4-1-2-4-1-2-4-1-2-4-1-3.
E--5---------------------------------------------
B-----7--4----7--4------4------------------------
G----------5--------5------5-------5-------------
D---------------------7------7--4-----7----4-----
A---------------------------------------------3--
E------------------------------------------------
DOUBLESTOPS
"Doublestop" is a technical term used by violin players to indicate two
notes
played simultaneously. Guitarists like Chuck Berry use doublestops in a
rock
'n' roll context. This doublestop phrase is in the key of A.
E-----------5----5---------------------
B--5--7--5--5----4-----7-----5----5----
G----------------------7-----5----6----
D-------------------------7------------
A--------------------------------------
E--------------------------------------
MORE DOUBLESTOPS
Here is another doublestop phrase in the key of A. Try transposing it to D
and
E as well as playing it with the doublestop phrase introduced in our
previous tip.
In the tab notation, (s) indicates a slide.
E---------------------------------------
B----4(s)5------------------------------
G----5(s)6-----6----5----4--------------
D--------------7----6----5--------------
A---------------------------------------
E---------------------------------------

DUANE ALLMAN LICK
This non-slide Duane Allman lick is in the key of A and is played in fifth
position. In the tab notation, r indicates the release of a prebend from E
down to
D. (To perform a prebend, bend the string before striking it.)
E----5-------------------------8---8------
B------8----------------------------------
G---------9(r)7---5-----5---5-------------
D--------------------7--------------------
A-----------------------------------------
E-----------------------------------------
"STORMY MONDAY" PROGRESSION
Here is a chord progression for the Allman Brothers' version of "Stormy
Monday": /G9/C9/G9 G#9/G9/C9/C9/G maj 7 Am7/Bm7 Bbminor7/Am7/Cm7/G9 C9/G9 D
aug 7/.
It has some nice chord changes you can
improvise over. Start improvising with G pentatonic scales and note how the
progression gives them a sophisticated sound. T-Bone Walker wrote the song,
and he is a must-hear for all guitar players.
STEVE CROPPER LICK
Steve Cropper played guitar with Booker T and the MG's and many others.
This
lick in A is the introduction to "Hip-Hug-Her." Pull "toward the floor" for
that
three-note bend. Left-hand fingering: 1-4-3-4-3-1-3, 3, 3. In the tab
notation, (h)
indicates a hammer-on, (p) indicates a pull-off, and (b) indicates a bend.
E---5-------------------------------------
B------8-----------------7(b)8------------
G---------7(h)8(p)7---5--7(b)8------------
D------------------------7(b)8------------
A-----------------------------------------
E-----------------------------------------
PRACTICING A TRILL
A trill is achieved by hammering on and pulling off rapidly on a note. The
following lick is in the style of The Doors' "Love Me Two Times." Practice
it
slowly at first. In the tab notation, (t) indicates a trill.
E---------------------------------------------------
B---------------------------------------------------
G---------------------------------------------------
D------0---0----0---2--------0(t)1--------0(t)1-----
A---2----2----2-------------------------------------
E---------------------0---0--------0---0--------0---
TURNAROUND IN G
This turnaround can be used as an introduction to a blues or as a iii, vi,
ii, V
chord progression in G. The chords are Bm7, E7 flat 9, Am11, and D9.
E---10---10---10---10------
B----7----9----8---7-------
G----7---10----9---9-------
D----7----9---10---10------
A--------------------------
E--------------------------
COUNTRY LICK IN E
Here is a steel guitar-type lick that is a classic country phrase or
ending. Play
string 4 (D) with a pick and strings 3 and 2 (G and B) with the middle and
ring
fingers.
E--------------------------------------
B-----12-----14----7-----9---4----5----
G-----13-----14----8-----9---4----4----
D--14----14------9----9------4----6----
A--------------------------------------
E--------------------------------------
DOUBLESTOP PHRASE IN A
This is a doublestop phrase in the key of A. Play string 4 (D) with a pick
and
strings 3 and 2 (G and B) with the middle and ring fingers. In the tab
notation,
(h) indicates a hammer-on.
E----------------------------------------------------
B-------------12--10--8------------8--7-----5--------
G-------------12--11--9------------9--7---5(h)6------
D--9--10--11-------------7--10--7--------------------
A----------------------------------------------------
E----------------------------------------------------
POWER CHORDS
Power chords are generally two-note voicings played in the lower register
of the
guitar. Here are four basic power chords--E, B, D, and A--which you can use
in
a rock/pop format. Try down-stroking eighth notes (1 and 2 and 3 and 4 and)
while slightly muting with the palm of your right hand.
     E   B   D   A
E----------------------
B----------------------
G----------------------
D----9---9---7---7-----
A----7---6---5---4-----
E----------------------
OPEN G STRUM PATTERN
Here is a classic guitar rhythm with a root, third, fifth, and third melody
in the
bass. The low B is embellished by a hammer-on with the second finger. In
the
tab notation, (h) indicates a hammer-on.
E-----3--3--------3--3---3--3-------3--3--
B-----0--0--------0--0---0--0-------0--0--
G-----0--0--------0--0---0--0-------0--0--
D----------------------0------------------
A-----------0(h)2-------------0(h)2-------
E--3--------------------------------------
HARMONY CENTRAL
An interesting music Web site to visit is
http://www.harmonycentral.com
It offers online lessons, chat rooms, new product reviews, and classified
ads,
as well as a detailed explanation of how to read guitar tablature. Check it
out.
BLUES INTRO IN A
This little phrase sounds good as an intro to a blues in A. Play the bottom
note
with a pick and the higher notes with the ring finger.
E---------------------
B---5---4---3----2----
G----------------2----
D---2---4---6----5----
A----------------0----
E---------------------
SWING BLUES LICK IN B FLAT
This is a swing blues lick in B flat that incorporates the 6th
(G) and employs doublestops. In the tab notation, (h)
indicates a hammer-on.
E------------------------------------
B------------6-----8-----6-----------
G----------6(h)7---8---6(h)7---------
D-----5--8-------8---8-------8-------
A--8---------------------------------
E------------------------------------
ANOTHER SWING BLUES LICK IN B FLAT
This phrase in B flat works well as an ending in a swing
blues. Try playing it in fifth position. All notes are eighth
notes except the E (in parentheses), which is a quarter
note.
E--6----------------------------------6------
B-----8--5----------------------------8------
G-----------6-------------------------7------
D--------------8--5---------5--7--8---6------
A--------------------(7)--8------------------
E--------------------------------------------
II-V-I JAZZ CHORD PROGRESSION IN G
This ii-V-I chord progression is in the key of G. We are
embellishing the Am, D7, and G chord voicings to give
them a jazzier sound. In the tab notation, (s) indicates a
slide.
E--------------------10---10-------
B------------5---7--------10-------
G---6(s)5----5---8---------9-------
D---6(s)5----5---7---------9-------
A---6(s)5--------------------------
E----------------------------------
THIRDS IN G
Here is a G major scale that ascends one octave in thirds.
It's a good exercise, but more important, it is a good
vehicle for improvisation. Make a tape of Am7 (two
strums), D7 (two strums), and G7 (four strums) and
improvise over it, incorporating this scale in thirds as well
as the basic G major scale. Left-hand fingering:
2-1-4-2-1-4-2-1-4-3-1-4-3-1-4. Play it ascending and
descending.
E---------------------------------------------
B---------------------------------------------
G-------------------------------------2-------
D---------------------2----4--2--5--4---5-----
A-----2----3--2--5--3---5---------------------
E--3----5-------------------------------------
MORE THIRDS IN G
Here is another G major scale that ascends one octave in
thirds. If you play it in sequence with the scale introduced
in the previous tip, you will have a range of two octaves.
Left-hand fingering: 4-3-1-4-3-2-4-4-2-1-4-2-1-4-2. Play it
ascending and descending.
E---------------------------2---3--2--5--3------
B-----------------3----5--3---5-----------------
G------4--2--5--4---5---------------------------
D---5-------------------------------------------
A-----------------------------------------------
E-----------------------------------------------
C6 to C9 CHORD INVERSIONS--PART 1 OF 3
You can go from C6 to C9 without changing your fingering.
This progression includes the passing chord of B6 (the
fourth chord in the tab notation). Try this picking pattern for
a steel-guitar effect. This is the first of a three-part series
that will cover all the sixth to ninth chords on strings 1
through 4. Play the triads with pick and middle and ring
fingers.
E---12--------12---11---10-----------
B---13---13---13---12---11---11------
G---14---14---14---13---12---12------
D--------15------------------13------
A------------------------------------
E------------------------------------
C6 to C9 CHORD INVERSIONS--PART 2 OF 3
Here is the next set of C6 to C9 chord inversions. Play
them in sequence with the chord voicings introduced in the
previous tip. Play the triads with pick and middle and ring
fingers.
E---8-------8---7---6-------------
B---9---9---9---8---7---7---------
G---7---7---7---6---5---5---------
D-------8---------------6---------
A---------------------------------
E---------------------------------
C6 to C9 CHORD INVERSIONS--PART 3 OF 3
This is the last installment of C6 to C9 voicings on strings
1 through 4. Playing each of the installments in sequence
will give you smooth descending inversions of C6 to C9 all
the way down the fingerboard. Transpose them to F and G.
E---5-------5---4---3-----------
B---5---5---5---4---3---3-------
G---5---5---5---4---3---3-------
D-------7---------------5-------
A-------------------------------
E-------------------------------

DJANGO REINHARDT STYLE
Django Reinhardt (1910-1953) was a pioneer of Gypsy jazz
whose fiery guitar leads and rhythms still influence and
inspire musicians worldwide. Django's legacy is doubly
amazing because of the way he overcame a severe hand
injury (he lost the third and fourth fingers of his left hand in
a fire) to become one of the seminal jazz guitarists of the
20th century. His work with Stephane Grappelli and the
Quintet of the Hot Club of France in the 1930s is essential
listening. Check out the CD set, "Djangologie/USA," vols.
1-4, on the DRG label.
One of the many elements of Django's style is outlining or
embellishing the chord tones with mostly diatonic scale
tones. Here is an example in the key of G. Suggested
left-hand fingering: 4-2-1-2, 3-2-1-2, 4-2-1-2, 4-2-1-2,
3-2-1-2, 4-2-1-2, 4-2-1-2.
E------------------------------------------------5-3-2-3---
B----------------------------------------5-3-2-3-----------
G---------------------------------5-4-3-4------------------
D-------------------------7-5-4-5--------------------------
A---------3-2-1-2-7-5-4-5----------------------------------
E-5-3-2-3--------------------------------------------------
MORE DJANGO
This is another Django-like phrase that outlines the chord
tones of a G-major chord. Suggested left-hand fingering:
4-2-1-2, 4-2-1-2, 3-2-1-2, 4-2-1-2, 4-2-1-2, 3-2-1-2, 4-2-1-2.
E----------------------------------------------------------12-10-9-10
B------------------------------------------------13-12-11-12---------
G--------------------------------------14-12-11-12-------------------
D-------------------10-9-8-9-14-12-11-12-----------------------------
A----------12-10-9-10------------------------------------------------
E-12-10-9-10---------------------------------------------------------
DJANGO LICK
This phrase weaves in and out of the notes of G major. Try
transposing it to C (seventh position) and D (ninth
position). Note the reoccurring pattern in the left-hand
fingering, which is 3-1-4-2, 3-1-4-2, 3-1-4-2.
E-----2--5--3----------------------------
B--4-------------2--5--3-----------------
G-------------4--------------2--5--3-----
D-------------------------4--------------
A----------------------------------------
E----------------------------------------
DJANGO SWING LICK IN G
This is a swing lick in G in the style of Django later in his
career. Suggested left-hand fingering:
3-1(h)2-1-3-1-3-4-1-4-2-2-3. In the tab notation, (h)
indicates a hammer-on.
E---------------3--6--7--2--5--3---------
B----------3--5-------------------3------
G----3(h)4---------------------------4---
D--5-------------------------------------
A----------------------------------------
E----------------------------------------
DJANGO RHYTHM
The following chord progression will allow you to apply the
scales and licks we've covered in the past few Django tips.
It is very similar to the Freddie Green-style of rhythm that
was introduced in an earlier tip. Play these partial chords
two times each. Cycle and tape the progression for at
least four minutes. This will give you time to apply these
new improvising tools and licks. The chord progression is
GM6, Am7, Bm7, D7.
     G6  Am7    Bm7    D7
E----------------------------
B----------------------------
G----3---5------7------5-----
D----2---5------7------4-----
A----------------------------
E----3---5------7------5-----
COUNTRY LICK IN D
This is a country phrase in the key of D. It incorporates
one open string that creates a deceiving chromaticism.
Play this lick in seventh position and strike the open E
with your middle finger.
E----------0----------10----
B------------------7--------
G--------------10-----------
D---7--10-------------------
A---------------------------
E---------------------------
COUNTRY LICK IN C
Here is a country lick in C that applies chromaticism and
intervals typical of the country genre. Note the usage of the
minor and major thirds (E flat and E). Play this in fifth
position.
E-----------6-------------------------------------------
B---5-6-7-8---8-7-6---5---------------------------------
G-8-----------------8---5-----5-------------------------
D-------------------------7-5---7-8-5-----5-------------
A-------------------------------------6-7---7-6-5-------
E--------------------------------------------------8----
OUTLINING THE C MAJOR TRIAD
One of the hardest things about improvisation is playing
over chord changes. Chord changes whip by while the
inexperienced improviser struggles to play the appropriate
scale over them. Outlining basic triads, or playing the
notes that compose or imply the chord, is a way to target
these chord tones and nail the changes.
Let's start in the key of C major. First, memorize the basic
triad in eighth position, and then approach each chord tone
from a half step below. In the tab notation, I've written the
basic triad first, followed by the half-step approach to the
chord tones. (Triad fingering: 3-2-1, root, third, fifth;
half-step fingering: 2-3-1-2-1-1.) While you play, be aware
of what is a passing tone and what is a chord tone.
In our next tip, we will outline the IV chord of C major,
which is F major. This will get you started improvising over
the following 12-bar jazz blues in C: /C7/F7/C7/Gm
C7/F7/F#dim7/C7 Dm/Em A7/Dm/G7/Em A7/Dm G7/.
E--------------------------------------
B----8------------------------7--8-----
G----9-----------------8--9------------
D---10--------9--10--------------------
A--------------------------------------
E--------------------------------------
OUTLINING THE F MAJOR TRIAD
Here is the basic F major triad in eighth position along with
the approach of these chord tones from a half step below.
You can use it to improvise over the following 12-bar jazz
blues in C: /C7/F7/C7/Gm C7/F7/F#dim7/C7 Dm/Em
A7/Dm/G7/Em A7/Dm G7/. Don't worry about using an F
major triad over a dominant 7 chord in bar 2, because the
half-step movement creates enough tension for it to sound
appropriate.
Memorize the triad and approach each note from a half
step below. In the tab notation, I've written the basic triad
first, followed by the half-step approach to the chord tones.
(Triad fingering: 3-4-1, root, third, fifth; half-step fingering:
2-3-2-3-1-1.) While you play, be aware of what is a passing
tone and what is a chord tone.
E----8--------------------------7--8-------
B---10-----------------9--10---------------
G---10---------9--10-----------------------
D------------------------------------------
A------------------------------------------
E------------------------------------------
OUTLINING A ii-V ( Gm/C7) CHORD CHANGE BY HALF STEPS
We will now learn the basic G minor triad in tenth position
and how to approach these chord tones from a half step
below. You can use it to improvise over the following 12-bar
jazz blues in C: /C7/F7/C7/Gm C7/F7/F#dim7/C7 Dm/Em
A7/Dm/G7/Em A7/Dm G7/. This G minor triad approached
by half steps sounds "Djangoesque." It has a similar chord
shape and fingering to the C chord that follows it in bar 4 (a
ii-V chord change going to F).
To play this ii-V chord change, all you have to do is
"transplant" the two almost identical fingerings. Play the
basic G minor triad, followed by the half-step approach to
the chord tones. (Triad fingering: 3-2-1, root, third, fifth;
half-step fingering: 2-3-1-2-1-1.) Next, play the basic C
triad, followed by the half-step approach. (Triad fingering:
3-2-1; half-step fingering: 2-3-1-2-1-1.) Now you are
"nailing" bar 4 of a jazz blues in C.
E---10-----------------------9--10-----------------------------------
B---11-------------10--11----------8--------------------7--8---------
G---12---11--12--------------------9-------------8--9----------------
D------------------------------------10----9--10---------------------
A--------------------------------------------------------------------
E--------------------------------------------------------------------
INTRO TO "MORE THAN A FEELING" (4/10/1999)
This riff is flatpicked and should start with a downstroke on
the D string and continue in strict up-down alternating
strokes. Using up-down alternating picking technique on
this riff is demanding, since it requires you to cross over
some strings before playing them. It also has you playing
the low C on an upstroke, which seems anti-intuitive at first
but dramatically changes the sound and feel of the line.
This riff is also good for practicing dynamic changes in
pick attack. For it to sound right, you must emphasize
some notes more than others. (Thanks to Daryn Roven,
San Francisco, California, for this tip.)
E--------3---2-----------------------------
B----3-----3---3-------3-----3---3---------
G------2---------2---0-----0---------------
D--0---------------------------------------
A------------------3-----2-----------------
E------------------------------3-----------
LUTHER PERKINS-STYLE ALTERNATE BASS (5/10/199)
Luther Perkins is best known for the highly rhythmic style
he developed playing with Johnny Cash. This style is
applicable to country, Beatles, American folk, and more. It
involves playing the root of the chord as a single note and
strumming the chord tones above, then playing the fifth of
the chord as a single note and strumming the chord tones
above.
The following is an alternate bass strumming pattern in E
major. Luther would mute the strings by softly laying his
right hand on the strings by the bridge. This technique
achieves muted, percussive results.
E-----------------------------
B------0--------------1-------
G------1--------------1-------
D------2--------------2-------
A------2-------2------2-------
E--0--------------------------
MORE ALTERNATE BASS (6/10/1999)
Play this A major chord using the alternate bass
strumming technique introduced in the previous tip. Try
playing it in sequence with the E chord strumming pattern.
E------------------------
B--------2---------2-----
G--------2---------2-----
D--------2---------2-----
A---0--------------------
E--------------0---------

Sei un mito.
                  Raf.
--
Posted from 
mex.italtel.it
 [138.132.53.99]
via Mailgate.ORG Server - 
http://www.mailgate.org

Un saluto a tutto il ng con l'augurio di un buon fine settimana.
Grazie a te per il tuo lavoro e buon weekend.
;-)

Se vuoi un consiglio...e se ne hai la pazienza....
Ti consiglio di tradurre tutto in italiano dato che molti del NG non
conoscono l'inglese....
Che ne pensi?
--
Ciao
Thomas "Doc" Colasanti Lang
http://members.xoom.it/IamsChitarra
http://www.thomascolasantilang.com
ICQ# 25233731

...
|Se vuoi un consiglio...e se ne hai la pazienza....
|Ti consiglio di tradurre tutto in italiano dato che molti del NG non
|conoscono l'inglese....
Sarebbe una bella cosa, anche se un po' noiosa indubbiamente.
Solo che nei nostri siti in italiano, tutte le lezioni
dovrebbero possibilmente essere in italiano.
Poi molti l'inglese non lo leggono quasi per niente.
Ottima l'iniziativa, comunque.
angelo


Ciao Thomas,
mi rendo conto dell'importanza della disponibilita' in lingua italiana di
tutti i possibili contributi sul ng. Penso di aver chiarito la questione
anche con MaXy (post precedente) e mi impegno nella traduzione
dei guitar_tips. Ho bisogno solo di un po' di tempo.
Salutoni, Maurizio

Tranquillo
Tutto il tempo che vuoi e se posso ti do anche una mano
Ci sentiamo presto
