guitar-strength

Three Scary, Rut-Busting Licks Inspired by George Lynch

Thu, 31 Oct 2024 19:46:28 GMT

Since the early Eighties, soulful shred sensei Lynch—"Mr. Scary"—has challenged the boundaries of his abilities, constantly evolved with the times and kept his playing fresh.

While Lynch’s adventurous style is difficult to emulate, bust out of a rut and get some harmonically fresh and physically engaging “Scary”-ness in your playing with these “Mr. Scary”-inspired licks.

SCARY LICK 1 is an E diminished 7 (E, G, Bb, Db) symmetrical string skipping tap pattern on the G and high E strings. The diminished7 arpeggio pattern (R, b3, b5, bb7) can be visualized on the guitar as notes occurring every three frets from the root on the same string (For example, an open E string root would use the 3rd, 6th, 9th, 12th, 15th, 18th and 21st frets in a repeating single string E dim7 arpeggio).

Since G is a note in E dim7, and G and E are both open strings, symmetrical fretting works across both strings and all the way up the fretboard. The pattern in the lick on both the E and G strings is frets 9, 12, 15, 18, 21 (on the high E). Tap the 18th fret with your pick hand middle finger and fret the 9th-12th-15th stretch with index-middle-pinky, respectively (the 21st fret is slid into with a slide of the tapping finger with the note still ringing after the initial tap at the 18th).

SCARY LICK 1A is the lick in 4/4 time with an “accelerator” shift to sextuplets from sixteenths (6s from 4s) on beat 3. SCARY LICK 1B is the pattern looped evenly in ¾ time (also try looping it indefinitely over 4/4 time for a trippy off-center effect). Check out how this lick grabs your attention yet blends seamlessly in an E Dorian/blues context (as it has the E and G from Em, the Db/C# from E Dorian, and the Bb from E blues).

SCARY LICK 2A features a major triad shape ascending diagonally up the fretboard a tritone (aka “The Devil’s Interval," and the Diabolus in Musica ) at a time. Kirk Hammett famously “borrowed” a lick similar to this Lynch lick on a certain …And Justice For All track. Lynch’s version can be heard in his searing “Kiss of Death” solo ( Back for the Attack, Dokken).

Notice the fingering in the notation and move the triad shapes up a string and position at a time using economy picking. SCARY LICK 2B is a sequence with the shapes using a “1-2-3, 2-3-4, 3-4-5” type pattern.

SCARY LICK 3 uses Lynch’s infamous “Gothic Octave” shape (illustrated in the lick as the 4th, 5th and 9th frets on the E and A strings, played across 3 octaves), with tapped notes a fret higher than the pinky notes in the shape. There are a lot of “cluster” notes interacting inside of this lick, yet the clusters are spread out intervalically, so there’s also a lot of attention-grabbing movement in it.

This lick will work (in different ways) when played quickly and with conviction in F#m/A major, C#m/E major and G#m/B Major. Try ending it with some more tap sliding to the “money” notes in the key that you’re trying to fit it in.

Practice these licks until you’re comfortable with performing them at a brisk pace, and then try channeling the spirit of Mr. Scary by using these licks as a springboard for further experimentation in and around them.

Dial in a deadly tone, get fiery with your phrasing, and rock a vicious vibrato. Be sure to check out Dokken’s Beast From the East live greatest-hits CD, Lynch Mob’s Wicked Sensation and George Lynch’s solo covers album Furious George for some killer guitar work that's sure to inspire any guitarist. Happy shredding!

Five Ways to Put the Pedal to the Neo-Classical Metal

Thu, 31 Oct 2024 19:42:17 GMT

These days, “Neo-classical” gets a bad rap from many players, but in its prime, the neo-classical movement inspired an era of innovation and accelerated evolution in the world of guitar.

Spearheaded by Yngwie Malmsteen and Randy Rhoads, inspired by Uli Jon Roth and Ritchie Blackmore (and Bach, Mozart, Paganini, etc.) and taken to its heights by Jason Becker, Marty Friedman, Tony MacAlpine and the other early Shrapnel Records artists, the neo-classical period in modern rock guitar was a time of previously unimaginable technical progress and harmonic inventiveness.

Why? Because it was fun to play and sounded cool!

One of the coolest components of the neo-classical sound, which will work in all musical styles, is the use of pedal points (AKA pedal tones: repeating, static notes. Think the first half of the “Crazy Train” riff or the Halloween theme). And since no discussion of neo-classical musical theory would be complete without some Italian terminology, the following examples in E harmonic minor (E, F#, G, A, B, C, D#) use pedal points in ostinato-type phrasing, with a repeating musical pattern.

Getting fluent with this type of phrasing can add a thematic element to your playing and help you create attention-grabbing passages that will bring your improvisations to new musical heights. EXAMPLE 1 uses the E note at the 12th fret on the high E string as its pedal tone, and the ostinato is the “12-11-12." The first note of each 16th note group changes with every beat. Use your index finger for all of the changing notes except use your middle finger for the A (10th fret) on the B string.

EXAMPLE 2 contains a larger ostinato in the groupings of the high E string notes with a pinky note pedal point, and the changing notes ascend the B string chromatically. Slash uses an idea similar to this on his new track, “Anastasia” (email anastasia@guitarstrength.com for a transcription of the version found in the song).

Moving the pedal tone and repeating phrase to the lower register of the overall melodic pattern, the George Lynch-inspired EXAMPLE 3 creates a forceful rhythmic push. Note the downstrokes on the changing notes throughout and the shift in the pattern in the fourth bar.

Inspired by Paganini, Yngwie and Joe Stump, EXAMPLE 4 moves the ostinato into another direction, ultimately moving across four strings and including an “inside” picked string skip.

Finally, EXAMPLE 5 moves the pedal and ostinato into an even lower range, creating a killer rhythm riff that players like Jeff Loomis love. Try it fast using strict alternate picking or lay into it with straight downpicking at a driving pace.

While the neo-classical trend may have died as a result of a glut of imitators who ceased to innovate, its spirit lived as a component in the playing of guitar masters such as Steve Vai, Joe Satriani, Paul Gilbert, George Lynch and John Petrucci. Modern shredders such as Chris Broderick, Jeff Loomis and Alexi Laiho continue to use the template set by the neoclassical masters to inform their creation of the next level of guitar music, while countless new rock and metal bands discover and are newly inspired by the movement every day. Just like the classical music that inspired it, the popular use of the neo-classical genre is a sleeping giant ready to awaken.

Check out some Perpetual Burn -era Jason Becker and some of the other amazing guitar work from the time to get inspired and look for some other tricks to take your own playing to the next level. Happy shredding!

Seven Ways to Nail Down Slash's Greasy, Slithery Style

Thu, 31 Oct 2024 19:37:07 GMT

His playing is like a drink, a drink known as the New Jersey Turnpike, a drink that can be made only at the end of the night—from the spillover from the bartender’s bar mat and the squeezings of a bar rag.

Slash is like a sponge that has soaked up the most intoxicating ingredients of the best music since the dawn of electric-guitar-based rock and roll, and wrung out a grimy, adventurous and uniquely tasty concoction that never ceases to inspire. He is the reason I play guitar, my musical messiah.

As Axl Rose said in 1988 during Guns N’ Roses’ timeless performance captured on Live at the Ritz, “In a world he that he did not create, but he will go though as if it was his own making: half man, half beast … I’m not sure what it is, but whatever it is, it’s weird and it’s pissed off and it calls itself Slash.”

Slash is a guitar player’s guitar player, drawing deeply and effortlessly sharing secrets learned from greats such as Jeff Beck, Joe Perry, Brad Whitford, Billy Gibbons, Keith Richards, Eric Clapton, Jimi Hendrix, Ron Wood, Michael Schenker, George Lynch, Edward Van Halen, Dave Mustaine, James Hetfield and countless others.

While many of Slash’s signature licks and moves are hard to pin down, one thing that can be easily integrated into any guitarist’s vocabulary is his use of slurs. Slash’s playing is obviously built around his uncanny knack for melody, yet that melodicism is seasoned with a greasy, gritty quality that exudes his individuality and makes his melodies all the more memorable (see "Estranged"). On a purely mechanical level, the means for Slash’s achieving the fluidity to allow his individuality and style to shine through come from his use of slurs in his phrasing: hammer-ons, pull-offs and slides.

As another benefit of these techniques, Slash is able to assert his personality by using these slurs to bend the beat to his will, “bobbing and weaving” as he feels.

EXAMPLE 1 is a Slash-inspired lick based around the 5th position Am pentatonic scale, with the addition of the 2nd/9th from the Am scale (the seventh fret of the high E string). Notice the rhythmic change in feel from triplets to quintuplets in the first bar and the various rhythmic feels in the second bar (“gallop," “reverse gallop," triplet and quintuplet).

A deeper look inside the lick will show Slash’s use of typical blues/rock licks such as those found in beats 1 and 2 of the second bar, which become more effective when surrounded by semi-diatonic slurs. Fingered as Slash would, note also the return to the middle-finger note on the high E (seventh fret) after the ring-finger note on the B (eighth fret) throughout the line.

EXAMPLE 2 (“When I come home late at night, don't ask me where I've been. Just count your stars I'm home again”): Here is a lick similar to something Slash would use that plays within the Am pentatonic scale box and adds the 2nd/9th (high E, 19th fret). Note the rhythmic contour of the lick (which also come across as an accident of its melodic contour). Feel it!

EXAMPLE 3 (“Besides, you ain't got nothin' better to do. And I'm bored."): Inspired by one of Slash’s takes on the Am blues scale (Am pentatonic plus the b5-Eb-D string, 13th fret) this lick kicks off slippery with a slide. Note the rhythmic shifts and the resolution to the b7 of the key (G, G string, 12th fret).

EXAMPLE 4 (“It all fits so right when I fade into the night”): Rife with “Slash-isms," this lick combines the rhythmic shifts of the previous examples with a scale derived from classic blues clichés (Dm pentatonic with the “Dorian” note- the sixth- 12th fret on the B string and the major 3rd- G string, 11th fret). This lick can be used as a substitution in a blues/rock setting when jamming in the D Dorian position of A minor, or used as a bad-ass lick in D minor, depending on the feel you’re looking for. Be sure to nail the (almost Steve Vai-ish) slides in the last bar.

EXAMPLE 5 (“Wake up late, Honey, put on your clothes. Take your credit card to the liquor store. That's one for you and two for me by tonight.”): This mostly diatonic lick in Am (with a brief step into A harmonic minor) channels the spirit of one of Slash’s most epic solos and really works the rhythmic push and pull between the picked notes and the slurred notes.

Pay attention to the percussive, muted notes and let the hammer-ons and pull-offs just flow. Let your pick hand relax and connect with the phrasing. Use a 1-2-4 fingering for the notes on the D and G strings and a 1-2-3 fingering for all of the patterns on the B and E strings and be aware or the melodic contour as it interacts with the dynamics and the rhythmic “give and take” surrounding the beat.

EXAMPLE 6 : (“But if you could heal a broken heart, wouldn't time be out to charm you?”): This lick is inspired by some of Slash’s best “bouncing” through a scale in a pseudo-flamenco style (once again occasionally flirting with Harmonic minor, Slash does this often), really feeling the rhythm and skipping through the scale contour accordingly, switching positions when necessary to fit the contour of the lick (beats 1, 2 and 4 of the 2nd bar). Wrap the lick up by getting inside of the melodic feel of its latter half, and get as “personal” as you can with the phrasing.

EXAMPLE 7 (“Everybody needs somebody. You're not the only one.”): Here is a re-imagining of one of Slash’s most famous licks. In Am and referencing A Harmonic minor, this lick ties together many Slash-ims. Get used to the notes used in the line and experiment with your own melodic and rhythmic variations inspired by it. Have fun and jam!

If for some reason you don’t own or haven’t listened to Guns N’ Roses' Appetite for Destruction in its entirety, for whatever reason, check it out now! For everyone else, reconnect with the Use Your Illusion albums, and be sure to check out Slash’s Snakepit, Velvet Revolver, Slash’s solo work and his innumerable guest appearances. Slash is probably the most recognizable guitarists in the world, not just because of his look (see South Park for a hilarious take on his “myth”) but because his playing transcends his listener’s race, gender and age. Every guitar player should learn from Slash’s example.

Steal a few tricks, absorb the vibe and Slash it up! Happy shredding!

Journey to the Core of Zakk Wylde’s Pentatonic Shred

Thu, 31 Oct 2024 19:30:33 GMT

With the release of Ozzy Osbourne’s No Rest for the Wicked in 1988, a sound was unleashed on the world that changed the lexicon of rock guitar and redefined the meaning of “Guitar God."

Plucked from anonymity in Jackson, New Jersey, at age 20, Zakk Wylde (formerly Jeff Wielandt) forged a new path of style, personality and tone that continues to grow and evolve to this day. Zakk Wylde is an amalgam of his influences, performed with his own personal "Jersey fury." Zakk was (and is) a bull in a china shop with a guitar in its hands, with an appetite to devour and regurgitate licks and tricks learned from masters such as Randy Rhoads, Tony Iommi, Eddie Van Halen, Al Di Meola, Jimi Hendrix and (especially) John Sykes and Frank Marino.

Add to that a massive, unique tone achieved with a minimal amount of carefully selected, effective tools and it’s easy to see how so many guitarists respect and admire him, and how no generation of guitarists that has followed him has not been influenced and inspired in one way or another by his contributions to the vocabulary of modern guitar (the prevalence of heavily vibrato'ed pinch harmonics on the low strings, for example—usually the third, fifth or sixth fret of the lowest string—is almost a cliché in today’s modern metal, but you didn't hear them a lot before the song “Crazy Babies” was released).

Other than tone, huge riffs and sheer style, Zakk’s major contribution to the guitar world was his use of pentatonic scales in previously unheard of ways. When Zakk first came on to the scene in the late Eighties, three-note-per-string scales and sweep picking were the norm, and only (then) underground players like Eric Johnson were using creative manipulation of pentatonic scales to define their individual niche.

Zakk had his own take on the pentatonic scale that helped him forge his own style that has continued to develop over his long career, yet at the core of that style/take on performing that scale, there are a few simple patterns that define the fundamentals on upon which the whole of the “Zakk style” is built. Boiled down to its most basic form, the Zakk Wylde-style of executing fast pentatonic licks can be found in EXAMPLE 1A, 1B and 1C .

Using an A minor pentatonic scale (A, C, D, E, G), EXAMPLE 1A is the simplest dilution of Zakk’s trademark licks, simply running a two-notes-on-two-strings pattern fretted with the ring and index fingers. Be careful not to barre the 17th fret to cover both strings. Instead, “walk” the index finger from string to string when necessary.

The lick will be much cleaner and more articulate for it, and with sufficiently aggressive pick attack (You can really dig in since it’s always a downstroke when you switch strings), you’ll be ready to channel the Wylde in you in no time! EXAMPLE 1B manipulates the pattern to work as sextuplets (six per beat. Say: “O-zzY-O-zzY-Os-Bourne”), and example 1C changes it slightly more into a syncopated pattern.

Zakk likes to add more interest to these patterns by adding in the next higher note adjacent to the pattern. In this case, it’s the D note on the high E string, 22nd fret, fretted with the pinky. EXAMPLES 2A-C shows this “afterburner” (as Zakk calls it) in action.

EXAMPLE 3 is a six-note pattern descending the scale three strings at a time. The first example is the six-note pattern played with a 16th (four per beat) note rhythm. The cool thing to note here is that the start of each group of six doesn’t coincide with the downbeat. EXAMPLE 3B shows what it looks like relative to the beat if it were played as sextuplets.

EXAMPLE 3C and 3D mirror the previous examples not only in terms of their rhythmic difference, but with their directions reversed as well.

EXAMPLE 4A is an Am pentatonic scale moving up the neck through all of its positions/shapes, culminating in EXAMPLE 4B, where a six-note pattern is syncopated as 32nd notes, bringing an epic climax to the whole line through its switch of rhythm and intervallic complexity. Be sure to add a fast, wide vibrato to the bend on the last note.

EXAMPLE 5 moves the trusty pentatonic shapes to D minor and employs the use of economy picking. Fretted with the pinky, ring and index fingers, the lick moves though Dm pentatonic (D, F, G, A, C) and D Blues (D, F, G, G#, A, C) and requires that you mix alternate and sweep picking to properly execute it. To start the pattern, you’ll begin on a downstroke, but as the pattern repeats, you’ll need to perform the first note of the pattern with an upstroke.

This is easy, though, since the economy picking will set that upstroke as the only option. To perform the lick, pick the first note, do the pull-offs, then pick “down-up-down” on the B string, and then let your pick follow gravity and fall through the B toward the high E string, coordinate your pick “pushing through” the high E index finger anchor note, then come around with an upstroke (with your pinky fretting the first note of the pattern) and repeat. For extra Zakk-style attitude, be sure to finish off the lick with the pull-down bend on the G string, 17th fret, the ensuing simultaneous grab of the B string, 17th fret and shaking it like you mean it!

I am confident this will let you channel the spirit and style of Zakk Wylde and that you’ll find a way to work these into your own solos. Happy shredding!

Symmetrical phrasing tips that will help you shred across the entire fretboard

Thu, 31 Oct 2024 19:23:59 GMT

Get your fingers up to speed with licks in the style of Van Halen, George Lynch, Dimebag and more

I remember someone telling me that George Lynch once said he heard B.B. King say something that instantly improved his guitar style.

It went something like this: “If you play a wrong note, play it again like you mean it and it’ll sound like the best note you played all night."

The dubious origins of this gem aside, I've always found this to be an almost religious concept to strive toward, where any note can work anywhere if it is done with purposeful conviction.

In a guitar-player-friendly form, an easy way to play a lot of these purposefully performed “wrong” notes with conviction is through the use of licks and phrases composed of symmetrical fingerings. The trick with these is that they use the same fingering and fretting on all six strings and don’t adhere to any pure scale continuity, so you need to fit them into a fretboard context that relates to the key or chord (and its associated fingerings) you’re playing in/over.

In the case of these examples, I’ll show you how these symmetrical shapes relate to E for the convenience of performing the necessary stretches and for their ease of use over E major or E minor harmonies. But there are keys-inside-the-key that you might also notice that can be used as well. Just try to find at least two strings of the six whose fingerings sync up in some way to the key you’re playing in, and you’re ready to rock this!

Symmetrical fingerings can work with any fretting or fingering pattern (Any 1-2-3, 1-2-4, 1-3-4 pattern will work). Most almost-the-same-as-the-scale fingerings sound only OK, so I’ll be basing most of the examples on arpeggio-related shapes, since they have a wide intervallic stretch on each individual string, while having much smaller jumps when moving from string to string.

This creates a lot of interesting and unexpected melodic movement related to the fingering contour, depending on how the fingering patterns are phrased

Based on a 1-2-4 fingering E diminished arpeggio on the E string, EXAMPLE 1a is a shape often used by Zakk Wylde, John 5 and the aforementioned George Lynch.

Example 1b uses the shape in a ridiculously simple way to execute a pattern moving in groups of nine across successive patterns of three notes on three strings (E-A-D, A-D-G, D-G-B, G-B-E, then back the other way E-B-G, B-G-D, G-D-A, D-A-E).

Stretch the pinky one fret further into an E minor arpeggio on the E strings (E,G,B) and you get the shape in EXAMPLE 2a , which was used to great effect by Dimebag Darrell all over the Cowboys from Hell album as well as many other examples from throughout his career.

EXAMPLE 2b uses “The Dime” in a Paul Gilbert-inspired, shred-friendly string skipping legato pattern that covers a vast intervallic range with a smooth, yet aggressive flow. Note the picking instructions and pay particular attention to the muted alternate-picked “turnaround and re-launch” in the latter half of the pattern on beat three of each bar. Be sure to try out this pattern within some of your favorite three-note-per-string scale fingerings!

Of course, no discussion of symmetrical fingerings would be complete without mentioning Edward Van Halen, whose ever-unique guitar style has always utilized this technique with extreme sophistication, taste and conviction.

While EVH has used many different forms and variations of these fingerings throughout the years, EXAMPLE 3a depicts the E major (E, G#, B)-based shape made famous on songs like Ice Cream Man from Van Halen. Note the wider shift between the root note (E) and the 3rd (G#) of the arpeggio relative to the previous examples. Try both the 1-2-4 and 1-3-4 fingerings to see which allows you to most efficiently play through the shape.

On the topic of Eddie’s Ice Cream Man solo, EXAMPLE 3b is inspired by the spirit and feel of the original lick. This is a great legato stretch exercise that utilizes the EVH-approved “hammer-on-from-nowhere” on the transitions from higher to lower strings and has a unique and challenging truncation of the shape at the end of each phrase that adds a very cool intervallic and melodic curve ball to the overall flow of the line.

Going to the extreme in both the physical stretch and the intervallic leaps between the notes, EXAMPLE 4A is based on an E augmented arpeggio (E, G#, C). I have affectionately named this one the “Shawn Lane” as he was known to use this shape often, and licks based around this pattern channel the spirit of the wide stretched, intervallically complex “outside” licks that flowed effortlessly from his fingers. This fingering (I highly recommend a 1-2-4) is not for the faint-of-heart, so be sure to warm up sufficiently before attempting it (Stop playing it immediately if you feel any sharp pain in your fingers or wrist!).

To have some fun with this shape, EXAMPLE 4b uses a Zakk Wylde-inspired picking pattern that combines both economy picking and alternate picking. Also, to continue in the Shawn Lane-vein, the patterns are grouped in 7's, which lend horn-like flow to the lick.

To perform each pattern, start on the middle finger note on the low string with a downstroke, push through the index finger-fretted note on the adjacent string with another downstroke, and continue through the remaining notes with alternate picking (up-down-up on the 4-2-1 fingered notes on the same string, and down-up on the 2-1 fingered notes on the next higher string in the pattern). If the stretch is too much, try the pattern with any of the other symmetrical shapes depicted or with a comfortable fingering pattern of your own.

The remaining examples add in a right-hand tapping element to further expand the symmetrical shapes. EXAMPLE 5a is a shape that would be right at home in George Lynch’s style, relating to the first four notes in E Phrygian Dominant (E F G# A B C D) and possessing a lot of chromatic movement, overlap and half-steps.

EXAMPLE 5b begins with a “hammer-on from nowhere” that is then again used throughout the pattern, and you’ll find that in combination with the tapped notes that is makes it very easy to facilitate the string-skipped basis of the pattern. This one is very cool when you’re looking for something flashy and exotic! Be sure to finish off with a tapped artificial harmonic, fretting the 12th fret on the E and lightly tapping right above the 24th fret (or right where the 24th fret would be for those of us with 22 frets).

Finally, EXAMPLE 6a continues in this Lynch-esque vein, adding a legato tap and slide into the mix and expanding the pattern even further. I’ve kept the left-hand stretch to a minimum, but you should obviously try your own variation with both the left-hand stretch pattern and the “tap-slide” spread.

In the case of these examples, the close-knit half-step relativity between the 12th and 13th frets and the 17th and 18th will create a lot of overlapping echo-type effects as you cross the pattern from string to string, especially due to the legato tap-slide-and return slide in EXAMPLE 6b . Get the pattern down, experiment and have fun!

I’ve really only begun to scratch the surface here with what is possible through the use of symmetrical fingerings. The best part with these is that since you’re not necessarily restricted to a key, there are essentially no rules, so let ‘er rip and just be sure to play, as you should always, like you mean it.

The Ins and Outs of Supersonic Alternate Picking

Thu, 31 Oct 2024 19:13:35 GMT

New students are always coming to me asking, “How do I improve my sloppy, inaccurate, clumsy and slow picking technique?”

More often than not, the first thing I notice about their playing is that they employ an unpolished technique that lacks the discipline of a steady, consistent and controlled use of strict alternate picking.

What I find with these students, especially those who were previously self-taught, is that their technique is a haphazard (yet sometimes logical) combination of alternate, economy and awkward sweep picking.

While being skilled at economy picking and sweep picking is essential in every guitarist’s bag of tricks, I find that these students are not performing these techniques deliberately, but instead as an accidental consequence of dealing with the tricky nature of crossing from string to string when dealing with 1-per or 3-note-per-string style phrasing patterns.

The “tricky” bit that seems to trip these students up comes when specific mechanical movements come into play, specifically those found when crossing from a lower-pitched string with a downstroke to a higher-pitched string with an upstroke (“outside” picking), and when crossing from a higher-pitched string with a downstroke to a lower-pitched string with an upstroke (“inside” picking).

The following examples are exercises and licks I have found will clean up any guitarist’s picking technique and give them the control and accuracy to greatly improve their ability to achieve the speed and fluidity they desire. Though there are exceptions to this rule, for the sake of these exercises, make sure the alternating pick strokes are accomplished with firm, yet relaxed grip of the pick and a rotation of the pick hand wrist similar to that of turning a key in a door.

EXAMPLE 1A shows “outside” picking at its most basic. After picking down on the B string, you’ll swing back around, to the outside of the high E string, and strike the string with an upstroke, swinging back around the outside of the B string and striking it with a downstroke, etc. EXAMPLE1B is the opposite, “inside” picking, going down on the high E and coming back up inside the E and B with an upstroke on the B.

Most guitarists I encounter with problem pick technique usually have no difficulty using strict alternate picking with pentatonic derived lines, as more often than not they are using a downstroke when going to a new string, regardless of whether going upwards or downwards on the strings, so to get them used to the adjustment of crossing strings with more complex scale patterns, I often have them perform the simple three-note per string pattern in EXAMPLE2A .

The simplicity of the fingering pattern will allow for focus on the “swing” of the pick hand. EXAMPLE 2B is similarly simple as far as the fingering, but many students find that the inside picking motion slows them down.

In the case of any difficulty with either variation, stick with it! Practice slowly and methodically at first with a metronome, focusing on coordination of rhythmic fretting and a well-timed rotation of the wrist. Also note that in each exercise, every new beat begins on a downstroke, so let the physicality of the rhythm guide you and slightly emphasize each beat to help create thrust throughout the pattern.

In a similar vein but more focused on pure speed mechanics, EXAMPLES 3A and 3B are inspired by the “Paul Gilbert Exercise,” running a four-note pattern in a circle. Note that while the notes are the same, the rhythmic shift of where the downstrokes are changes the feel of the pattern dramatically (and the “snap” of the high E on the beat in EXAMPLE 3B can be addictive at high speeds!).

The next obvious step is to combine the two styles of picking into one line/exercise. EXAMPLES 4A through 4D are variations on these combinations using two different six-note patterns in each loop. EXAMPLE 4A goes up Pattern 1 and down Pattern 2, EXAMPLE 4B goes down Pattern 1 and up Pattern 2, EXAMPLE 4C goes up Pattern 2 and down Pattern 1, and EXAMPLE 4D goes down Pattern 2 and up Pattern 1.

Other than the obvious differences in the fingering and picking of each of these, pay attention to the relativity between their melodic contour and the relation to their respective beats. Practiced properly, each of these will have dramatically different feels! Be sure to try variations like this with some of your favorite practice patterns and licks.

EXAMPLE 5 demonstrates the concept of combining both inside and outside picking in a real world scenario. This Gus G-style “solo crescendo” lick combines three different shapes in an expanded loop in Dm, shifting positions with each beat.

So far the examples have dealt with repetitive patterns on two strings, but the Paul Gilbert-inspired EXAMPLE 6 takes outside picking further in a connective pattern ascending across all six strings. In this case, the pattern expands beginning on the low E, then the A, then the D, etc., culminating in an Am arpeggio beginning with a tapped C note at the 20th fret on the high E and then continuing through the arpeggio with pull-offs and sweep picking.

This maneuver, and the alternate picked notes on the A string at the end of the phrase, will greatly emphasize your overall control of your picking, as you’ll find that momentum can be difficult to overcome when you switch techniques.

Finally, EXAMPLE 7 works a Buckethead/Greg Howe-style ascending E major (D# Locrian fingering) pattern emphasizing inside picking. As with the previous example, this example once again focuses on controlling momentum, rising to a crescendo by shifting the angle of the pattern from vertical to horizontal.

All players, regardless of their skill level can benefit from breaking down and focusing on the mechanics of their alternate picking technique. Beginners and intermediates will get the most benefit by practicing the above exercises with a metronome and focusing on rhythmic accuracy and finger articulation with the goal of relaxed speed, moving the picking patterns into any scale patterns they know, and advanced players should expand the patterns mathematically across the fretboard and/or increase the difficulty of the exercises by incorporating string skipping.

Rip Up the Fretboard with Three-Note-Per-String Pentatonics

Thu, 31 Oct 2024 19:07:38 GMT

As guitar players' tastes and abilities evolve, and they begin to gravitate toward an appreciation for, and desire to learn, more technically demanding music, the pentatonic scale often gets a bad rap.

It's often considered cliché and not as impressive as three-note-per string (3NPS) diatonic scales.

But if you love loud, distorted guitar, somewhere early on in your development as a player you were turned on to the minor pentatonic “box” shape, such as the Am pentatonic in EXAMPLE 1A, and its adjacent shape, the C major (A minor’s relative major) “box” in EXAMPLE 1B . Mindful of the redundant notes shared between the shapes, EXAMPLE1C combines the two boxes into one 3NPS scale.

Unfortunately, while this 3NPS fingering immediately opens up a myriad of technical possibilities for re-harmonizing any already perfected diatonic run, there can sometimes be a problem with repeated “double” notes as you cross from string to string.

EXAMPLE2 shows how this problem can be an asset by utilizing a fairly popular 3NPS pattern with the new pentatonic fingering. As a coincidence of the pattern’s contour, the lick emphasizes the repeated notes on adjacent strings (three times in a row in beats 1 and 3, and 2x in beats 2 and 4 of each measure). Play it hard, tight and rhythmic, and manipulate the dynamic differences between the picked notes and the palm-muted legato hammers and you’ll see the possibilities.

EXAMPLE3 combines tapping and legato and avoids any doubling/repeated notes while creating a cool melodic sextuplet pattern of “down 5, up 1, restart one higher." Be sure to note the “hammer-on-from-nowhere” that begins the latter third of each sextuplet and the subsequent hammer-on to the next higher note in the scale. Start slow and hit/pull every note hard and in rhythm until you get the feel for the tapped “launch” of each sextuplet. I expect you’ll immediately see how this same pattern can be re-purposed with notes from diatonic 3NPS scales.

I recommend experimenting with combinations of this and the same pattern using the related 3NPS diatonic scales. Explore different string crossings/directions, string skipping, etc., while alternating and mixing different permutations of the basic lick.

Emphasizing the "pentatonic-ness" of the fingering, EXAMPLE4A is an extremely-easy-to-execute picking pattern that climbs the neck through the remaining positions of the scale and demonstrates the visceral power of these combined fingerings when they’re torn through appropriately. EXAMPLE4B is a variation on the same pattern with an intelligently applied legato phrasing in the second half of each beat (Rip into the upstroke that launches the pulls).

As always, I encourage you to use these examples as an inspiration to explore the possibilities of this concept all over the fretboard, in other keys and with your own variations. Happy shredding!

Paul Gilbert-Style, Sequenced String-Skipping Arpeggios

Thu, 31 Oct 2024 19:00:25 GMT

One of the especially cool things about a guitar is the fact that there are almost always at least a few ways to play the same notes.

This fact allows (and forces) us guitarists to explore the different possibilities available through experimentation with alternate fingerings, picking strategies and phrasing. Often, while there are many ways to play the exact same notes, there is usually a “magic” fingering and picking pattern that allows for the easiest and most effective execution of the phrase.

As an advocate of this “following the path of least resistance”-type of efficiency, guitar guru Paul Gilbert has come up with a great deal of influential ideas, but one of his most useful and technically streamlined is that of string skipping arpeggios. With this technique, instead of playing the common “finger-rolled barre” or similarly inefficient sweep picked arpeggio shape depicted in EXAMPLE1a , you would move the B string note to its equivalent on the G string and switch to alternate picking instead of sweep picking ( EXAMPLES1b and 1c ).

EXAMPLES2a-c and 3a-c show the major and minor flat 5 shapes, respectively.

Note that your roots are both the D string note and the index finger E string note, and that the pattern conveniently has an “outside” picking pattern with all of the down-strokes falling on the downbeats when alternate picking is used.

The efficiency of these shapes can be further enhanced by the use of convenient legato phrasing when adjacent notes are found on the same string. When performing the arpeggios this way, the right hand still moves as if it were alternate picking, simply moving rhythmically without making contact with the string when a note is phrased legato. This allows for a better physical connection with the groove through the down-picked downbeats, which gain a sharpened attack following the preceding unpicked upstrokes, while allowing the licks to be played easily and cleanly at accelerated speeds. EXAMPLE4 is a demonstration of the “up and down”-style arpeggios commonly heard in sweep-picking-type progressions, but the combination of the rhythmic picking and legato gives the lick a completely different feel. Pay close attention to the movement of your right hand in even 16th notes, regardless of whether the note being played is picked or not.

Try this type of lick with your favorite progressions, moving the shapes (major, minor or minor b5) relative to the D or E string roots.

Another benefit of these shapes is their ability to be sequenced into many melodically and rhythmically interesting patterns that would be nearly impossible (and completely impractical) to perform via any other means.

Check out EXAMPLE5 for some ideas that should inspire you to master this concept and come up with your own permutations using your own progressions. Try practicing each bar as their own pattern and then combine both as a repeating pattern.

For a twist on this sequencing idea, check out EXAMPLE6 , inspired by Nuno Bettencourt of Extreme (check out their Pornograffitti for some awesome guitar playing and tone). For those of you old enough, think Bill and Ted’s Excellent Adventure at the mall and you’ll get the idea.

Finally, EXAMPLE7 is my homage to Gilbert, featuring a Bach-inspired progression in a keyboard-esque (but much cooler on a distorted guitar!) sequence. Be aware of the slight fingering shift in bar3, C to C#m (b5), and the movement of the shape between the 14th and 11th positions in the 4th bar.

Use this technique with face-melting leads, but also look into the potential to use it as a clever, percussive rhythm guitar approach (especially when used with varying degrees of palm muting and dynamics). These shapes also sound great when synced up rhythmically with a digital delay, Gilmour/Edge-style.

Get down the patterns, focus and get some speed with them with proper physical movement, plan out a few sequences and progressions of your own, turn it up, then let go of yourself and feel the music. Happy shredding!

Guitar Strength: A Guide to Shape-Shifting, Part 2

Thu, 31 Oct 2024 18:56:17 GMT

In the last installment of Guitar Strength, I showed you how to take a simple two-string fretboard shape and move it across three octaves in order to create long, fluid lines that traverse a wide range.

This time around, I’ll demonstrate how to take the technique to the next level by combining “neighboring” shapes.

Example 1 , based in A Harmonic Minor (A,B,C,D,E,F,G#), takes two consecutive six-note scale shapes and repeats them over three octaves. After ascending through three octaves with the first two shapes, the lick continues into a third shape, which creates a new set of shapes (the third and the second) for the descent through the pattern.

Note how adding the second shape helps smooth the intervallic transition from octave to octave and allows for a more fluid physical shift from position to position (since the 2nd shape is always in essentially the same position as the next octave of the first shape going up and the third shape coming down).

As a bonus, sequencing the scale in this fashion has a very “wave-like” melodic flow relative to the beat and is also kick-ass practice for mastering the transitions between “inside” and “outside” picking (More on that here).

After you’ve run through the above shapes, give Example 2 a try. This slinky legato journey through the same shapes demonstrates how easy it can be to manipulate the combining of shapes to dramatic effect. Pay close attention to the "hammer-ons from nowhere" (More on those here) that elongate the legato phrases and to the “omitted” note from the pattern in the latter half of each bar.

Examples 3a and 3b take two of the triad arpeggios found inside the previous shapes (B Diminished and C Augmented) and combine them across three octaves.

Example 3a uses economy picking while Example 3b uses a down-up-hammer motion to execute each three-note group. Be sure to see and feel each three-note arpeggio group as its own position and shift your hand accordingly. This has the flow of arpeggios while imparting the ripping qualities of a well-designed scalar line. (Fellow theory geeks: Check out how a third arpeggio, G#dim7, forms from the last note of the C+ going into the Bdim triad. Try this with other “neighboring arpeggios” and you’ll be amazed at the results!)

Adding another note from each of the shapes we began with to create more complex arpeggios (Bm7b5 and C+ add 9), Example 4 is a pure shredder! Experiment with different fingerings for your own maximum efficiency, making sure to shift positions or fingerings in successive four-note groups.

Finally, Example 5 combines many of the attributes of the above examples into a sprawling, exotic, diminished-flavored run. I recommend practicing the first half of the first bar in a non-stop loop to get the pattern, picking and fingering down perfectly before continuing through the remaining two octaves.

The lick wraps up by shifting gears with the picking while shifting through three octaves with a G#dim7 turnaround. Also be sure to experiment with different combinations of picking and legato throughout to find the most effective and expressive means of performing the lick in your own way.

Approach the examples by practicing them slowly and methodically for a few minutes each, being sure your performance is clean, concise, strong, clear and in rhythm. Once you get the patterns and phrasings down, I’m confident you’ll be able to get these up to breakneck speed in a remarkably short amount of time. Happy shredding!

Guitar Strength: A Guide to Shape-Shifting, Part 2

Thu, 31 Oct 2024 18:52:25 GMT

This time around, I’ll demonstrate how to take the technique to the next level by combining “neighboring” shapes.

Examples 3a and 3b take two of the triad arpeggios found inside the previous shapes (B Diminished and C Augmented) and combine them across three octaves.

The Guitarist's Guide to Shape Shifting, Part 1

Thu, 31 Oct 2024 18:43:33 GMT

Navigate greater expanses of fretboard terrain with this technique.

The technique is simple: Take a fingering pattern “shape” and shift it across the neck over three octaves.

Use of this technique can, however, impart a broader and more sophisticated scope to a lick while also acting as a no-brainer means of navigating greater expanses of fretboard terrain.

EXAMPLE 1 depicts three “target” notes (all A’s) in three octaves.

Play each note with your index finger to get used to the shift on the neck and the physical relationship between the fretboard locations of the note in each octave (You also can prime yourself for future examples by performing the example again with just the middle finger, then just the ring finger, then just the pinky).

Getting on with the aforementioned shapes, EXAMPLE 2 is the first six notes of an A Dorian #4 mode (the 4th mode of E harmonic minor), in two-string sets (E and A, D and G, B and E), moving up and then down the strings across three octaves. Note that the location of the #4 (D#, A string, sixth fret and G string, eighth fret) helps make the overall position shift from octave to octave less abrupt.

Where this shifting technique really comes alive is when it is applied to a short two-string lick within the pattern that is then repeated across the other octaves/string sets. EXAMPLE 3 takes a 16-note pattern in the first octave on the E and A strings and then repeats the pattern across the other two octaves, creating a fluid trip across a broad range, resolving on the E note.

EXAMPLE 4 is a fingering that is technically a D# Mixolydian #1 mode (the 7th mode of E harmonic minor, also known as the Super Locrian mode or Altered Dominant scale), though I like to think of the particular fingering as an E harmonic minor with the D# as a “lead-in” note to the main six-note Em pattern. Unlike the previous example’s six-note shape, this seven-note shape gains dimension to the overall two-string pattern by including an extra note on the lower string performed with an index finger slide (both notes picked).

EXAMPLE 5 is a descending Yngwie-style run using the shape.

This shape shifting technique is also quite adaptable to use with two-string triad arpeggios. Whereas the previous examples were designed to make the transitions between positions more fluid, the triad arpeggios require a clearer position shift/jump from octave to octave.

To that end, the 16th note loops in EXAMPLE 6 demonstrate the four different triad arpeggio shape types found in the key of E Harmonic Minor (the triad arpeggios in the key are: Em, F#mb5, G+, Am, B, C, D#mb5). EXAMPLE 6a is the standard minor shape (Em), EXAMPLE 6b is the minor flat 5 shape (F#), EXAMPLE 6c is the Augmented shape (G+) and EXAMPLE 6d is the major shape (C).

Pay careful attention to the picking, be firm and articulate with the hammers and pull-offs, and be sure to lead each new position with the middle finger as the target/anchor note.

I’ve only begun to dig into the potential of this shape shifting technique with the above examples. Next time, I’ll show you how to take it to the next level and beyond. Thanks for reading, stay tuned and happy shredding!

Mutant Blues! How to Modify the Minor Pentatonic Scale to Create Something New, Exotic and Twisted

Thu, 31 Oct 2024 18:36:15 GMT

How to modify the DNA of the beloved minor pentatonic scale to create a new, exotic, twisted musical species.

Push any rock guitar player into a corner, and it’ll be their command over killer minor pentatonic licks that’ll aid them in their fight to break free. In almost any modern musical situation, licks and melodies based on the minor pentatonic scale will fit unquestionably over any minor-key harmony and blend in with ease. When we play with these scales that we learned early on (they’re also played by many of our heroes when they’re at their most “real” and guttural), listeners feel comfortable with their simplistic construction (the scale is made of all of the “strongest” notes in the key) and their two-notes-per-string fingerings make patterns, riffs and licks relatively easy to play.

But what if you were to shift a note or two and come up with an innovative, uncharted, exotic, yet somehow familiar framework for untapped creative musical endeavors using basic ideas you’re already very familiar and comfortable with, but in an entirely new way? And what if each of those new frameworks had a unique, individual personality and musical power that could act on its own or be combined as a team to create a guitar-playing superpower? Enter the world of mutant pentatonics .

FIGURE 1 depicts the baseline template that our various evolutionary, or should I say “Frankenstein-ian,” offshoots will be built from, the D minor pentatonic scale, played in the standard 10th-position, two-notes-per-string “box” pattern. The scale is composed of the notes D (the root), F (the minor, or “flatted,” third), G (the perfect fourth), A (the perfect fifth) and C (the minor, or “flatted,” seventh).

Now let’s see what happens if we alter just one note. FIGURE 2 shows the same basic scale pattern, but with the minor third (three frets above the root) raised to the major third (four frets), giving it a bluesy, dominant sound. Players like Joe Bonamassa and Marty Friedman are fond of this sound, and Dimebag Darrell used the scale extensively in his solo on the song “Walk.” Try playing this “Mixolydian-pentatonic” scale over a dominant seventh chord with the same root.

[ Be sure to check out the accompanying audio files for this lesson , which include the basic scale pattern for each figure, as notated here, followed by an improvised, "real-world" lead based on that same note set and fingering pattern.]

FIGURE 3 effectively describes the sound of the D Dorian mode (D E F G A B C) that is available with a different slight shift in the minor pentatonic box, substituting the major sixth (B, in this case) for the minor seventh (C). Use this pattern when you’re channeling Carlos Santana or Slash.

Our next example ( FIGURE 4 ) is based on the blues scale, but instead of adding the diminished fifth, or “b5,” Ab, to the pentatonic scale, the b5 replaces the 5, setting up a more sinister but equally “open”-sounding five-note framework that is guaranteed to garner attention when used to set a mood. This scale, which I call D Locrian-pentatonic, is good for getting a menacingly dark, George Lynch- or Jeff Beck-type vibe. It also works great when played over a Bb7 chord in the key of D minor, as the Ab note becomes the minor, or “flat,” seven of that chord.

Moving in a more major direction, FIGURE 5 shifts our tonal center up a perfect fourth, to G, and channels the #4 sound of the Lydian mode (with the C# note), as well as the b7 of Mixolydian (via the F note). This doubly-mutated scale can more easily be seen as D minor pentatonic scale with a “flatted root” (C# instead of D). Try this five-note scale over a G major- or dominant-type chord when you’re looking for an exotic Lydian/Mixolydian feel, à la Steve Vai or Joe Satriani. Or use it to evoke the D harmonic minor scale with a slight twist and more open sound over a Dm or A7 chord. Coolness!

FIGURE 6 offers another, different double mutation to the original D minor pentatonic scale by raising, or “sharping,” both the D root and the minor third, F, a half step, to Eb and F#, respectively. The resulting note set (Eb F# G A C) offers a twisted, diminished seven- or altered-dominant-type sound may best be described as an “Yngwie Malmsteen acid trip.” Use it over an Eb or Eb7 chord, or just go crazy and shoehorn it in wherever and whenever you feel like playing something “outside.”

When acquainting yourself with all of these mutant pentatonic scales, try to stick with the five-note framework created by the new scale, even if it sounds a little “out.” Land on a note or phrase that is undeniably “inside” to follow up and create a feeling of resolution, and that lick will be instantly and memorably cool, if you play it with enough conviction! The concept here is to come up with fresh new licks that are based for the most part on comfortable and familiar pentatonic patterns that you already have a grasp on, with shifts to one or two altered notes and fingerings. For something frighteningly fascinating and useful, try integrating these transformed scale shapes and tonal feels with the patterns found in the badass Guitar World lessons by Glenn Proudfoot.

The journey into tampering with the DNA of the pentatonic scale has just begun, though. To inspire the mad scientist in you to come up with your own ideas for crafting your own five-note scales and show you some other things to do to manipulate their mutation, FIGURES 7a and 8a chop up the intervallic “comfort” of the original D minor pentatonic scale’s structure by substituting the b2, or b9, for the b3, providing a wider leap between scale tones and creating a completely unique and enigmatic mood.

FIGURES 7b and 8b present the scale using the same left-hand shape shifting over octaves with the different connecting scale tones (the b7 and b6, respectively) creating entirely new feels. You can hear lots of this type of exotic, twisted soloing on the brilliant early recordings released by Marty Friedman and Jason Becker in the Eighties.

Experiment with your own variations on these patterns, and try transposing them to different keys, tonal centers and areas of the fretboard. This lesson only scratches the surface of the possibilities you’ll find lurking in all of the small moves you can make to come up with your own pentatonic scale mutations. Happy shredding!

How Guitarists Can Break Through Speed Barriers

Thu, 31 Oct 2024 18:18:57 GMT

This trick will let you break through speed barriers that have been holding you back from attaining your true technical potential.

The art of properly practicing technical passages on the guitar has many parallels to athletic training in its way, as it is a physical endeavor requiring repetition and focused execution of muscular movements with the goal of consistent improvement.

To this end, I’d like to share a trick borrowed from the world’s elite speed- and strength-training athletes that will help you get the maximum intensity from your guitar workouts in the minimum amount of time. It also will let you break through speed barriers that have been holding you back from attaining your true technical potential.

There are plenty of scientific terms to describe the process involved such as “stimulating the adaptation response” and “priming the neuromuscular junction,” but the technique is simple: If your goal is to cleanly perform an exercise at 105 bpm (See the exercises at the end of this piece for some short, “skill specific” examples) and your current maximum speed is 100 bpm, you will break up your workout with the particular exercise into the following five “sets”:

Set 1

Warm-up, 60 percent of max (60 bpm): With a metronome or drum machine/program, perform the exercise or etude slowly and methodically. Emphasize relaxed, economical movement with precise, articulate execution. Repeat the exercise continuously for 1 minute without stopping or pausing between repeats.

Set 2

Working set, 85 percent of max (85 bpm): After resting for a minute, increase the speed and play the exercise for 45 seconds. Once again, pay attention to consistent mechanical perfection through relaxed movement. Make sure your tone is smooth and even and that you are perfectly synchronized with the beat.

Set 3

Max set, 100 percent of max (100 bpm): Rest another minute and then increase the speed to your initial maximum. Perform the exercise for as long as you can with consistent timing, articulation and tone (Make note of how long you were able to keep up the pace, and be sure to set out to outperform yourself the next time you try cycling through this workout!). Many guitarists breathe unevenly during exercise levels of this intensity, so pay extra attention to maintaining an even breath flow throughout (in through your nose, out through your mouth). Continue at this step until you can repeat the exercise perfectly for at least 30 seconds.

Set 4

OVERLOAD set, 110 percent of max (110 bpm) : You should be quite pumped by this point and feeling a burn in your forearm muscles, so rest for a minute (but no more!) before raising the speed again. (Warning: Never play through sharp pain! A good “burn” and/or light fatigue are perfectly normal, but stop the instant you feel intense pain.)

During your rest period, set the tempo to this 110 percent speed and listen intently to the beat. Mentally recall and visualize the peak performance moments of your previous sets, “hear” yourself performing the exercise at this tempo, and envision yourself playing with the same perfection and focus of the earlier sets with heightened intensity. Play the exercise at the new tempo and push yourself with all of your inner-strength to keep up with the beat.

Even though you won’t keep perfect time and your technique will undoubtedly become less accurate (“She’s breaking up, Captain!”), do your best to maintain pace and do not stop for 30 seconds.

Set 5

New Max, 105 percent of previous max (105 bpm): Without resting between sets, you should be able to perform the exercise with the same accuracy and relaxed intensity that you had during set 3, but at a new top speed!

This technique should be used sparingly when the usual “incremental increase” style practice sessions seem to no longer be yielding any gains, or when you just want to get a quick boost with a particularly troublesome/frustrating lick.

Try this workout with your favorite licks and exercises (I recommend all of the short exercises in Paul Gilbert’s Intense Rock 1+2 DVD set) and the exercises above. Happy shredding!

Slippery, Sliding, Open-Voiced, String-Skipping 7th Arpeggios

Thu, 31 Oct 2024 18:10:04 GMT

This deceptively easy-to-play, simple concept will add some sophistication to your improvisations.

This time around, I’d like to share a trick based around a deceptively easy-to-play, simple concept that will add some sophistication to your improvisations (while also being sure to turn heads with its attention-grabbing coolness!): open-voiced, string-skipping 7th arpeggios.

The basic idea is this: Instead of playing 7th chord arpeggios sequentially in a root-3rd-5th-7th manner, we’ll split up the arpeggios into six-note patterns with two notes per string on three strings, skipping a string in between each.

The resulting intervallic shift of these patterns “opens up” the voicing of the chords and creates an ear-catching sound that gives the illusion of being somewhat “outside” while still remaining completely within the confines of the key. Plus, with savvy use of these arpeggios and a rudimentary understanding of music theory, these shapes can be a shortcut to extreme harmonic depth.

Just to get us all on the same page (and to satisfy my fellow theory nerds out there), please be reminded of the following rules of 7th chords:

1) 7 means b7 (flat 7)

2) “Minor,” “min” or “-" only refers to the b3

3) “Major” or “Maj” in a 7th chord (or higher) only refers to the “natural” (A.K.A. “major”) 7th

4) The 5th of the chord is “natural” or “perfect” unless otherwise noted (“+” for #5 or “b” for flat 5)

So, defining the basic (and a few more) 7th chords:

• 7, "dominant 7" = 1, 3, 5, b7
• -, "minor 7", m7, min7 or -7 = 1, b3, 5, b7
• M7, "major 7" or the delta symbol = 1,3,5,7
• half diminished = m7 (b5) = 1,b3, b5, b7
• dim = "diminished 7"= 1, b3, b5, bb7 (this chord with a major 3 would be a "6(b5)”)
• m7M, “minor Major 7," -M7,-7M (abbreviations vary) = 1, b3, 5, 7
• m7M(b5)= 1, b3, b5, 7
• 7(b5)= 1, 3, b5, b7
• M7(b5)= 1, 3, b5, 7

Remember the rule: "7" means "1, Major 3rd, 5th and FLAT 7."

Now that that’s out of the way, let’s get to the really fun stuff. All of the examples are in the key of Bm (B, C#, D, E, F#, G, A). The 7th chords in key are Bm7, C#m7(b5), DMaj7, Em7, F#m7, GMaj7, A7.

Example 1a is the basic minor 7th shape/pattern (I’ve also included the standard chord shapes so you can see how the arpeggio relates). Using the two notes-per-every-other-string concept, the voicing of the arpeggio is Root, minor 3rd, minor 7th, Root, 5th, minor 7th. Notice how the shape is comfortably reminiscent of a minor pentatonic scale.

Since any given natural major or minor key has four types of 7th chords (major, minor, dominant and minor 7 flat 5th), examples 1b through 1d illustrate the other three shapes in the key of Bm (to play the other chords in the key, simply move the shapes relative to the other root notes).

Technique-wise, try linking together adjacent shapes as in Examples 2a and 2b. The hip thing about linking together the two shapes is that by adding the DMaj7 (D,F#,A,C#) pattern to the Bm7 (B,D,F#,A) pattern over a Bm harmony, you can imply a Bm9 (B,D,F#,A,C#)!

Hmmmm … What if we kept going? Example 3 continues the link with the “pinky note of the first arpeggio becomes the root note of the next arpeggio” idea and ramps up the harmonic complexity to a full Bm13 (flat 13) chord (B,D,F#,A,C#,E,G - every note in key but spread out in patterns like fractal art)! Note the explanations of the theory in the notation, and try this with the other chords in key (also check out the pattern in the missing notes in the extensions for further fun). Experiment with the directions in which you play the arpeggios and with where you start the “extensions” relative to the underlying harmony.

Example 4 is a melodic/thematic idea that should get you started with messing around with combining and moving around these shapes.

And just in case that hasn’t given you enough to work on, Example 5 takes a different turn on the concept and shows a sequenced shred pattern of the C#m7(b5) shape. Try this sequence with the other arpeggios in key and see if you can’t find a way to fit it in as a head-turner in a solo!

Move these arpeggios to your favorite keys and use the theory ideas to inject some mental and physical Guitar Strength into your improvs and compositions that’s guaranteed to get some love from your listeners when used creatively. Happy shredding!

P.S.: Food for thought on a completely unrelated note: If you haven’t focused on it seriously for a while, work on your vibrato!

How to Play the "Other" Hendrix Chord

Thu, 31 Oct 2024 18:05:02 GMT

While much has been written about the 7#9, "Hendrix" chord, there's another, oft-overlooked chord voicing prominently featured in Hendrix's work.

Of the myriad contributions Jimi Hendrix has made to the lexicon of modern guitar, one of the most enduring is the legendary “Hendrix chord."

The chord, an E7#9, was definitely nothing new when Hendrix famously used it in “Purple Haze” (Jazz and R&B guitarists used it extensively, and the Beatles featured it years earlier on “Taxman”), but its use by Hendrix inspired its use by generations of guitarists in a wide range of styles.

EXAMPLE 1 is the most famous fingering of the “Hendrix chord," though Hendrix and many others would often also use the voicing found in EXAMPLE 2 .

Note that the #9 is the enharmonic equivalent of the minor 3rd, so the chord can be seen as just a comfortable fingering that consists of the root, flat 7, and both the major and minor 3rds.

This major/minor ambiguity makes the chord perfectly suited for the blues, while using it as a substitution for the V chord in a key can help lend a jazzy feel to a turnaround (Stevie Ray Vaughan often used it in this manner).

While much has been written about the 7#9 chord and Jimi’s use of it, an oft-overlooked chord voicing featured prominently in Hendrix’s recorded work is his sus2 chord shape depicted in EXAMPLE 3 .

The chord should be fingered in the “Jimi-approved” manner of using the thumb to fret the low E string root, with the ring finger fretting the D string, the index fretting the B string, and the pinky grabbing the high E string.

The A string should be muted with the tips of the thumb and ring fingers, and the G string should be muted with the underside of the ring finger and the tip of the index.

Since the chord is a sus and has no 3rd, it can be moved around throughout a given key while maintaining the same fingering. Jimi would often slide the chord around in a line (see “Castles Made of Sand” and “Little Wing”), further emphasizing its open, airy qualities.

EXAMPLE 4 is a Hendrix-inspired line demonstrating the chord’s versatility within a key.

Another cool thing that can be done to take advantage of the chord shape’s idiosyncratic fingering is to ease off the mute on the G string and allow it to ring out as you move the chord around.

EXAMPLE 5 is a group of particularly good sounding positions of this chord that take advantage of the open G. Try it in the unlisted “in-between” spots too!As always, get these down and experiment with finding uses for this concept in your own playing. Happy shredding!

Fluid Mechanics: A brief guide to Nuno Bettencourt's most musical and brilliantly flashy tapping licks

Thu, 31 Oct 2024 18:00:27 GMT

Have fun entertaining and impressing your fellow guitarists, non-guitarists and yourself with this incredibly effective set of tapping and soloing tools

Hailed by Guitar World as a “Fretboard Wizard” and voted Best New Talent in our 1991 readers’ poll, Nuno Bettencourt has - thanks to his consistently inventive, virtuosic playing, killer tone and skillful songwriting - maintained his musical relevance and renown since first coming onto the national scene in the late '80s.

Best known for his work as guitarist for Extreme, Nuno also has lent his talents to collaborations with a diverse range of artists, such as Jane’s Addiction frontman Perry Farrell and R&B superstar Rihanna.

Extreme’s 1990 album, Extreme II: Pornograffitti (A Funked Up Fairy Tale), is a rock guitar tour-de-force featuring incredible riffs, an amazing tone (compliments of Nuno’s signature Washburn N4 electric guitar, Bill Lawrence L500-XL pickup and the classic ADA MP-1 preamp) and wildly creative and technically fascinating guitar playing.

Of the many amazing signature licks that can be found on the album, one of the coolest employed by Nuno is his 'tapped string-skipping add2' pattern, showcased brilliantly on such standout tracks as Get the Funk Out and He-Man Woman Hater. The basic idea is illustrated in FIGURE 1 .

What sets this lick apart is its intervallic interest generated by the string skip and position shifts in the tapped notes. Theoretically, the line outlines a Cadd2 arpeggio (also known as Cadd9) - C D E G - but what’s important is its melodic shape, or contour.

To perform the lick, your fret-hand index finger will need to shift down one fret each time you move to a higher string - from the 10th fret to the ninth, then the eighth - and as those moves occur, your tapping finger hits the same fret on the D and G strings (the 17th) then moves down two frets on the high E string.

To get the ascending pattern down (the first nine notes), you can begin by practicing only the fret-hand fingerings, and then just the tapping, then put them together and work on coordinating the two hands.

Notice that the ascending pattern has you going 'tap, pull-off, hammer-on' on each string, and the descending pattern that follows (the next nine notes) has a different repeating contour, with a tapped note followed by two consecutive pull-offs, also known as a double pull-off. Also note that the C note on the high E string’s eighth fret is then repeated on the 17th fret of the G string.

The taps and hammer-ons should be quick and firm, and when pulling-off, be sure to flick the string slightly sideways, down toward the floor, as you release it. These techniques, properly performed, will keep the string vibrating sufficiently, make each note project clearly and maintain a consistent volume. It’s also very important to suppress any unwanted background noise, by palm muting the unused A and low E strings, to prevent them from ringing.

FIGURE 2 is a fluid tapping run based on the previous Cadd2 pattern that works well in the key of G major, as well as its relative minor key, E minor. It combines the Cadd2 shape with a structurally identical one two frets higher, which paints a Dadd2 sound (D E F# A). The figure sounds cool when played fast and looped.

Thinking diatonically within the key of G major or E minor and searching for the same shape on the same string group, there’s only one other chord/arpeggio that fits the criteria: Gadd2 (G A B D). FIGURE 3 adds Gadd2 to the Cadd2 and Dadd2 arpeggios in the context of a I-IV-V-I progression (G C D G).

As with our initial example, you may find it helpful to focus on each hand’s part and fret assignments separately at first, then coordinate them. Note the wide position shift from bar 3 to bar 4, where everything abruptly moves down seven frets.

FIGURE 4 has us switching between the previously-learned shapes on the D, G and high E strings to their visually symmetrical and identical counterparts on the A, D, and B strings, which give us the arpeggios Gadd2 and Add2 (A B C# E).

The implied progression here is Cadd2 Gadd2 Dadd2 Aadd2, and the only note that is not diatonic to the key of G (G major scale: G A B C D E F#) is the C# in the final bar (D string, 11th fret). But played at high speed, the note fits perfectly, and depending on what you play it over, in terms of the accompanying bass note or chord, it can yield some harmonically interesting results.

For example, played over an Em chord, the C# note would suggest an E Dorian sound (E Dorian mode: E F# G A B C# D). Over a G chord, it would imply the G Lydian mode (G A B C# D E F#). In any case, the figure just sounds cool when played fast!

Our final example, FIGURE 5 , is inspired by the one of Nuno’s signature tapped phrasing patterns. Note the slight speed burst with the 16th-note triplet at the end of beat two and the fret-hand hammer ons from nowhere that fall on the last 16th note of beats three and four.

Practicing and mastering this fret-hand tapping technique (which, by the way, also figures prominently in the tapping styles of other great rock guitarists, such as Reb Beach and Eddie Van Halen) will give you additional cool phrasing and line contouring options to craft and spice-up any of your own string-crossing tapping licks. Try applying this pattern to all of the implied progressions from the previous four examples.

Integrating these fretboard shapes and techniques into your tapping and soloing vocabulary will give you more tools for building a lead to a musically exciting crescendo, and the examples presented here will hopefully set you on the path to creating your own variations.

Feel free to experiment with them and modify the patterns to suit your own favorite keys and arpeggio shapes, and look for other interesting diatonic permutations, in your quest to find that perfect part for a solo you’re composing.

These kinds of licks sound as fresh and exciting today as they did nearly 30 years ago, so have fun entertaining and impressing your fellow guitarists, non-guitarists and yourself (!) with this incredibly effective set of tapping and soloing tools. Happy shredding!

7 habits that will make you a better guitarist

Thu, 31 Oct 2024 17:56:42 GMT

Life as a guitarist is one of constant self-improvement. No matter your skill level with the instrument, there's always more to learn. As such, it's important to form the correct habits to ensure your progress is both consistent and efficient.

Whether you're a beginner or a seasoned six-string vet, here are seven habits you can form that will help you improve your guitar playing, no matter your experience.

1. Visualize

You don’t just have to practice when there’s a guitar in your hands. There’s plenty of time in the day being wasted that you can use to improve your playing. Whenever you have a spare few seconds to daydream or are zoning out in class or at a meeting or waiting in line at the DMV, use the time to go inside your mind’s eye and ears and visualize yourself perfectly executing the lick, riff or song you’ve been working on.

See and hear yourself playing the part with expert ease, gliding as one with the strings, virtually feeling your fingers and your pick in precise synchronization.

2. Learn something new every day

This is one of the easiest things you can do to enrich your guitar playing, musicianship and, most importantly, your discipline and motivation.

Simply put, find one guitar-related thing a day you didn’t know already and learn it. And play it. It can be a riff, lick, chord, scale, exercise, song, melody, altered tuning, strum pattern, the part of a song you know all the cool riffs to but never bothered to learn its “boring” connecting transition sections, whatever you want.

The discipline of seeking out, playing and internalizing a new piece of guitar knowledge on a daily basis will feed your subconscious musical instincts, add new concepts to your muscle memory and ultimately aid in your ability to express yourself and perform effortlessly on the guitar.

Make this a part of your day and you’ll find that as you continue on your journey, one thing will become two, then three, and on and on until you are devouring as much as you can absorb on the guitar, every day.

3. Jam

While it’s awesome to have perfected that ripping 128th note shred-fest in your bedroom or basement, perhaps the most important thing for a guitarist to do is to play along with or to some sort of accompaniment.

Obviously, playing with another live musician or group of musicians in the same room is the perfect situation – and you should put yourself in those situations as often as possible – but there are many alternatives that can be just as beneficial.

Today we have innumerable options, such as virtual backing tracks on the internet, computer programs like Toontrack's EZdrummer – which we highly recommend for its ease of use and versatility – or Garageband loops, plus apps on our phones that can act as stable backdrops against which we can hone our performance skills.

Playing with an accompaniment will greatly improve your consistency, endurance, improvisational ability and your feel for locking into a groove.

As another fun and educational option, jam along with your favorite songs. You can play along with the song note-for-note and improve your chops by executing the nuances and fitting in seamlessly with the rhythm, or you can use the track as a launch pad for exercising your improvisational muscles and integrating the licks you have been practicing.

Play along with songs outside your comfort zone of style or technicality to gain further benefits from this. Jamming along with TV, commercials or movie soundtracks while you’re relaxing with a guitar in your hands can be fun and rewarding.

4. Record yourself

There is no better way to see your guitar playing objectively and to motivate yourself to work to become a better player than to record yourself.

There are countless affordable media for recording yourself on your own, and when you record, you can listen to yourself with fresh ears and hear the things you like and dislike about your playing. You’ll find it’s infinitely easier to pinpoint your strengths and weaknesses and focus your practice accordingly.

Record yourself playing rhythm and then record other complementary parts such as leads, melodies, counterpoints and alternate rhythms and you’ll learn about composition, production and ensemble performance.

"The journey of a guitarist is always – or should be – one of constant growth, and recording yourself is an awesome way to measure how far you have come"

When you begin to focus on these complementary parts, you’ll find that your vision and scope expands, as do your goals, and as you work to create complete songs, your abilities grow exponentially while you work to write and perform to the best of your ability.

The other benefit of recording yourself is that you will consistently maintain a record of your growth as a player. The journey of a guitarist is always – or should be – one of constant growth, and recording yourself is an awesome way to measure how far you have come.

5. Take lessons

As a guitar instructor by trade, I am clearly biased, but the most obvious and productive thing any guitarist can do to improve their playing is to take lessons.

While there is an ever-expanding universe of internet resources, books and instructional videos available, nothing can compare to the one-on-one interaction with the expertise of a skilled guitar teacher.

A teacher will identify your strengths and weaknesses, sharpening your skills and eliminating your flaws. A good teacher also will help you save time in your development by helping you sift through all the information out there and lead you on the right path toward quickly realizing your goals as a guitarist.

Even the extremely educated and virtuosic Randy Rhoads – who was a guitar teacher himself – was known to seek out guitar teachers whenever he had available time

Guitar teachers get paid to make you better, and spending the money will make you take your study seriously.

Every story of a self-taught guitarist still involves some part where they learned a lot from someone they knew who was more proficient and knowledgeable than them who helped shape their development.

Even the extremely educated and virtuosic Randy Rhoads – who was a guitar teacher himself – was known to seek out guitar teachers whenever he had available time. while making history touring and recording with Ozzy Osbourne. So break out of your rut, accelerate the evolution of your playing to the next level and get some lessons!

6. Focus your practice time

We’ve all heard stories of guitarists with marathon 12-hour or daily three-hour practice sessions, but for most guitarists, a tight, focused 10 to 30 minutes of consistent daily practice will prove more efficient. There is a difference in practice and playing time, and oftentimes the two get confused.

Practice should involve maintenance exercises to keep your chops up and emphasize your strengths, as well as focused work on specific goals that deal with integrating new knowledge and technique.

Keeping the time spent on practice to an intelligent minimum, and breaking up the topics to be addressed into small chunks, will help avoid wasted effort and will leave time to play.

In an ideal world, we’d all have six or more solid hours each day to spend with a guitar in hand, but for most of you reading this, the time you have available is substantially less.

20 minutes every day of truly focused practice is tremendously more conducive to development than a two-hour session every once in a while

Oftentimes, setting out to practice for an extended period of time becomes a chore for some, and then the practice gets put off if something else comes up. Planning for at least 10 minutes of consistent daily practice time isn’t much of a chore for anyone, and if you get into the habit, you’ll find that you find ways to make more time to practice more.

Break up your practice regimen into skill sets and techniques, practice them daily, and then use them more efficiently when you’re playing. Let a guitar teacher mentor you through the process of designing a suitable practice routine for your schedule, or do your best assessing yourself and create your own. They key is consistency and brief, yet physically and mentally intense sessions.

20 minutes every day of truly focused practice is tremendously more conducive to development than a two-hour session every once in a while. And if you keep up with a reasonable, steady schedule, you’ll find that those occasions when you have time for an all-day practice session are all the more fruitful for it.

More importantly, keeping a consistent, intense practice regimen will leave all of your other free “guitar time” available for jamming, improvising, recording and experimenting, all the while being able to do so with your skills at the highest possible level.

7. Track your progress

The growth of any guitarist can be greatly improved by the simple awareness of the development of that growth.

As you develop the discipline to be learning and practicing on a daily basis, it is extremely important to keep a log or diary of the process of your improvement in order to further maximize growth. The easiest way to do this is to keep a consistent log of your daily routine.

While this may seem a bit obsessive, you’ll find that keeping track of your daily practice will help you focus future practice sessions, maintain and continue awareness of steady progress, and also locate particularly fruitful practice phases in your past that can be replicated and upgraded when you feel your growth has stalled.

10 Commandments of Playing Guitar in the Style of Pantera's Dimebag Darrell, Part 1

Thu, 31 Oct 2024 17:45:02 GMT

Commandment 1: Honor Thy Van Halen

... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica ( Kill ‘em All , Ride the Lightning, Master of Puppets ) and Randy Rhoads. Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.

Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days. Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).

Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most—Eddie Van Halen’s yellow and black striped guitar featured on the back cover of Van Halen II . To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.

Commandment 2: Thou Shalt Use the Major 3rd

Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks. When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G).

Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out Guitar Strength Volume 1: Mastering the Modes .) EXAMPLE 1 is a Dimebag-inspired riff using this major 3rd in a minor key.

Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). EXAMPLE 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)

The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. EXAMPLE 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd.

When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.

Commandment #3: Embrace Symmetry

Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. EXAMPLE 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).

Clearly inspirational to Dime, EXAMPLE 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.

Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in EXAMPLES 7 and 8. EXAMPLE 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering.

In EXAMPLE 8, which is based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor.

Feel free to transpose it into other keys and use it often, just as Dime did. It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.

Commandment 4: Give Chords New Found Power

Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. EXAMPLE 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.

EXAMPLE 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones.

These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord. Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. EXAMPLE 11 is a Dimebag inspired riff using these harmonically “wrong” power chords.

Commandment 5: Know your Nodes

No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc. Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.

Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. EXAMPLE 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic.

EXAMPLE 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.

Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in EXAMPLE 14.

To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping/depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic.

Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons-style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. EXAMPLE 15 shows this technique at play.

Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. EXAMPLE 16 is several available combinations.

The possibilities are endless. Check out Part 2!

Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. Visit Scott and learn more at www.GuitarStrength.com.

Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 2

Tue, 29 Oct 2024 20:27:59 GMT

Hello, everyone. Here's part two of my Guitar Strength blog, "10 Commandments of Playing Guitar in the Style of Dimebag Darrell." Be sure to check out part one right here.

Commandment 6: Change Your “Tune”

One of the things most unique to Dimebag throughout his career was his use of altered tunings. From Cowboys From Hell to Reinventing the Steel , Dime constantly challenged the preconceptions of how a guitar should be tuned. Early on, when tuned “regularly” to E (E, A, D, G, B, E), Dime’s guitars were actually tuned down more than a quarter step. As his guitar tech has noted, that meant that the guitars were tuned to “D# plus 40 cents on his Korg tuner. The A string was G# plus 40 cents, D was C# plus 40 cents, etc.” (Note: The Van Halen influence is definitely in effect here, as Van Halen I and Van Halen II are tuned in a similar manner.)

Dimebag also experimented with “drop D” tuning on Cowboys From Hell (C# plus 40 cents), but later become a fan of tuning the entire guitar down a whole step, beginning with A Vulgar Display of Power. This tuning (D,G,C,F,A,D-a quarter step flat) was used extensively on “Walk” and “A New Level." Further use of this tuning was used on Far Beyond Driven (“Becoming,” “I’m Broken,” “5 Minutes Alone,” etc.), and by Reinventing the Steel it was Dime’s main “standard” tuning.

Never one to be limited, Dime also used a “drop D down one step” (C,G,C,F,A,D), and “down 1 ½ steps” (C#,F#,B,E,G#,C#). The last, which is the same tuning used by Tony Iommi of Black Sabbath, was a favorite of Dime’s on The Great Southern Trendkill (“Drag the Waters”, etc.), and became the new standard by the time of his band Damageplan ( New Found Power ), though Dime was also known to use “drop D down 1 ½ steps” (B,F#,B,E,G#,C#).

It is important to note that Dime was not a fan of the mid-'90s trend of using 7-string guitars, and his use of alternate tunings clearly reflected a rebellion against this trend while also allowing him to get a sound equally (and definitely more) heavy than that of his 7-string wielding counterparts. Also, these “slack” tunings allowed for a different sound, “vibe,” and feel when playing the instrument, inspiring Dime to create many of the greatest riffs and licks of our lifetime.

Commandment 7: Get Chromatic

As evident in the proficient use of symmetrical fingerings in his playing, Dimebag was never one to shy away from “outside” playing. In fact, he actually shied away from using scales and modes in any traditional fashion. While clearly knowing what and where notes would be in key, Dime would often use the notes “between” scale tones as a way to create a mood and add tension. These chromatic licks, using passing tones between scalar tones, made up a large part of his playing. To demonstrate, example 17 is a lick that Dimebag would often use to bring a solo to a crescendo. Not only does the lick sound good, it’s extremely easy to finger, allowing more musical movement in a limited physical space.

Another thing Dime would often do is take a simple lick like that shown in example 18, and simply move it chromatically.

Example 19 shows the lick moved chromatically up the neck one fret at a time, while example 20 shows the same lick moved chromatically down the neck in the same fashion.

Chromatics weren’t just a lead technique however, as Dime would often use chromaticism in his rhythm playing. This was only one component of his “lead-rhythm” technique, but when used in a riff it was extremely powerful in creating movement, texture, and mood. Example 21 shows the use of chromaticism in a Dime-style rhythm riff.

Another use of this technique, this time moving downward chromatically, is depicted in example 22.

As with all of the other techniques used by Dime, there are countless possibilities available for variation, and experimentation in your own riffs and licks is highly encouraged.

Commandment 8: Go “Off”

In a similar vein to the use of chromatics, Dime made extensive use of the wrong” notes in any given key, often featuring them in his riffs and licks." For example, the notes diatonic (in key) in E minor are E,F#,G,A,B,C,D. Being that there are only 12 notes (A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab) in the octave, there are 5 notes that are non-diatonic when in any given key. Therefore, when in E minor, the five notes that are non-diatonic are F, G#/Ab, A#/Bb, C#/Db, and D#/Eb. Theoretically speaking, these intervals (relative to the root) are the flat 9, the major 3rd, the flat 5 (tritone), the major 6th, and the major 7.

Dime was a skillful manipulator of these “outside” notes, often using them as the focal points in his riffs and licks. Unlike other players who would view using these outside tones in the manner of modal substitution (playing lines based on relative modes which use these alternative notes), Dimebag looked at all 12 chromatic notes as part of a greater, more cohesive, all encompassing “super-scale," with no-holds-barred usefulness of all notes relative to the root.

As we’ve previously looked at the use of the major 3rd, and the flat 5/tritone is a metal and blues staple that speaks for itself, we’ll look at Dimebag’s use of the other 3 intervals in his playing. As an excellent example of this use of the “wrong” notes in a given key, example 23 uses the flat 9 (F) and major 7 (Eb) played against/in unison with the E root.

Example 24 uses the flat 5 and major 7th.

Example 25 uses the major 3rd and major 6th as the prominent intervals.

Commandment 9: Play “Texas-Style”

One of the overall coolest aspects of Dime’s style was that he never played in a “normal” fashion. No matter the note or chord, Dimebag always articulated it by putting a little “English” on it. In “Dime-speak,” this was known as playing “Texas-Style." Dime would play notes/chords with any number of techniques (sliding, bending, muting, mutating with the whammy bar and/or pedal, etc.), making them drip with style.

Accomplishing this sort of playing is as simple as throwing a slight bend or artificial harmonic on the notes in a chord. Another method is taking “target” notes written for a riff and then playing them by approaching them from a ½ step below and bending into them. Example 26 is a riff using this technique.

Example 27 is the same riff played non-“Texas-Style." Notice how much more interesting it is with the bends and harmonics?

Example 28 shows how Dime would get extreme mileage out of just 2 notes (E and F) through the use of slides and micro-bends. Palm mute the open E notes for maximum effectiveness.

I suggest really listening in depth to your favorite Dimebag riffs and licks and checking out the nuances that make his playing so special. The personality that Dime put into his playing truly took the Van Halen mantle and raised the bar.

Commandment 10: Find Your Tone

No discussion of Dimebag would be complete without making mention of his most recognizable attribute: his tone. No player since Van Halen (there he is again) has had such a personal, powerful, seemingly unattainable guitar sound.

Dimebag “stumbled” upon his tone when he won a Randall half-stack in a guitar contest. The important thing to note is that Dime found something in this rig that was unique and worth working with. From there, he sought to “clean up” the sound with an MXR 6 Band Equalizer (the blue one). Further tweaks consisted of installing Bill Lawrence L-500 humbuckers in his guitar and adding a Furman PQ-4 (later a PQ-3) Parametric Equalizer. The beauty of all of these outboard devices was a controllable form of preamp gain. Dime used the hot Bill Lawrence humbuckers to push the MXR EQ (set to a mid-boosting “frown face”) to push the Furman (set to boost the highs and lows while scooping the previously boosted mids) to ultimately drive his Randall (solid state Century 100 or 200 heads) into overdrive. By using the unique cascading forms of gain, Dimebag was able to sculpt a tone all of his own.

The conclusion to make here is that Dime favored pushing the front end of his amps with a frequency-specific form of gain, as opposed to all-encompassing overdrive.

With all of this gain running, yet another of Dimebag’s famous tricks comes to play in the form of a noise gate. The noise gate allowed Dime to boost his input levels while eliminating all of the uncontrollable noise and feedback that usually accompanies such high levels of gain. Also, the gate allowed for Dime’s infamous “power-groove” holes of silence in his playing, allowing the instrument to respond naturally to his touch, while controlling all of the extraneous consequences of high-volume, high-gain playing.

Over the years, Dimebag has been associated with quite a few products:

-the Randall Warhead (he never used it on any album, and used it live only for his clean tone. The Century 100 and/or 200 heads were a constant staple of his tone. However, speaking personally as an owner of the amp, the “Dime-tone” is there, as well as many other extremely cool sounds.)

-the Digitech Whammy Pedal: Get one, there’s countless hours of inspiration available.

-the Krank Krankenstein: While never actually used by Dime (he had been helping design it in the months leading to his death), the amp is a departure from the solid state leanings of his past (it’s tube). I will say that as an owner of the Krankenstein, the amp is a powerful tool for sculpting your own tone.

Having said all of that, the most important thing to learn from Dimebag about tone is that it is a personal journey of discovery. There already was a Dimebag Darrell and he owned the tone he played with. Tone is a personal thing and is an individual pursuit that each individual player must constantly strive to achieve. Use Dimebag’s tone as an inspiration to seek your own voice, but find in his own tone the tools to help you discover your own (for example, using various gain boosters).

In closing, the legacy left by Dimebag Darrell should serve to inspire the next guitar hero living among us. Learn from the master, and be inspired to take your playing to the next level. So grab your guitar, crack open a Coors Light, pour yourself a Black Tooth Grin, and “Getcha’ Pull!”…

The Most Famous Guitar in the World: A Legendary Icon

Fri, 09 Aug 2024 19:17:16 GMT

In the realm of music, few instruments have achieved the iconic status of the electric guitar. Its distinct sound has shaped countless genres and inspired generations of musicians. Among the vast array of legendary guitars, one stands out as the most famous and revered: the Fender Stratocaster, often simply referred to as the "Strat." At Guitar Strength in Portsmouth, RI, we celebrate the rich history and enduring legacy of this iconic instrument.

The Birth of an Icon

Origins of the Fender Stratocaster

Introduced in 1954 by Leo Fender, the Stratocaster was revolutionary in both design and sound. Its double-cutaway body, contoured edges, and three single-coil pickups offered unprecedented playability and tonal versatility. The Strat quickly became a favorite among musicians for its ability to produce a wide range of sounds, from bright and twangy to warm and smooth.

Early Adoption

The Stratocaster gained rapid popularity among guitarists in the 1950s and 60s. Notable early adopters included Buddy Holly and Hank Marvin of The Shadows, whose use of the Strat helped to popularize its distinctive look and sound.

A Symbol of Rock and Roll

Jimi Hendrix: The Strat's Most Famous Player

No discussion of the Stratocaster would be complete without mentioning Jimi Hendrix. Hendrix's explosive playing style and innovative techniques showcased the full potential of the Stratocaster. His performance at Woodstock in 1969, featuring his rendition of "The Star-Spangled Banner," remains one of the most iconic moments in rock history.

Eric Clapton and "Blackie"

Eric Clapton, another legendary Stratocaster player, famously combined parts from three different Stratocasters to create his beloved guitar, "Blackie." Clapton's soulful playing and blues-infused style further cemented the Strat's place in rock and blues music.

The Stratocaster's Influence on Music

Versatility Across Genres

The Fender Stratocaster's versatility has made it a staple in a wide range of musical genres. From rock and blues to jazz, funk, and even country, the Strat's adaptable sound has influenced countless artists and bands. Its ability to handle both rhythm and lead playing with equal finesse has made it a go-to instrument for many musicians.

Enduring Popularity

Decades after its introduction, the Stratocaster remains one of the best-selling and most sought-after guitars in the world. Its timeless design and unmatched playability continue to attract new generations of players. The Strat's influence can be heard in the music of contemporary artists across various genres, ensuring its legacy endures.

The Stratocaster Today

Modern Innovations

While the classic design of the Stratocaster remains largely unchanged, modern innovations have enhanced its performance and versatility. Contemporary models feature advanced electronics, improved hardware, and a variety of finishes, allowing players to customize their instrument to suit their preferences.

Collectors and Enthusiasts

Vintage Stratocasters are highly prized by collectors and enthusiasts. Instruments from the 1950s and 60s, especially those associated with famous musicians, can fetch astronomical prices at auctions. Owning a piece of this musical history is a dream for many guitar aficionados.

Experience the Legend at Guitar Strength

Our Collection

At Guitar Strength in Portsmouth, RI, we take pride in offering a selection of Fender Stratocasters that cater to players of all levels. Whether you're seeking a classic model or a modern variation, our knowledgeable staff can help you find the perfect Strat to match your style and needs.

Learn to Play

Inspired by the legends who played the Stratocaster? Our guitar lessons can help you master the techniques and styles that made the Strat famous. From beginner to advanced, our instructors are here to guide you on your musical journey.

Conclusion

The Fender Stratocaster is more than just a guitar; it's a symbol of musical innovation and cultural significance. Its impact on the world of music is immeasurable, and its legacy continues to inspire musicians around the globe. At Guitar Strength, we celebrate the Stratocaster's storied history and invite you to explore its magic for yourself.

Visit us in Portsmouth, RI, to experience the most famous guitar in the world. Whether you're looking to purchase your first Stratocaster or seeking expert lessons, we're here to help you make your musical dreams a reality.

Why You Should Try Guitar Lessons at Guitar Strength in Portsmouth, RI

Fri, 09 Aug 2024 19:15:51 GMT

If you've ever felt the urge to strum a few chords or unleash your inner rock star, there's no better time to start than now. At Guitar Strength in Portsmouth, RI, we're passionate about helping you embark on your musical journey. Whether you're a complete beginner or looking to refine your skills, guitar lessons offer numerous benefits that can enrich your life in unexpected ways. Here are some compelling reasons why you should consider signing up for guitar lessons with us.

1. Develop a Lifelong Skill

Personal Fulfillment

Learning to play the guitar is a rewarding experience that brings a sense of accomplishment. As you progress, you'll gain confidence and pride in your abilities, knowing that you've mastered a new skill.

Creative Outlet

Playing the guitar provides a creative outlet for expressing your emotions and ideas. Whether you're composing your own music or playing your favorite songs, the guitar offers endless opportunities for creativity.

2. Enhance Cognitive Abilities

Improved Memory

Guitar playing involves memorizing chords, scales, and songs, which can enhance your memory and cognitive functions. Studies have shown that musicians often have better memory and learning capabilities.

Coordination and Motor Skills

Playing the guitar requires hand-eye coordination and fine motor skills. Regular practice can improve your dexterity and hand coordination, which can be beneficial in other areas of life.

3. Stress Relief and Mental Health

Emotional Expression

Music is a powerful tool for expressing and processing emotions. Playing the guitar can help you channel your feelings, providing a healthy way to cope with stress and anxiety.

Mindfulness and Relaxation

The act of playing guitar can be meditative, allowing you to focus on the present moment and escape daily stressors. It promotes relaxation and mental well-being, helping you to unwind and recharge.

4. Social Connections

Join a Community

Guitar lessons at Guitar Strength offer the chance to meet like-minded individuals who share your passion for music. You'll become part of a supportive community where you can share experiences, collaborate, and make new friends.

Performance Opportunities

As you progress, you'll have opportunities to perform in front of others, whether in small group settings or larger events. Performing helps build confidence and provides a sense of achievement.

5. Professional Guidance

Personalized Instruction

Our experienced instructors tailor lessons to your individual needs and goals. Whether you're interested in rock, blues, jazz, or classical guitar, we have the expertise to guide you on your musical path.

Efficient Learning

With professional guidance, you'll learn proper techniques and avoid common mistakes, making your learning process more efficient and enjoyable. Our structured lessons ensure steady progress and continuous improvement.

6. Fun and Enjoyment

Explore Your Interests

Guitar lessons allow you to explore various musical styles and genres. Discover what excites you and find joy in playing the music you love.

Lifelong Hobby

Playing the guitar is a hobby you can enjoy throughout your life. It's never too late to start, and the skills you develop will stay with you, providing a source of joy and entertainment.

7. Local and Convenient

Accessible Location

Located in the heart of Portsmouth, RI, Guitar Strength is easily accessible for residents of the area. Our convenient location means you can fit lessons into your busy schedule without hassle.

Flexible Scheduling

We offer flexible scheduling options to accommodate your lifestyle. Whether you prefer daytime, evening, or weekend lessons, we can find a time that works for you.

Conclusion

Guitar lessons at Guitar Strength in Portsmouth, RI, offer a wealth of benefits that extend beyond just learning to play an instrument. From cognitive and emotional advantages to social connections and personal fulfillment, the guitar can enhance your life in many meaningful ways. Our dedicated instructors are here to support and guide you every step of the way.

Ready to start your musical journey? Contact us today to schedule your first lesson and discover the joy of playing guitar. We can't wait to help you unlock your potential and share in the excitement of making music!

Trends in Guitar Culture 2024: What's New at Guitar Strength in Portsmouth, RI

Fri, 09 Aug 2024 19:14:18 GMT

Welcome to Guitar Strength, your ultimate destination for everything guitar-related in Portsmouth, RI! As we dive into 2024, the world of guitar culture is evolving with exciting trends that every guitarist, from beginner to pro, should know about. Let's explore some of the hottest trends shaping the guitar scene this year.

1. Technological Innovations

Smart Guitars

2024 is the year of the smart guitar. These instruments come equipped with built-in effects, wireless connectivity, and even AI-driven features that help players practice and improve. Imagine having a personal tutor embedded in your guitar!

Advanced Pedalboards

Pedalboards have come a long way, with new models offering enhanced functionality and connectivity. Expect to see pedalboards that integrate seamlessly with your digital devices, allowing for more creative freedom and experimentation.

2. Sustainable Guitars

Eco-Friendly Materials

The guitar industry is becoming more environmentally conscious. Many manufacturers are now using sustainable materials such as reclaimed wood and eco-friendly finishes. At Guitar Strength, we proudly offer a range of sustainable guitars that sound great and help protect our planet.

Carbon Fiber Guitars

Carbon fiber guitars are gaining popularity due to their durability, light weight, and unique tonal qualities. These guitars are perfect for players looking for a reliable instrument that can withstand various climates and conditions.

3. Retro Revival

Vintage Gear

There's a growing appreciation for vintage gear among guitarists. Whether it's a classic amp or a rare guitar model, players are seeking out these nostalgic pieces to capture the authentic sounds of the past. At Guitar Strength, we have a curated collection of vintage instruments and gear for enthusiasts.

Analog Effects

Analog effects pedals are making a comeback. Many guitarists prefer the warm, organic sound of analog over digital effects. Our store offers a wide selection of boutique analog pedals that cater to this rising demand.

4. Genre-Blending Music

Cross-Genre Collaboration

Guitarists are increasingly blending genres to create unique sounds. Whether it's incorporating jazz into metal or adding electronic elements to blues, the possibilities are endless. Guitar Strength hosts workshops and jam sessions to encourage this creative exploration among our community of musicians.

World Music Influences

Global influences are permeating the guitar scene. Players are drawing inspiration from traditional music around the world, incorporating exotic scales, rhythms, and techniques into their playing. We offer lessons and resources to help you explore these diverse musical landscapes.

5. Online Learning and Community

Virtual Lessons

With advancements in technology, virtual guitar lessons have become more accessible and interactive. Our expert instructors at Guitar Strength offer personalized online lessons, ensuring you get the same high-quality education as in-person sessions.

Social Media and Streaming

Social media platforms and streaming services have become vital for guitarists to share their music and connect with a global audience. Follow Guitar Strength on our social media channels to stay updated on the latest trends, tips, and performances from local and international artists.

6. Customization and Personalization

Custom Builds

More players are opting for custom-built guitars tailored to their specifications. Whether it's selecting unique tonewoods, custom pickups, or personalized aesthetics, we work with top luthiers to bring your dream guitar to life.

Personalized Accessories

From custom straps to engraved picks, personalizing your gear adds a unique touch to your playing experience. Visit Guitar Strength to explore our range of customizable accessories.

Conclusion

2024 is shaping up to be an exciting year for guitar culture, with innovations and trends that cater to every type of player. At Guitar Strength in Portsmouth, RI, we're committed to keeping you informed and inspired. Whether you're looking for the latest gear, sustainable options, vintage treasures, or educational resources, we've got you covered.

Stay tuned to our blog for more updates on the evolving world of guitars, and visit us in-store or online to experience the future of guitar playing firsthand. Keep strumming, stay creative, and let Guitar Strength be your guide on this musical journey!

Preparing for Guitar Lessons as a Beginner: A Step-by-Step Guide

Tue, 31 Oct 2023 17:37:22 GMT

Learning to play the guitar can be an exciting and rewarding journey, but it's essential to start with the right foundation. Preparing for your guitar lessons as a beginner is crucial to ensure a smooth and enjoyable learning experience. Here's a step-by-step guide to help you get ready for your guitar lessons:

Get the Right Guitar

Before you begin your lessons, you'll need a guitar. If you don't already have one, consider the following:

Acoustic vs. Electric: Decide whether you want to start with an acoustic or electric guitar. Acoustic guitars are often recommended for beginners because they don't require an amplifier; though I personally recommend beginners choose electric guitars because they are physically easier to play initially, they allow for quiet practice while unplugged, and because they can be a lot more FUN.
Quality: Invest in a decent-quality guitar that suits your budget. You don't need a top-of-the-line instrument, but a reliable one will make your learning experience more enjoyable.
Size: Make sure your guitar is the right size for you, especially if you're a child or have smaller hands. A properly sized guitar will be more comfortable to play.

Gather Essential Accessories

To get the most out of your guitar lessons, you'll need a few accessories:

Tuner: A digital tuner will help you keep your guitar in tune, ensuring that you're always playing the right notes.
Picks: Guitar picks come in various sizes, shapes, materials, and thicknesses, and you can experiment to find the one that suits your playing style.
Guitar Strap: If you're using an acoustic or electric guitar while standing, a strap will keep it in place.
Capo: A capo is a useful tool for changing the pitch of your guitar without changing the fingering.
Guitar Case: To transport your guitar from home to lessons or to play with other musicians and friends, consider getting a case or gig bag.
Guitar Stand or Wall Mount: To keep your guitar safe and out so that it is always ready for you to practice and play with.

Set Up Your Practice Space

Creating a dedicated practice space will help you stay focused and organized:

Good Lighting: Ensure that your practice area is well-lit so you can see your guitar, music, and fingers clearly.
Comfortable Seating: Use a comfortable chair or stool. Proper posture is essential for playing the guitar comfortably and avoiding strain.
Minimal Distractions: Keep your practice space free from distractions. Turn off the TV, put your phone on silent, and let others in your household know that you need some focused practice time.

Familiarize Yourself with Your Guitar

Take some time to get to know your guitar:

Parts of the Guitar: Learn the basic parts of the guitar, including the headstock, neck, body, and frets.
String Names: Memorize the names of the strings from low to high (E, A, D, G, B, e).
Tuning: Familiarize yourself with how to tune your guitar, either using a tuner or tuning by ear.

Learn Some Basic Music Theory

While you don't need to become a music theory expert, having a basic understanding of musical concepts can be incredibly helpful:

Notes: Learn the names of the notes on the guitar fretboard.
Chords and Scales: Start to explore common chords and scales that you'll encounter in your lessons.
Rhythm: Understand basic rhythm patterns and how to count beats.

Listen to Guitar Music

Listen to guitar music across different genres. It can be inspiring and help you develop an ear for the instrument. Pay attention to the guitar parts in songs and try to identify chords and melodies.

Develop a Practice Routine

Plan your practice routine, setting aside dedicated time each day to work on your guitar skills. Focus on the fundamentals, such as finger exercises, chord changes, and scale practice

Stay Patient and Positive

Remember that learning the guitar is a journey, and progress takes time. Stay patient and maintain a positive attitude. Celebrate your small victories along the way.

Communicate with Your Instructor

If you have a guitar teacher, communicate your goals and expectations. This will help your instructor tailor the lessons to your needs and pace.

By following these steps and staying committed to your practice, you'll be well-prepared to embark on your guitar lessons as a beginner. Learning the guitar can be a fulfilling and enjoyable experience, and with the right preparation, you'll set yourself up for success on your musical journey.