Page 1 of 7  1  2  3  4  5 » ...  Last » 

Lets assume you’re playing in the key of C major and you want to use some different modes for extra colour. It seems as though some of the modes work better than others over a major key.

If you are jamming around a major key, typically Ionian, Lydian and Myxolydian modes seem to work best. Dorian can be used with care, and aeolian gives a “bluesy” kind of feel to the improvisation, especially if you use a pentatonic and bend into that blues note rather than using the full aeolian scale. Phrygian and Locrian become harder to work into a major key.

If you are playing around a minor key, say C minor, you would normally find that using the minor modes, Dorian, Aeolian and Phrygian is easier. These incidentally are the “major” modes of the relative major key. If you don’t believe this, start with C at the top and look at what scales you would be playing in order to achieve dorian, aeolian and phrygian mode. Now click on the relative major key to C minor (D#) so that it moves to the top of the circle. What scales would you use for the major modes in D#? Exactly the same set of scales you would use for minor modes in C.

Tags: , , , , , ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

Not a typical subject on this site, but it’s worth mentioning that good posture is incredibly important when playing the guitar.

You don’t need to worry too much if you’re a healthy, active, fit or sporty individual. But if like some you work a desk job and find for one reason or another find it hard to keep yourself in good shape, you need to think about your posture at all times, but especially if you spend a significant amount of time with the guitar.

If playing acoustic, (Spanish or steel string) and find that you are sitting down most of the time, try not to spend all of your time crouching over the guitar with your neck bent down and craning over to look at your fretting hand. It’s excellent practice to try and sit up straight on a good firm chair with your head looking straight ahead. This will be good for your back and also (with some practice) make you a more competent player for not always watching what you are doing. If you’ve never tried this before, you may just have to accept that you will make more mistakes for a while, as you get used to it.

Proper posture for Classical guitar playing requires that you have the bottom of the guitar resting between your legs and the angle of the guitar at more like 45 degrees or greater, rather than the typical rock / folk position with the curve of the guitar resting on your leg and the guitar level with the ground. The classical posture forces your back into and upright position, which is overall much better for you, although it doesn’t look as “rock ‘n’ roll”.

If you play electric guitar, try standing up when playing, rather than sitting down. This is also better practice for when you are gigging. The same rule applies as for acoustic guitar above. If you are strong, fit and flexible with good core strength then you do not need to worry so much. But if not, then try to spend more time looking straight ahead when practicing. Keep your shoulders back and your stomach tucked in.

Tags: ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

Remember Stanley Jordan? (Search this site for some great videos of his playing)

Well, here is a nice article by the man himself on tapping and how to go about getting the right sound: Stanley Jordan Tapping Tutorial

Tags: , , ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 
  1. Find your current favourite track for jamming along to, or whatever… (Or perhaps record a nice chord progression to practice with)
  2. Play it on loop
  3. Go to the Interactive Circle of Fifths
  4. Figure out what key your song or jam track is in, and position that key name at the top of the circle
  5. Try playing the different major scales as labelled from “lydian” through to “locrian”
  6. Whilst playing the modes, bear in mind whether you are in a minor key or a major key. Try and get a sense for which modes feel right and which ones don’t.
  7. Sometimes a particulare mode will only sound right if you concentrate on particular notes. Try bending into these notes, rather than just hitting them every time
  8. Notice how sometimes a major mode sounds better than a minor one, depending on whether you are in a minor key or major key
  9. Also notice that some modes sound better than others depending on which chord is being played at the time
  10. When you’ve spent a decent amount of time exploring the different modes for one backing track, move onto another. Try and make it a track in a different key. Also, try and make sure that each time you choose a new track to practice with, that they differ in chord structure and progression. i.e. Don’t always choose simple 1-4-5 major or minor blues tracks, although these are great for getting started. One of my personal favourites at the moment is “Comfortably Numb” by Pink Floyd. You can switch between a minor scale, minor penatotinc, minor blues, Dorian, and with a little more careful precision, Phrygian, Lydian and Myxolidian.
  11. It’s all very well learning the names of the modes, but the real trick is in familiarising yourself with the different shapes* and when to use them.
  12. *Remember that the modes are different in shape with repect to your default root scale, but they are in fact simply major scales pinched from different keys. So you can spend ages learning a load of different shapes, or a little less time (in my opinion), learning the circle of fifths (or fourths) and where each mode can be found in relation to the root.
  13. What’s the best way to do this? Well, I’m not sure if there is a “best” way, as everyone learns differently. But, IMHO, The Interactive Circle of Fifths is a pretty good option.

I hope you enjoy using The Interactive Circle of Fifths. Any feedback is more than welcome and best provided via the Contacts Page.

Tags: ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

Note: A big thank you goes out to visitor “A Burnett” for spotting a mistake on the circle of fifths page. The error has been corrected. If you spot anything else wrong, please feel free to leave a message via the contact page.

Another note: thank you to a visitor called “Changing a String” (?!) who has pointed me to some animated discussion on the ultimate guitar forums. It looks as though I’ve been a bit sloppy in writing this article, and I need to improve the explanation of the interactive circle of fifths. Please make of it what you will and watch this space for an updated and more accurate version soon. And just to clear up a small point…. “The Guitar Master” is more what I aspire to be, rather than what I am. It’s just a cool name for a website!

Memorising the circle of fifths is an incredibly worthwhile endeavour. Imagine being able to just know straight away what notes are in a particular major or minor scale, or what chords are in a particular key, or even which modes work over various chords and keys.

Memorising the circle of fifths is the shortcut to knowing this stuff, but it can seem very daunting. So how would you go about making this task less painful?

Well, really, you only have to learn the order of 7 notes. Take a look at the circle of fifths, and move clockwise from the top. In the key of C, you should be seeing the notes, C,G,D,A,E and B, followed by F if you cross the magic line.

Memorise this sequence. Try playing those chords on the guitar as it will help to embed them in your mind. If you then continue around the circle rather than cross the magic line, you will see that the notes continue round in the order C,G,D,A,E,B,F#,C#,G#, D#,A#, F.

So if you remember the sequence, F,C,G,D,A,E,B, you actually have all you need to know, as the sequence repeats itself, but with each note being sharpened. Try not to get to confused when you notice the following:

When you try to work this out in your head, there is no E#, it is F. And there is no B#, it is C! So the letters repeat themselves but only up to A# and then you finish at F. If you didn’t finish on F, but wrote down an F#, you would be forced to continue like this:E#, B#, F## (G), C## (D), ad infinitum, adding an extra sharp each time you go round the circle! It’s kind of like a moebius strip, or a Phi (Golden Ratio) style spiral into infinity, like a snail shell, or a spiral galaxy….

And there you have it! You’ve memorised the circle of fifths!

OK, there is more to it than that. But once you memorise that order, you can rotate it visually in your mind until the key that you are interested in is at the top. The next thing you need to remember is where the magic line falls and what it represents.

Useful things about the magic line:

  • It separates notes that are in a scale.
  • It separates chords that are in a key (if you can remember which ones are major, minor, diminished etc…)
  • If you play the notes in alphabetical (scale) order, crossing the magic line represents the location of the two semitones (or half steps) in the scale.

Then, you should try and remember which chords in a key are major and which are minor. This can be done by playing the chords in alphabetical order as illustrated in the circle of fifths, and making sure to play each one as either major, minor or diminished. Once you are comfortable with this, you should be able to quickly identify the exact chords in a particular key by visualising your circle.

Next, try to remember the position of the mode names. This will mean that if you can visualise your circle in a particular key, you can quickly figure out which scale to play in order to achieve a particular mode.

in memorising the order of notes in the circle of fifths, you will have memorised the amount of sharps or flats in a particular key (or scale). And you did this without even realising! Just position your major key name at the top (or your minor key name at 3 ‘o’ clock) The sharps / flats are all labelled nicely for you!

Want to know what chords are in a minor key? Well I touched on this just a second ago. Just position your minor key name at three ‘o’ clock in the circle of fifths. Now the relative major will be at the top and the chords / notes will be correct for your minor key / scale.

What tools are out there to assist you in memorising these patterns and rules? The obvious answer is the interactive circle of fifths of course! But for more useful tools, check out the previous posts…

All for now.

The Guitar Master

Tags:


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

Thanks to a visitor by the name of Emerson Reid who submitted the following video of a true guitar master:

That is some pretty sweet playing.

Tags: ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

This is a nice (if lengthy) blog / forum article on the rationale behind guitar tuning. Why is the default tuning for a guitar E,A,D,G,B,E ? Read this article from My Les Paul for more details.

It makes an awful lot of sense when you think about it. This article prompted me to spend a little more time working on the c major scale, as the notes E,A,D,G and B are all in the key of C. So playing a c major scale can be done nicely using the open strings and the first three frets. (You could do the same for G and D major, and therefore A minor, E minor, B minor and other modes such as E phrygian, or any of the modes derived from the major scaled of C, G or D etc……. See The Circle of Fifths to help shed some light on this). It also made me think about how the various chord shapes share the same notes.

The more time you spend on the major scale and thinking about where up and down the fret board you find the same notes, the more things seem to fall into place.

When you’re practicing scales, try not to allow yourself to get bored or fed up. Break out of the scales once in a while if you spot something that sounds familiar while you are practicing. And think about where you find the same notes. Where is the root note repeated? Where are the 4th and 5th’s repeated? etc…. How can you start creating arpeggios using the notes that you’re playing? How can you construct chords?

For answers to all these questions, check out the rest of this site. Check out the previous posts. Take a look at the circle of fifths. And refer back to Stages of Mastering the Guitar. If you’re questions aren’t answered anywhere on this site then ask a question. If I can’t answer it then I will try and find out. And it will add to the information available here and help others. Or…. Watch This Space!

The Guitar Master

Tags: , ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

I’ve been trying to improve the way that I incorporate the various modes into my lead improvisation. This is can be an arduous task but I thought I would share I few tools that have assisted me no end.

First of all there is the pandora px4 from korg toneworks. It has a few useful tools, apart from being a great little effects box. Here are some useful features of note:

  • You can record up to 30 seconds of track and then slow it down in order to learn and master some amazingly fast lead solos and riffs.
  • Secondly, there is an effect on the box called c major. You can change the key, but c is the default. (It also has one called E minor for minor scales, and yes you can change the key for that as well.) Note: it is imperative that your guitar is in concert pitch for this and that your intonation is relatively good - the pandora can help you with this as well. So what does this do? Well it will sound awesome and create a very nice sound as long as you are playing notes in the correct scale. Slip out of the scale and it will sound a bit naff.
  • It has built in drum and backing tracks, some of which actually change key for you to jam over.
  • You can jam along with any mp3 or cd player via an aux in

Secondly, I’ve mentioned it before but ChordBook has some nice free online tools for tuning your guitar as well as searching for chord shapes and scales, not to mention a pretty good little forum AND some excellent jam tracks

Thirdly (and last for now), check out this neat little utility for printing your own little maps of the fretboard. It works an absolute treat. I’ve personally been printing to pdf with primoPDF to save paper. But you don’t have to print them at all if you don’t need to.

I’m not particularly into listening to jazz, but to be able to play some nice jazz guitar is a worthwhile endeavour as I believe it can assist a musician in almost any style. Mastering the different modes and learning when to use them is the main hurdle. And part of this is learning the fretbord properly, or at least recognising the patterns that are present. The next thing is to practice playing and improvising over various different chord progressions until it becomes completely natural and you almost don’t have to think about it. You should ultimately be able to concentrate on what sounds great and injecting your feeling into what you play without having to think about the patterns.

Anyway, forgive me if I’m rambling on. I hope you find these tools (especially the free ones!) useful.

The Guitar Master

Tags: , , ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

This is a nice intro to pinched harmonics and what kind of equipment you need to achieve them. You can get pinched harmonics on any guitar but they will be much, much harder to hear. Anyway, here goes:

Tags: , ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 Page 1 of 7  1  2  3  4  5 » ...  Last » 

Tags: , ,


Follow theguitarmaster on Twitter


Leave a Reply?

OR REPLY BELOW ...




You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

 
 
 Page 1 of 7  1  2  3  4  5 » ...  Last »