Guitar Lessons

Arpeggios and approach notes

2016-03-04T20:04:00.000-08:00

Hi welcome to today's lesson playing "Arpeggios" over major 7 chords, minor 7 chords and dominant chords. A seasoned jazz player will have an arsenal of techniques to make any standard scale sound more musical. I'm going to start off by focusing on one of these techniques today called "the Chromatic Approach". And the Chromatic approach is performed by playing a arpeggio starting from half step below the root, half step below the 3rd, half step below 5th and the 7th of the scale. Another great approach used by several jazz players ( including one of my favorites - Al Dimeola) is starting a major scale from the note above and going back to the previous note, (for example: let's say we have a major scale so instead of starting directly from the root we would start from second note in the scale, moving back to the root, 3rd note moving back to the 2nd, 4th to the 3rd, 5th to the 4th and so on...

Make sure to practice both of these techniques on each string, starting from the first position and moving up in the fretboard.

Another Scale / arpeggio that works well with Minor 7 chords is the Dorian scale (the second mode of the Ionian or Major scale). Make sure to combine both techniques with arpeggios and also the Dorian scale.

Other embellished scales for dominant chords, used by Mike Stern, John Coltrane...

Arpeggios - Dominant 7(flat 9) chords

2016-03-04T18:00:00.000-08:00

We'll be looking at the 7th (flat 9) chords which are also diminished chords.

There is only one note difference between a Dmin7(b5) and G7(b9) chord. The C in the Dmin7(b5)is a B in the G7(b9).

Here are the Drop-2 voicings:

A scale that sounds great on Dominant (flat 9) chords is the harmonic minor. The Harmonic minor is like a major scale but it has a flat 3rd and a flat6 (13th). For G7(b9) we can use the C Harmonic minor.

Finally, here is the G7(b9) arpeggio around the third fret.

More arpeggios - Minor 7 flat 5 chords

2016-03-04T16:55:00.002-08:00

Here are more arpeggios for Minor7(b5) chords.

A minor 7th flat5 chord is exactly what it sounds like: a minor 7 chord with a flat 5.

Different scales are possible with this chord, the most common one is the Locrian mode. The locrian is the seventh mode of the Ionian/major scale..

Here's the arpeggio of the chord.
It contains the root, flat 3rd, flat 5th and flat 7th - around the third fret.

Major 7th arpeggios on minor 7th chords

2016-03-04T15:04:00.002-08:00

Minor 7th Chords	Relative Major 7th Scale (3rd, 5th, b7, 9th)	Maj7 arpeggio down a wholestep (Dorian Sound - b7, 9th, 11th, 13th)
Cmin7	EbMaj7	BbMaj7
Fmin7	AbMaj7	EbMaj7
Bbmin7	DbMaj7	AbMaj7
Ebmin7	GbMaj7	DbMaj7
Abmin7	BMaj7	GbMaj7
Dbmin7	EMaj7	BMaj7
Gbmin7	AMaj7	EMaj7
Emin7	GMaj7	DMaj7
Amin7	CMaj7	GMaj7
Dmin7	FMaj7	CMaj7
Gmin7	BbMaj7	FMaj7
Bmin7	DMaj7	AMaj7

Tonic vs. Dominant (continued)

2016-03-04T13:21:00.002-08:00

Tonics can be either major or minor, but a dominant chord is always major or suspended. In the example below this next one, the tonic would be CMaj7 and the dominant would be G7. Dmin7 could be considered a G9sus4, which puts it into the dominant category. A 7(sus4) chord is a chord with a suspended 3rd. There is no third but a 4th substituted for the third. The G7sus4 chord would look and sound like this.

A seasoned jazz improviser will have many different methods of changing the sound of either of these groups, especially with the dominant group. Some harmonies are somewhat enigmatic and can be considered to belong to either group. As an improviser, what you choose to play is the deciding factor. Please play the following chord progression. (Drop–2 chords.)

The CMaj7 is a tonic harmony. A major 7 chord is composed of a major triad plus a major seventh. In this case, the major seventh interval is the note B. B is one half-step below C

The G7 is a dominant 7 chord. It sounds like it wants to move to CMaj7. A dominant 7 chord is one in which there is a flatted 7th—a whole step below the root, rather than a half step as in a major 7 chord—added to a major triad. For G7 the minor or b7 note is F. The note F is one whole step or two frets below G.

You will notice that the Dmin7 and G7 in Example 1.3 have the same outer voices—the outer voices are the top and bottom notes of the chord voicing. The Dmin7 chord in this instance is one of the harmonies that could go either way—tonic or dominant. It is very similar to a G7sus chord or an unresolved dominant sound. A minor 7 chord is a minor triad plus a minor 7th (one whole-step below the root). You will note that in the Dmin7 chord the minor 7th note, C, is one whole step (two frets) below D, the root of this chord.

Tonic vs. Dominant

2016-03-03T13:31:00.000-08:00

Many jazz improvisers identify a chord or harmony as either tonic or dominant. I like to think of a tonic harmony as a home base and a dominant harmony as a route to home base.

The tonic chord sounds stable, as if it wants to stay where it is and not move anywhere. A tonic is either major or minor. Here is a CMaj7 chord.

Here is a G7, a dominant chord (major triad and b7) moving to a tonic CMaj7 chord.

Can you hear how the G7 is unstable and wants to move to the CMaj7? If we add the IImin7 chord (which as we will learn, is similar to a G7sus4 chord) the two chords, Dmin7 and G7, want to move to a stable tonic chord such as CMaj7. So, finally, here is a II/V/I progression.
The chords in the first 2 measures are unstable and want to move to the I or tonic chord, CMaj7.

Tuning Your Guitar

2016-02-23T12:52:00.000-08:00

Let's begin with tuning your guitar. It is imperative that you keep your guitar in tune for two reasons:

So you sound good!
Training your ear

There are six strings on the guitar and we count down from the thickest string to the thinnest string. The thickest string is closest to you and has the deepest sound, while the thinnest string is closest to your legs and has the highest sound. Your strings are named after letters in the alphabet, and they are as follows:

The best way to tune your guitar is with a tuner. I highly recommend that you buy a tuner if you do not already have one. Using a tuner is very simple and most tuners work exactly the same way. While your tuner should automatically detect which string you are tuning, remember to make sure that the tuner display your desired tuning note. If it doesn't, then the string is either too high or too low in pitch.

For example: If you are tuning the 6th string you should see an "E" on the tuner. If you see another note, then you are either too high or too low for the tuner to know you are on the 6th string.
When you adjust the tuning peg, the string tension will increase or decrease, depending on the direction you choose to turn it. While the string is ringing, turn the tuning peg until the display is in the center of the tuner. On most tuners, when you reach the correct pitch, the tuning light will change color.

Always remember to tune "up" to a pitch and not down to a pitch. This helps in keeping your guitar in tune.

Using a Pick

2015-12-19T16:46:00.000-08:00

Let's talk about the pick. Some people resist using a pick, but I recommend that you use one. Picks are made out of different materials and come in many thicknesses. Please don't get a metal pick or anything crazy. Start with a normal celluloid or tortex medium thickness pick. As you progress, you might find that you want something a little different, but that will come naturally.

The pick should be held between the thumb and index finger so that the point of the pick is parallel with the strings. There should be no tension in your picking hand, wrist or arm. It is very important to relax. When you pick, the motion should come from the wrist and hand. Not the shoulder or elbow! You will get exhausted if you do this. Also, make sure that you are sitting up straight when you are playing. Hunching over is bad for your neck and back and can lead to injuries over time.

Now it is time to get you playing. Playing guitar is all about repetition and muscle memory. The best way to start is to work on finger exercises that will build up strength and dexterity in your finger muscles, as well as, build your hand-eye coordination. These are just exercises, like running a lap in gym class, and have no harmonic value.

We have four fingers at our disposal:

Index
Middle
Ring
Pinkie

To begin, take your first finger and put it behind the first fret on the sixth string. Pick that note with a downstroke. The best sound will be achieved when the finger is directly behind the fret and pushed down with moderate force. Do not squeeze the life out of it! Next, place your second finger behind the second fret of the same string and pick down with an upstroke. Then, pick the third fret with the third finger using a downstroke. Lastly, pick the fourth fret with the fourth finger using an upstroke. Continue this exercise on each of the remaining five strings. When finished, your fourth finger should be on the fourth fret of the first string.

Now that we have taken this pattern forwards, we need to take it backwards. Slide your fourth finger up one fret to the fifth fret on the first string and play it with a downstroke. Then, with an upstroke play the third finger on the fourth fret of the same string. Next, play the third fret with your second finger with a downstroke. Lastly, pick the second fret on the first string with your first finger using an upstroke.

Continue this across the remaining five strings. You should end up on the second fret of the sixth string with your first finger. Once you are there, slide your first finger up one fret to the third fret and follow the forward pattern of this series over to the first string. Then, slide up one fret with your fourth finger on the first string and continue the backwards pattern of this series back to the sixth string. You get the idea. Follow this pattern all the way up to the twelfth fret. When done correctly, the last note played will be with your fourth finger on the first string on the twelfth fret.

This exercise should be done slow and steady, prefererably to a metronome to ensure that you don't speed up. You want to make sure the notes ring out, sound clean, and are not rushed or chopped off. Accuracy, not speed, is the goal here. Once you can play this exercise accurately and cleanly at a slow tempo, gradually increase your tempo. Also, feel free to experiment and make up your own finger exercises. Try skipping strings and frets.

Mixolydian scale

2011-11-11T06:07:00.001-08:00

By Carlos Martínez

-A very common mode used in rock, jazz, and blues is the Mixolydian scale. Mixolydian is basically a major scale with a 7th: 1, 2, 3, 4, 5, 6, 7. E Mixolydian is spelled E, F, G, A, B, C, and D. It can be used over a major chord or a dominant seventh chord.

Let's find many interesting possibilities by experimenting with the Mixolydian modes and combining them with your pentatonic licks.

Click here to listen to the G mixolydian mode.

G Mixolydian

E Mixolydian

Back Next

White room

2011-11-09T07:30:00.000-08:00

By Carlos Martínez

- Here we're going to be looking at the psychedelic tune of White Room, from the Wheels of Fire recording.

Eric Clapton uses open-chords and chord voicings and of course the wah-wah pedal for lead lines. Overall he is playing more detailed guitar parts.

Go ahead and listen to the song by clicking the youtube box on top.

Intro

In the intro we can hear Eric Clapton Overdubbing guitar parts in harmony. The intro chords are Gmin, F, Dmin and C. You can play these parts by playing them on the top three strings. Be aware that the rhythm in the intro is in 5/4.

Composed by Jack Bruce with lyrics by Pete Brown (a friend of the band who contributed lyrics to several Cream songs) "White Room" was inspired by Jimi Hendrix, who "had a way taking traditional chord changes and modernizing them." says Bruce

Verse / Bridge
The Hendrix-inspired verse and bridge chords are played in open position. With the D major chord fretted at the 2nd fret, keep your third finger on the 3rd fret B string, while playing the Csus2 and G/B chords. This adds a droning quality to the verse progression.

During the bridge, Clapton kicks on the wah-wah pedal, gently rocking it back and forth to give the bridge an airy floating quality.

Wah Wah Solo

Next lesson "the Mixolydian" Mode

Blues Scale

2011-09-17T10:56:00.000-07:00

By Carlos Martínez

- We're going to be looking at the blues scale. The blues scale is a six-note scale. In the key of A it is spelled A,C,D,Eb,E,G. It has a diminished fifth (Eb).

I-------------------------5-8-I
I---------------------5-8-----I
I---------------5-7-8---------I
I-----------5-7---------------I
I-----5-6-7-------------------I
I-5-8-------------------------I

12 Bar Blues

Let's listen to some examples of the 12-bar blues form. Try playing along.

Real World Blues

Next lesson Cream's White Room

Minor Pentatonic Scale

2011-09-10T20:48:00.000-07:00

By Carlos Martínez

- Hi! We're going to look at the minor pentatonic scale is a five-note scale. In the key of A it is spelled A,C,D,E,G (or Root,b3,4,5,b7).

This is the most commonly played scale in all types of rock and blues music. An essential part of your technique is the ability to play this scale all around the fingerboard. Facility with this scale will help you to become a fluent improvising rock guitarist, and also help you understand solos by the classic rock masters.

Minor Pentatonic Scale

Here's a list of songs that use the minor pentatonic scales:

Crossroads - Cream
Stairway to Heaven - Led Zeppelin
Voodoo Child - Jimi Hendrix (Eb minor pentatonic)
Paranoid - Black Sabbath
Comfortably Numb - Pink Floyd (Bm minor pentatonic)

Minor pentatonic rhythmic groupings

Next lesson Blues Scales

Guitar Sound - part 1

2010-12-19T17:54:00.000-08:00

By Carlos Martinez

- Hi! welcome to greatest guitars of all time, here you'll find some tips and overall some knowledge on what are considered the best guitars and why.

What do we mean when we say a guitar has sonic speed capabilities? Did you know that sound travels faster in water than in air, but that it travels the fastest when it's through iron/steel? (Think strings, pickups, cables, amps).

What makes a guitar great?

The sound of a guitar is influenced by a number of things, here we have a basic list:

First we have the wood(body, neck and also the wood in the fingerboard)

String gauges

The height of the strings (also called the "action")

Pickups (alnico or ceramic)

Guitar pick

When talking about the different woods in a guitar is important to mention that apart from the electronics,

"All electric guitars are acoustic instruments."

When you use amps, effect pedals, racks, etc.. that final sound that you hear, was originated by the acoustics of the instrument that's being amplified.

I remember watching Steve Vai on Youtube talk about how the shape/craft of the guitar, the wood of the body and neck are tuned in either unison, fourth, fifths helping maintain a harmonic balance. This is a good tip when you're buying an electric guitar, try listening to the instrument unplugged and tap the body and neck to see if they're tuned in either unison or fifths.

That said, another important factor in the tone/sound of the instrument goes back when the guitar is being made the way that they cut the wood to shape the guitar has a profound effect.

"Two guitars of the same model and year do not sound the same"

In general the lighter the wood the more livelier and bright the sound will be. On the other hand, maple/mahogany and other heavy/dense woods produce a more natural sustain and warm sound.

2008-12-22T17:37:00.000-08:00

test

Ibanez JEM7V

2008-12-22T02:00:00.000-08:00

Frankenstrat

2008-12-22T01:52:00.000-08:00

'71 Gibson EDS-1275

2008-12-22T01:45:00.000-08:00

1955 Fender Stratocaster

2008-12-22T01:30:00.000-08:00

1953 Gibson Les Paul Gold Top

2008-12-22T01:19:00.000-08:00

JS10th

2008-12-22T00:51:00.000-08:00