Creative Guitar Studio

Whole Tone & Augmented - Scales & Harmony

2010-04-23T16:54:00.000-07:00

Q: I have been working on my Jazz guitar theory for over a year now and I have a handle on most of the basic ideas. But, Im heavy into jazz fusion guitar. Scott Henderson is my favorite guitarist! One thing I know he uses a lot are the Augmented scales and arpeggios. Could you please explain what exactly Augmented is all about and how I can practice using it. At this time I only understand that it is a major triad chord (or arpeggio) with a raised 5th interval. But, I dont understand the scale side of it. Any help with this would be greatly appreciated Especially how to sound like Scott Henderson! - Paul, Memphis TN.

Thanks for writing in! The augmented sound is certainly a part of Scott Henderson's style. It is based from the Whole-Tone scale (also referred to as the Augmented Scale). From the Whole-Tone scale we get the Augmented Arpeggio. The Whole-Tone scale is all Major Second intervals (2 frets on the guitar), the Augmented arpeggio is all Major 3rds. In the video I cover the scale and the arpeggio, as well as, some popular chord types and ways players can begin applying these sounds through theory explanations and licks.

The complete lesson article for this video is available on the Creative Guitar Studio website. Follow the link to read the full article, get the handout, and to grab a copy of the MP3 jam track used in the solo example at the start of the video lesson.

The Major Scale - Ionian Mode

2010-04-23T16:40:00.000-07:00

Q: Can you do a quick video lesson about the Ionian Mode. I think it is associated to the Major Scale. But, my guitar teacher couldnt explain it very well. I always appreciate your clear explanations, could you please help me out! - Thanks, Lamar Jacksonville, FL.

The mode known as IONIAN is simply an ancient Greek name for our most basic of scales the "Major Scale." The major scale is the most important scale in music. All other scales are either taken from it or compared to it. The video lesson explains the; structure of the Major scale, it's formula, intervals, basic harmonic design and also included are a few simple practice tips.

The complete lesson article for this video, is available on the Creative Guitar Studio website. Follow the link to read the full article and get the jam track used in the solo example at the start of the video lesson.

Guitar Lesson: Major & Minor Pentatonics in Blues

2010-03-19T16:56:00.000-07:00

Andrew Wasson of Creative Guitar Studio answers a viewers question:

Q: Can you explain how to use different scales in Blues progressions. I was on a guitar discussion forum where they were posting about playing major and minor pentatonic and even modes on blues progressions. But, I dont quite understand is how this works. I was taught that on blues progressions you are supposed to use the blues scale. I dont really grasp the modes yet, but my pentatonics are pretty good. Im curious about what other blues sounds I might be missing! I love blues guitar.
- Charlotte, Wales UK.

A: The Major and Minor pentatonic scales can be interchanged to offer a fantastic blend of major and minor thirds as well as color from the major 6th and minor 7th. In the video lesson we will examine how to do this and learn a series of guitar licks that demonstrate the ideas.

The complete lesson article for this video, is available on the Creative Guitar Studio website.

Music Lesson: Harmonic Analysis & Minor Key Theory

2010-03-19T16:43:00.000-07:00

Andrew Wasson of Creative Guitar Studio answers a viewers question:

Q: I have subscribed to your channel and watched a lot of your videos. My background is limited in theory, but Ive learnt enough theory to have questions. I will limit them to the following it would be great if you could answer them. They are

#1). Are there different rules for Harmonic Analysis? I have noticed that you always write all of the roman numerals as upper case. I see other teachers write minor chords as lowercase and major chords as upper-case. Can you please clarify this.

#2). I can hear major keys just fine in music, but I have difficulty understanding how to hear and know if a song is in a minor key. Are there any basic rules for understanding when songs are in minor keys?
- Thanks, Wayne Calgary, AB.

A: Thanks for writing in! The harmonic analysis may vary depending upon where you went to school. Berklee, Musicians Institute and University Programs, Departments and Professors/Instructors can and will teach differently. In the video lesson I cover the most popular types.

When it comes to Minor Key Theory, it is important to know what establishes a tonality of minor. A large part of this theory in Minor has to do with the Harmonic Minor Scale. In the video lesson I cover important principles of Minor Key resolve.

The complete lesson article for this video, is available on the Creative Guitar Studio website.

Guitar Lesson: Relative Tonality Shifting

2010-03-19T16:36:00.000-07:00

Andrew Wasson of Creative Guitar Studio answers a viewers question:

Q: Can you make a video that goes over the concept of playing both major and relative minor scales over the same progression. For example; If there was a chord progression that went: Fmi Bbmi Db Eb could you demonstrate playing over it in two ways. Once resolving into the Major key of Ab Major and then doing it again but playing into the relative Minor, F Minor. Joe Satriani seems to have amazing control over this kind of thing and Id like to know more about it. I find it very difficult to do.
- Douglas - Seattle, WA.

A: Shifting from one tonality to another requires a solid understanding of targeting specific notes and using arpeggios to bring out the two sides of the key's color. In the video lesson I cover how players can target into the tonal center pitches of "F" for Minor Key sound and "Ab" for Major Key sound.

The complete lesson article for this video, (along with a PowerTab chart of the chord changes plus an MP3 audio jam track of the progression heard during the video), is available on the Creative Guitar Studio website.

Guitar Lesson: Country & Bluegrass Chord Strumming

2010-03-12T15:45:00.000-08:00

Q: I watched your country guitar seminar video on YouTube and was wondering if you could do more of a beginners level video all about playing basic country bluegrass strumming. I just seem to only strum guitar with one or two basic strum patterns and could really use something fresh in my playing.
- Thanks, Jake - New Albany, IN.

A: Basic beginner level strumming is a great way to develop the popular open position chords on guitar. And, the country/bluegrass style works fantastic to help players achieve this. I've composed a very straight-forward piece in a simple country rhythm style. Hopefully it will help you learn a few new techniques to use in your own playing!

The complete lesson article for this video, (along with a PowerTab chart of the chord changes plus a FREE MP3 audio play-along track of the progression heard at the start of the video), is available on the Creative Guitar Studio website.

Guitar Lesson: Pitch Axis Theory & Modal Harmony

2010-03-12T15:36:00.000-08:00

Andrew Wasson of Creative Guitar Studio answers a viewers question:

Q: I have been searching for a good lesson about a concept called "Pitch Axis Theory", but I cannot find one that explains how to use it. Most of the stuff Ive found just goes on about Modes, but doesnt really cover how the shredder guys and the fusion guys actually use this concept musically. Can you please do a lesson about this topic, I really want to know more about it!
- Thanks, Joey - New York, NY.

A: Thanks for writing in! Pitch Axis Theory is essentially playing modal. There is a bass pitch which remains static and under that pitch we can perform scales of different types. There can even be another layer of harmony present under the bass pitch. This can influence scale types that can be used to create melody.

The complete lesson article for this video, (along with an MP3 audio jam track of the progression heard at the start of the video), is available on the Creative Guitar Studio lessons website.

Guitar Lesson: Mixolydian Scale in Classic Rock

2010-03-05T16:32:00.000-08:00

Q: I was wondering if you can cover the sounds of Mixolydian as its used in Rock styles. I like the way bands like Guns N' Roses and Skid Row use this mode to make their music. But, I dont understand how to write chord progressions using this mode applied to a style like classic rock.

Thank you
Thomas, Germany

Thanks for writing in! There is a unique sound in classic rock played by artists like Neil Young, Guns N' Roses and many others that uses the Mixolydian mode. In the video lesson I will cover two popular chords that when used in major progressions will give you the sound you are after.

The complete lesson article for this video, (along with an MP3 audio jam track of the progression heard at the start of the video), is available on the Creative Guitar Studio website.

MUSIC THEORY: The Harmonic Minor Scale

2010-03-05T15:35:00.000-08:00

Q: I am a new subscriber and your lessons are helping me a lot... I cannot thank you enough!

My question is, Can you please cover the Harmonic Minor Scale. I keep hearing about how it is so widely used but after playing it, I cannot seem to get it to sound good over anything. I mostly would like to know where and when I am supposed to be using it. My favorite style of music is the contemporary jazz style. I purchased your album off of your web site and I'm sure that I hear you use it in your music. By the way I love your album. Hope you make another one soon.

Thanks,
Zack Paris, France
_______________________________________

THE HARMONIC MINOR SCALE:
This scale is a form of Minor which contains a raised seventh degree. The raised seventh offers a leading tone for strong resolution toward the scales tonic. This makes resolutions occur with far greater pull than is possible with the Natural Minor scale. It is often used in shred guitar music by players like Vai and Malmsteen.

The video explains the scales' basic structure and design. Viewers are shown two fingerboard patterns off of the sixth and fifth strings. Then, there is a thorough explanation of the harmony and how chords can be used in progressions to utilize the sound of Harmonic Minor scale.

The complete lesson article for this video, (along with an MP3 audio jam track of the progression heard at the start of the video), is available on the Creative Guitar Studio website.

Watch the "Chord Families Video Lesson" that was mentioned during the video.

Chord Families & Diatonic Substitution

2010-02-19T15:30:00.000-08:00

Chords may be grouped into families based upon the principle chords found in harmony. These principle chords include the Root, Fourth and Fifth. (Notated as: I, IV, V).

In the key of C Major, we have the Root, (or the I chord), occurring as the C Major chord. The fourth step chord, (or the IV chord) occurs as the F Major. And, the fifth step chord, (or the V chord), presents as G Major.

These families are named as the; Tonic, (I), Sub-Dominant (IV), and the Dominant (V). The notes of each family combined spell out every tone of the major scale. The movement from one chord to another creates the basic harmonic effects of all tonal music.

It is important to memorize the function of each chord as well as the other chords which relate to each chord family.

FUNCTIONS:
- Tonic Family
The function of the Tonic family is to temporarily, or permanently begin, or end a piece, or section of music.

- Sub Dominant Family
The function of the Sub-dominat family is to move-away from the tonic family and move toward the Dominant family.

- Dominant Family
The Dominant family wants to resolve back toward Tonic. The pull of the 3rd chord tone (the leading tone of the key - in the case of C Major it is a B note) combined with the root of this chord (in Cmajor it is a G note) being out by a fifth. And, the major second interval of the chords 5th chord tone, (in C major it is a D note) all work together by surrounding the arrival of the movement toward notes of the Tonic chord. In the end the result is a very strong resolution. In Classical theory it is referred to as an Authentic Cadence.

To Read the complete article and listen to audio examples of this theoretical concept in use, please visit CreativeGuitarStudio.com

Folk Fingerstyle - Part One

2010-02-19T15:23:00.000-08:00

Viewers Question:

Q: My favorite type of guitar playing is folk fingerstyle. Last month, I watched your YouTube Fingerstyle Guitar Primer video lesson that you posted in March of 2009.
I have purchased your Accelerated Learning ebook and I am practicing using the learning how to learn techniques.

In the last few weeks, I have made a proper practice schedule and I must say I have developed a lot of the techniques in your first video on fingerstyle guitar. In short, I am ready for more fingerstyle! Can you please re-visit the world of fingerstyle guitar once again? If so, can you please focus on some pattern playing in the Folk Fingerpicking style?

Thank you, Dillan, Ireland

A: Thanks Dillan! The video lesson I have organized for you covers a piece from my 1996 Acoustic Guitar album, Acoustic Highway. It is a great example of how, by using only a few simple patterns, any beginner or intermediate fingerpicker can compose a complete piece of music! Part One, covers the verse of the piece in detail. And, Part Two goes over the bridge and chorus. Hope you enjoy working on this material. It was a lot of fun to put the lesson together. All the very best - Andrew Wasson

Progressive Metal: Riff Building

2010-02-19T15:14:00.000-08:00

Back in the sixties and seventies progressive rock bands like King Crimson, Yes and Jethro Tull pushed rock into new artistic directions. In recent years progressive metal bands like; Iron Maiden, Dream Theater and Opeth have built on the platform of this style taking it even further.

The concept with this style of music is that of blending the heavy metal overdrive sound of electric rock guitar with the structure of classical, jazz and world music. The main difference between rock and progressive metal is the complexity of prog. metal's arrangements. In standard radio friendly rock, the song structures are more like typical pop songs with verse, bridge chorus arrangements. This works well for the average radio station keeping with it's popularity approach for more friendly palatable music on the airwaves. One listen to any progressive metal tune awakens the listener to multiple sections of a piece often moving through different keys and time signatures. And, having long playtimes of 5-7 min. or longer. Certainly more creative and complex, however obviously not very radio friendly.

Read the full article and download FREE charts and an MP3 Jam-a-long track at CreativeGuitarStudio.com

The Chords of "Smooth Jazz" - Part One

2010-02-12T19:02:00.000-08:00

Andrew Wasson of Creative Guitar Studio answers a viewers question...

Q: Can you do a video that looks at the really cool sounding chords played by guys like Larry Carlton and Lee Ritienour? I always hear them in the smooth jazz tunes, and it sounds like you play them in your music too. By the way, how can I buy your album? I looked on your website and on iTunes, but there are no digital downloads for your stuff?
Thanks,
Reno, NYC

The chord types used in this style of music are mostly triad with a bass note style. I cover a number of the most popular types used in the video lesson. Visit the Creative Guitar Studio website to get a FREE chord handout PDF for this video lesson.

Follow the link below to get - Part Two - of; "The Chords of Smooth Jazz Guitar"

My Instrumental Smooth Jazz CD is available from off of my website as a digital download.

Setting Intonation on a "Gibson Style" Fixed Bridge

2010-02-12T18:53:00.000-08:00

Video lesson covers a string change from .009 Gauge to .011 Gauge guitar strings. However, the main focus of the lesson is that of checking and setting intonation.

Intonation on a guitar has to do with how "in tune" a string on the instrument is in relationship to the ratio of all of the other notes found on the fingerboard for that particular string. For example, a 3rd string fifth fret "C" note should sound as a "C" note would sound on any other instrument. How "in tune" that "C" note resonates is a reflection of that guitar's intonation on that string. The saddles of most all electric guitar bridge systems are adjustable both forward and backwards. The movement of those saddles adjusts the guitars intonation. The relation of tones on the fingerboard to their key or harmony must be as pure as possible. The video details the process of achieving this.

Workshop products Include the Following:

Jazz Guitar Soloing - Part One

2010-02-05T15:46:00.000-08:00

This Two Part video guitar lesson series covers the art of targeting chord tones in the jazz guitar style. For a article about this topic as well as a tab chart and single pass MP3 jam track, follow the link below to the Creative Guitar Studio website to read all of the lesson notes and grab your FREE downloads: Jazz Guitar Soloing - Part One FREE Handouts.

To grab Part Two of this Lesson Plan follow the link below:
Jazz Guitar Soloing - Part Two

Accelerated Learning: How to Practice

2010-02-05T15:25:00.000-08:00

Accelerated Learning concepts offer a dramatic effect on the ability to take in and retain information. But, they also provide the user with enhanced creative skills as well.

The principles are simple, yet rarely applied. Aspects such as; staying relaxed while learning, taking breaks, working in short time frames, visualizing, and bringing about the whole brain, (learning through creativity and imagination).

In this short video Andrew will discuss elements of Accelerated learning that he has taught since 1995.

The PRACTICE SCHEDULE mentioned in this video is available from the Creative Guitar Studio Website.
Follow the link to View and Download the Free Practice Schedule.

Purchase Andrew's eBook, "Accelerating Your Learning Curve."

Check out these great books for even more information about Accelerated Learning methods & Techniques...

Rock Lead Guitar Soloing - Part One

2010-01-29T15:50:00.000-08:00

This video walks viewers through a typical rock solo that incorporates a number of phrasing devices. Both the Natural Minor and the Minor Pentatonic scales are used.

Get the FREE Associated Lesson Material on our website, just follow the link below:
Rock Lead Soloing Part One Handout

Part 2 of this series is available from the Creative Guitar Studio website. Follow the link below:
Rock Lead Soloing Part Two Video Package

MUSIC READING: Understanding Stage/Slash/Lead Charts

2010-01-29T15:42:00.000-08:00

Andrew Wasson of Creative Guitar Studio answer's a viewers question:

Q: I like your videos where it shows you going to gigs and playing at them. One thing I want to know about, is how you can learn so many songs so quickly when you have to play as a sub in a band.

You once made mention that you sometimes only get a few days notice to learn an entire evenings worth of material. This sounds incredible. I am 17 years old and I want to do what you do as a career but the idea of learning so many songs with such short notice is really intimidating.

Can you please do a video talking about this whole concept? I am very curious how musicians do this.

Thanks,
Bradley - Murrells Inlet, SC.

A: To do this kind of gig a musician would either receive or have to write out a quick stage chart, (also referred to as; "lead sheet or slash chart"). This isn't all that hard to do since what we are after here is simply a "rough sketch," of the harmony and overall arrangement of all of the songs that are unknown in a set-list.

In the video I cover many areas of doing a gig like this. Including showing real charts that I have used to do gigs where I had to jump in as a sub.

Material associated to this video is available for download off of the Creative Guitar website.
Follow the link below:
Creative Guitar Studio Stage/Slash/Lead Charts

To watch the videos Bradley had mentioned, follow the link below to the YouTube playlist:
"Events & Live Playing Playlist"

80's Hard Rock Rhythm Guitar Series - Part One

2010-01-29T15:36:00.000-08:00

Andrew Wasson from Creative Guitar Studio answers a viewer's question:
Q: I was wondering if you could do a lesson about playing the 80s hard-rock rhythm styles of; Van Halen, the Scorpions, or Whitesnake (that stuff). They all seem to use a low drone E or A string, but I get a little bit lost on the chords. Especially the Van Halen songs. They seem to use chords that are not inside of the key of the bass-note that is the lowest pedal tone, (the E or A strings). Can you PLEASE talk about this! I posted this question on a Guitar Forum but there weren't very good answers to the question in all of the replies.
Thank you,
Dustin, Victoria BC

A: Dustin, I've created a three-part series to answer your question. The concept of doing this is rather complex since it involves borrowing chords from parallel running modes of the same tonality. Groups like Van Halen, Def Lepard, etc., apply this concept on a regular basis. They also primarily focus on triads built off of the fourth guitar string to perform the parts. And, you are certainly correct when you mentioned that there is ample use of the droning bass notes of both "E & A" (6th & 5th) strings.
Thanks for your question.

Follow the links below to get:
"80's Rock Rhythms Video 2"
"80's Rock Rhythms Video 3"

Music Theory: Key Modulation

2010-01-29T15:30:00.000-08:00

Andrew Wasson of Creative Guitar Studio explains the use of Modulation in a piece of Music. He explains the two most popular types of modulating from one key to another in a song. Direct Modulation, which occurs when a key appears suddenly. And, Pivot Chord Modulation, which will use a chord shared by both keys to allow for a seamless transition between the old to the new.

Follow the link below to buy a copy of Andrew's eBook,
"Using the Major Scale Modes"

RHYTHM GUITAR: Double-Stops & Single Note Melody

2009-12-23T20:01:00.000-08:00

In this rhythm guitar series video lesson I explain the use of two-note chords, (known as Double-Stops & also sometimes called Dyads), and I discuss how to combine them with single note melody lines to create interesting supplemental guitar parts.

This approach is great if you are a second or third guitarist in a band or if you are doing recording and want to loayer additional guitar parts on top of pre-existing tracks.

Handout materials, as well as, jam track MP3's (2 MP3's) are available from off of my website, just follow the link below:
Double-Stops & Single Note Melody

God Bless Ye Merry Gentleman - Christmas Carol Guitar Lesson

2009-12-23T19:51:00.000-08:00

In this video lesson I explain how advanced beginner's and intermediate students alike can develop a straight forward arrangement of the classic Christmas carol, "God Bless Ye Merry Gentleman."

For a FREE chart and further information please follow the link below to my website:
God Bless Ye Merry Gentleman

Beginner Level: Rhythm Guitar Basics - Part 1

2009-12-23T19:43:00.000-08:00

Part One of this video lesson covers the basics of quarter-note and eighth-note rhythms. The focus is simple strum patterns. Part two of this Rhythm Guitar Series (available off of the Creative Guitar Studio website), examines syncopation and anticipation in rhythmic feel. If these terms are unfamiliar to you; Syncopation is the accenting of weaker up-beats. And Anticipation, is the act of placing a chord just before where you would expect to hear it.

For the complete handout package, and the 9.5 min. Part-2 video please follow the link below:
Rhythm Guitar Basics - Part 2

Deck the Halls - Christmas Carol Guitar Lesson

2009-12-13T22:02:00.000-08:00

The famous Christmas Carol, "Deck the Halls."

In this video lesson Andrew explains how advanced beginner's and intermediate students alike can develop a straight forward arrangement of the classic Christmas carol, "Deck the Halls."

The Tab for this lesson is available on our website, just follow the link below:
Deck the Halls - Christmas Carol Guitar Lesson

Understanding Jazz Harmony - Part Two

2009-12-13T21:58:00.000-08:00

Developing Lines for the II, V, I Progression:

Lines can be established for this series of chord changes based upon either scales or arpeggios.

MAJOR:
The II chord in Major key jazz turnarounds is "Minor 7th." The V chord is "Dominant 7th." By performing the Dorian Mode off of the root of the two-chord we can achieve a solid selection of tones for covering these changes. Another option is covering the changes with arpeggios.

MINOR:
In minor keys we see a II chord showing up as "Minor 7 (b5)" and the V chord being "Dominant 7th." In this tonality we can cover these changes with the "Harmonic Minor" scale built off of the root of the "I" which we resolve toward. As with the Major key "II - V" we may also cover these chords with the appropriate arpeggios.

An excellent video I would highly suggest on this subject is by, "Jimmy Bruno." It is called; "No Nonsense Jazz Guitar."

O Christmas Tree - Christmas Carol Guitar Lesson

2009-12-04T16:26:00.001-08:00

Andrew Wasson of Creative Guitar Studio discusses the famous carol, "O Christmas Tree."

In this video lesson Andrew explains how advanced beginner's and intermediate students alike can develop a straight forward arrangement of the classic Christmas carol, "O Christmas Tree."

Understanding Jazz Harmony - Part One

2009-12-04T16:15:00.001-08:00

Analysis of the II V I Progression:

The chord movement known as the; "two," "five," "one," is by far the most popular jazz chord movement out there. Most of the jazz standards contain this cycle of chords. It's popularity is on the same level as the 12-Bar Blues set of chord changes.

To fully understand this concept we must develop a firm grasp of the notes found in each chord and how they operate reflecting the strength of the resolution from the "two," to the, "four," and finally to the home chord, (the, "one").

Andrew Wasson of Creative Guitar Studio discusses this chord movement strategy in detail in this first video on the chord movement of the popular, "II," "V," "I," jazz chord progression.

An excellent book I would highly recommend on this topic is; "The Jazz Theory Book," by Mark Levine. It is a solid resource for all improvising musicians regardless of instrument or stylistic direction.

Silent Night - Christmas Carol Guitar Lesson

2009-12-04T16:12:00.000-08:00

Christmas Carol Guitar Lesson with Andrew Wasson from Creative Guitar Studio.

In this video lesson Andrew explains how advanced beginner's and intermediate students alike can develop a straight forward arrangement of the classic Christmas carol, "Silent Night."

Get the Tab for this lesson on our website:
Creative Guitar Studio Christmas Silent Night

How to Play Slide Guitar

2009-12-04T16:05:00.000-08:00

Slide guitar playing is a great way to introduce a very hip tone into your style. Whether you choose a glass or metal slide, the color of this sound is something that can't be overlooked. Often at Creative Guitar Studio student's will ask which slide they should begin with; i.e., glass or metal. It is a decision that lies with the player. Both have their unique tonal properties. And, only after trying both will a guitarist be able to truly make their decision.

Luckily, slides are inexpensive to purchase. So, buy a few types and see what you prefer. I normally suggest that players new to slide try a short glass slide with a thick sidewall. Jim Dunlop company makes a nice one; the short - small glass pyrex (212). Metal slides tend to be heavier and might work best for the middle and ring fingers for most guitarists. Glass is far lighter and will work better with the pinky for most folks.

To develop the slide technique players need to decide upon which finger they prefer placing the slide. Test all fingers. Many players have a misconception walking into playing with a slide that they "must" use the slide on one particular finger. This is simply not the case. Any finger (aside from index) should do. Bonnie Raitt & Joe Walsh play slide with it on their middle fingers; Duane Allman & Derek Trucks use their ring; Sonny Landreth, Johnny Winter and Ry Cooder all play slide using their pinky fingers. So, test and see what works best.

Watch the video lesson for a whole host of other slide details, tricks and tips!

Lydian Mode: Part 1 - Harmony Analysis

2009-11-20T16:26:00.000-08:00

The scale structure and harmonic analysis of the Lydian Mode:

LYDIAN MODE:
Lydian is a seven tone scale found by creating tonic from the basic major scales' fourth degree. The result when analyzed, is a major tonality scale with a raised 4th step.

The 4th degree acts to produce a good deal of unstability in the scales structure. This can result in some difficulty for those new to the scales' sound in terms of resolving to tonic. The emotional effect of Lydian is often referred to as a, "moving away," feeling. This effect can take considerable time and practice to master.

Guitarist Joe Satriani is often credited with masterful use of the Lydian mode in his songwriting. His piece, "Flying in a Blue Dream," employs the use of Lydian mode from the outset of the song. Other pieces using Lydian mode include; "Maria," by Leonard Bernstein and, "Here Comes My Girl," by Tom Petty.

Guitar String Bending Technique

2009-11-20T16:23:00.000-08:00

This week a viewer has a question about string bending technique...

"I looked through all of your videos and could not find one about bending. Id like to see you do a video all about bending technique."
Thanks,
Doug - San Diego, CA. U.S.A.

Bending guitar strings with excellent technique, style and accuracy involves work on three important areas:

1). Bend Types: There are two categories here; Standard Bends and Pre-Bends. Each category has sub-categories, such as, (but not limited to), sustain and release concepts.

2). Pitch Accuracy: Bending a note to a wrong note is still a wrong note. However, tweaking notes out of pitch for short durations, (as in; 1/4 or 3/4 increments), can yield very interesting effects.

3). Practice Exercises: In order to achieve great results with bending, players need to practice various bend styles as well as, pitch accuracy.

The instructional video contains solid explanations of all of the above points.

Enjoy & Please consider following my Blog!
- Andrew Wasson

Guitar Theory: Voice Leading & Chord Inversions - Part 2

2009-11-13T16:31:00.000-08:00

In this second follow-up video to, "Music Theory: Chord Inversions," we will examine the actual use of inversions. This concept is generally reffered to as, "Voice Leading."

VOICE LEADING is the study of smooth chord connection and melodic bass lines. It is called voice leading, due to the fact that, just as in music for the voice, the individual lines, (or voices), of a harmony of a composition can lead, (or connect), smoothly by way of the nearest available tone.

Music Theory: Chord Inversions - Part 1

2009-11-13T16:24:00.000-08:00

There are five important concepts involving the proper learning of chord inversions, they are;
1). VOICING: The arrangement of the notes of a chord in vertical order above the bass note.
2). CHORD INVERSION: Voicing a chord tone other than the root in the bass.
3). INVERSION POSITION:
   a). ROOT POSITION: The voicing of a chord with the ROOT as the lowest tone (in the bass).
   b). FIRST INVERSION: A chord with the THIRD in the bass.
   c). SECOND INVERSION: A chord with the FIFTH in the bass.
4). HOW TO FIND ROOT POSITION OF AN INVERTED CHORD: To nd the root of an inverted chord when written on the staff you must rearrange the notes until they are stacked in 3rd intervals. The lowest note will be the root.
5). SLASH CHORDS: In modern musical notation, inverted chords are represented by the symbol, known as a slash chord.

Tapping Guitar Technique (Two-Hand)

2009-11-06T15:53:00.000-08:00

Andrew Wasson of Creative Guitar goes over the two-hand tapping guitar technique. Tapping usually incorporates pull-offs or hammer-ons, where the fingers of the fretting hand will play a sequence of notes in synchronization with the other hand (tapping hand).

The technique is often associated with Eddie Van Halen and his songs "Erruption" and "Hot for Teacher." Although many other styles of guitarists use this technique (including Acoustic players) it is mostly considered and associated with Rock guitar. And, it is almost always seen performed on an electric guitar with distortion.

Restringing an Acoustic Guitar

2009-11-06T15:42:00.000-08:00

Andrew Wasson from Creative Guitar Studio walks viewers through the removal and replacement of the strings on an acoustic steel string guitar.

Necessary Workshop products Include the Following:
Steel Wool & Woodwind Bore Oil

Bass Guitar Lesson: Part 2

2009-10-30T16:29:00.000-07:00

This lesson will help guitarists new to the world of bass and beginner to intermediate bass players perfect better plucking hand technique.

Guest instructor, "Steve Silver," discusses practice exercises for alternate finger picking development, double-stop and chord playing, as well as, Slap/Pop bass technique in the style of Victor Wooten.

Songwriting Series - Part 3

2009-10-30T16:27:00.000-07:00

In this video Andrew examines the solo composition concepts that can help guitarists create solid guitar solo sections in their songs.

To download a FREE jam-track of this songwriting example song's solo section, please follow the link below:
http://www.creativeguitarstudio.com/lessons/songwriting/songwriting_three.php

Songwriting Series - Part 2

2009-10-23T16:37:00.000-07:00

This lesson continues our songwriting series covering the analysis of various songwriting ideas used to create a typical pop/rock song.

In this video Andrew examines the scales that can help create strong melody lines for vocals or instrumental use.

To download an MP3 Jam Track for practicing the construction of your melodies, follow the link below:
http://www.creativeguitarstudio.com/lessons/songwriting/songwriting_two.php

Songwriting Series - Part One

2009-10-23T16:34:00.000-07:00

This video begins a three part series covering the analysis of various songwriting ideas used to create a pop/rock song.

The example piece was written by Andrew for the instructional series and contains several sections in it's layout.

In this video Andrew examines the songs key signature, use of harmony and the layout of harmony through the various sections of the piece.

To download a Powertab chart for this video lesson, follow the link below:
http://www.creativeguitarstudio.com/lessons/songwriting/songwriting_one.php

Guitar Technique: Harmonized Melodic Lines

2009-10-17T13:25:00.000-07:00

To Download the FREE jamtrack and Powertab file follow the link below:
http://www.creativeguitarstudio.com/lessons/guitar_theory/harmonized_lines.php

The act of harmonizing a melody is not at all difficult to do once you are aware of a few basic concepts.

1). Guitar players will need to know their key signatures, as well as the notes found in scales associated with the basic major and natural minor. These other scales include, but are not limited to the modes and the other common forms of minor; including the Harmonic and Melodic minor scales.

2). Learning the shapes of the various scales on the fingerboard is also quite an integral element of harmonizing melody lines. This knowledge allows the guitarist to be able to trace the interval of the harmony being followed. For example; if the guitarist wanted to track a series of third intervals through a key, the speed with which this could be accomplished would mostly be dependent upon their knowledge of scales on the neck.

3). Aside from a solid understanding of the full scale patterns, players must also understand individual interval shapes. The various shapes for 3rds, 5ths, 4ths, and octaves are quite similar around the fingerboard. However, new patterns are present between strings three and two. This is due to how the guitar is tuned and how the intervals alter between these strings.

To develop the ability to harmonize melodies is an important musical concept for guitarists to master. Obviously the key to success is practice, so download and study the examples below. Most importantly, write a melody of your own and work out a harmonized line. You might also like to consider recording it and composing an alternate interval idea to complement the primary and secondary lines.

Guitar Technique: How to Practice Scales

2009-10-17T13:22:00.000-07:00

To download the Handout and a FREE MP3 Jam Track simply follow the link below:
http://www.creativeguitarstudio.com/lessons/guitar_theory/how_to_practice_scales.php

How To Practice Scales:
STEP 1). I strongly suggest starting with a 4-5 day practice plan. Each day work on new keys and study the scales all over the fingerboard.

STEP 2). Memorize the layout of the scales pattern. Get the scale up to a level where you do not need to look at your handout papers.

STEP 3). After memorizing the scale, turn on a metronome. Work through several durations such as; Eighth's, Sixteenth's and Triplet variations. Constantly turn the metronome faster to improve your technique.

STEP 4). Move along the fingerboard up one shape and down the other. This combined verticle and horizontal practice will produce fantastic results when you turn your focus toward improvising and composing.

STEP 5). Apply scale sequencing to the scale shapes.

STEP 6). Work on creating melody with jam tracks.

STEP 7). Study the Pentatonic and Arpeggio shapes along with scales.

MUSIC THEORY: Understanding Key Signatures

2009-10-09T16:34:00.000-07:00

UNDERSTANDING KEY SIGNATURES:
When musicians talk of scales, or even a piece of music as being in a certain key; i.e., this song is in the key of, F Major... they are defining the key signature and tonality off of the tonic note, (the, tonic, is the key note of a scale), and the specific notes (and to a lesser extent the chords), found within the piece. The altered tones found in the scale are the signature, the tonality is the key's center, (or Key Center).

For example:
If we say a certain melody is in the key of
G Major, then the melody is made up
of notes from the, G Major, scale;
G, A, B, C, D, E, F#.

The tonic note, (or first note - key note), of the scale is; G, but the key center is G Major.

Key signatures are given at the beginning of a piece of music. They are shown as the appropriate sharps or flats on the staff for the prescribed key. The sharps and flats are indicated between the clef and time signature. When placed on the staff in this manner we call this the, Key Signature.

For more details on this post (including a FREE handout) follow the link below and visit the Creative Guitar Studio website for this lesson plan:
http://www.creativeguitarstudio.com/lessons/music_theory/key_signatures.php

GUITAR THEORY: The "CAGED" System

2009-10-09T16:28:00.000-07:00

Andrew Wasson of Creative Guitar Studio answer's a viewers question...

"I'm bored of the chords I know. I started doing a little research on chords and I found out you could play any one chord all over the neck. Then, I ran into something called The, CAGED," system and for the life of me, I cannot find a video lesson that explains it thoroughly.

I was wondering if you could do something on that topic. I'm sure many people would find this information very helpful, along with myself."

Thanks in advance,
Dan - Allentown, PA.

The "C.A.G.E.D. System" addresses the idea of how a set of five open position chords (many guitarists learn early on in their playing days) can be re-fingered and then moved-out along the entire fingerboard. This creates a series of chords based upon the originals which are completely movable.

An important second step with this idea is to examine how octaves operate inside these chord types. Once a student can understand how the octaves lay themselves out, then students can begin practice of scales and arpeggios as well as other types of chords using the framework initially established with the learning of the C.A.G.E.D. System.

- Andrew Wasson
Creative Guitar Studio

Comping & Hybrid Picking Rhythm Guitar Techniques

2009-10-02T17:59:00.000-07:00

Q: "I have played guitar for 3 years and strumming with a pick is all that I mainly do when it comes to the playing hand. I have tried strumming with my fingers but, I prefer a pick. I keep hearing of two techniques that do not make sense to me and none of my friends who play guitar around where I live know much about them, because they all do not use a pick.

The techniques are called the, Hybrid technique, and the, Comping technique. I have read a few things online and watched a few YouTube videos about each one, but since I trust your knowledge and teaching abilities above most others, (because you went to G.I.T.), I would really like to hear you explain each one of these in a video."

Thank you very much,
Hector - Cordoba, Argentina

A: It is important to take a good look at the techniques of Comping and Hybrid Picking together, since the two techniques play off of other. Plenty of demonstrations as well as practice exercises are discussed in my 17 min. video guitar lesson.

COMPING:
The comping technique has to do with accompaniment rhythm guitar. Made popular by jazz guitar players performing typical chord progressions that are encountered in most jazz tunes.

HYBRID PICKING:
When it comes to applications around Rhythm Guitar the Hybrid Picking technique works extremely well to fill in melodic statements during comping of the accompaniment performance of rhythm guitarists. The Hybrid approach also offers double-duty since it has amazing applications for very fast lines (that would sometimes be next to impossible to perform by flat-pick alone).

- Andrew Wasson

Guitar Technique: String Skipping

2009-10-02T17:34:00.000-07:00

Andrew Wasson of Creative Guitar Studio answers a viewers question...

From Mark: YouTuber; soblindwhobuddy

Q: "Would you be able to do a video on string skipping like the sweep picking video, (which I found incredibly helpful). I know there are other people with string skipping videos on you tube but the way you do your lessons, they always come across really well."

Kind regards,
Mark U.K.

A: When it comes to this technique I actually think of it in two different ways...

STRING CROSSING:
I think of, "String Crossing Technique," as going between two different strings, while performing non-repetitive melodic lines.

STRING SKIPPING:
I think of, "String Skipping Technique," as performing a repetitive pattern of notes for a riff in a song's section, (intro., verse or chorus melody. i.e., "Sweet Child of Mine").

The video lesson contains detailed information along with close-up views to help students better understand this information.

- Andrew Wasson

A Quick "Top 5" List of "Must Learn" Improvising Concepts

2009-09-25T16:25:00.000-07:00

Andrew answer's the question:

"I am totally stuck when it comes to improvising. I have spent a lot of time practicing scales and also learning about keys and Music Theory. I have also worked through several books that teach guitar licks all over the fingerboard. I have good technique, I have learnt how to play fast lines, tapping, sweep picking, etc. but, I still just cant seem to play a nice long melody during a solo. When I listen to top-notch players like Steve Vai or just good all around guitar players such as David Gilmour they seem to have a flow to their playing that I just cant seem to obtain. Can you please help me with a few tips on this topic."

Thank you,
Donald - Las Vegas, NV.

Andrew goes over a quick "Top 5" list of Improvising Concepts:

1). Learn scale patterns as well as octave templates. Practice for hours to gain a solid technique for them all over the guitar neck.

2). Listen to the solos of great guitar players, and try your best to understand their use of space and economy in their solos. Also, spend time listening to other instruments as well as vocal melody lines. Do a good deal of Transcription work also.

3). Understand that feelings and emotions play a huge role in developing solos that capture a listener’s attention. When you feel inspired... PLAY GUITAR!

4). Master the use of phrasing devices such as; slides, bends, legato, vibrato, double-stops, harmonics... etc.

5). Understand the relationships between scale degrees and the chords being performed at a given point in time. Work very hard at developing the ability to target specific notes as you play. It takes awhile to learn how to do well... but it's worth the effort once you begin to see the results!

Dorian Mode Masterclass - Part 3

2009-09-25T16:16:00.000-07:00

This video lesson will cover further analysis of the Dorian Mode. The focus of this video will be upon the appearance of non-functioning minor chords.

Reggae Guitar Lesson Style & Performance

2009-09-18T16:14:00.000-07:00

I have been asked to join a reggae band, but I have very little experience playing reggae guitar. I would like to know the following…

- What is the correct strum direction? Is it up or down, I’ve heard
differing opinions on this. Can you please clarify.

- When it comes to soloing what are the main scales that players
use in this style?

- Sometimes in Marley tunes I hear a muted scratch technique.
Can you please explain this technique.

- What are the main chord types used and how many strings are
usually played? Some of the songs I have to learn have thin
sounding chords, but other songs have very full sounding chords.

Any help you could give me on this subject would be very much appreciated including artists I should start paying attention to.

Thank you,
Jared from Flagstaff, Arizona U.S.A.

Andrew Wasson of Creative Guitar Studio covers "How to Play Reggae Guitar Style."

GEAR REVIEW: Acoustic Guitar Amplification

2009-09-18T16:10:00.000-07:00

Andrew Wasson of Creative Guitar Studio goes through his acoustic guitar rig in response to:

"I hope you can help me with my acoustic amplification. I have been playing amplified acoustic nylon string guitar at a few banquets and wedding ceremonies over this past summer. And, I have had poor results overall with amplifying my acoustic guitar. I play a Nylon String Yamaha CGX-171. It has a piezo pickup & a condensor mic with an built-in onboard pre-amp. I have tried playing it through a few rented Fender Acoustic amps; (the Fender Acoustasonic 30), which is a 30 watt amp with an 8 speaker. I also tried renting the Fender Acoustasonic Junior; which is a 40 watt amp with two 8 speakers and I even once rented the Fender Acoustasonic SFX II which is an 80 watt amp and has an 8 driver a tweeter and a 6 side-mount speaker.

While the Fender SFX-II sounded the best out of the bunch - overall the quality of my live sound (to me personally) still does not come across as very full and/or rich sounding. I was wondering if you could go over your acoustic guitar set-up and let me know what gear you use for doing your acoustic guitar gigs.

Thank you very much,
Donald Calgary, Alberta Canada

Andrew covers everything from passive transducers to his speakers, pre-amp and rack gear.

Common Jazz Situations

2009-09-11T16:31:00.000-07:00

Q: Can you give me a good idea of what is involved with learning to play jazz. I’ve read that there are common chord changes to jazz music and to get good at the style there are quite a number of chords to know. A video on what chords are important, as well as what chord progressions I can begin to practice would really help me a great deal.

- George

Andrew examines the most popular practice directions for practicing jazz chord types and voicings. He also explains what students new to the world of jazz guitar can do to develop a good sense of the popular chord progressions that are used in jazz music.

EAR TRAINING Level 1 - Memorizing Intervals

2009-09-11T16:25:00.000-07:00

Andrew answers this weekend's question about how to understand and practice relative pitch as well as the differences between Perfect Pitch and Relative Pitch...

Viewers Question:
Q: What is relative pitch - is it the same, or different than perfect pitch. Also, which one is best to learn as a guitarist and can you give any tips for practicing ear training techniques.

- Martin

A: Perfect Pitch is the ability to recognize the actual tonal name of a note from only hearing the given note being played; i.e., Knowing that a note just performed was actually an "Eb."

Relative Pitch is the ability to recognize the intervalic distance between two notes; i.e., Hearing an "F" note then hearing an "Ab" after one another, and knowing that the interval between them is that of a Minor 3rd.

IN THE VIDEO:
Andrew discusses the way musicians can develop a keen sense of relative pitch through a series of association exercises.

GUITAR THEORY: Scale Degrees and Modes

2009-09-04T15:36:00.000-07:00

Andrew answers this week's question from off of his website about how to memorize scale degrees and modal ideas...

1). What, if any, is a logical, expeditious way of memorizing scales and their degrees for both soloing and playing chord progressions.

2). How do modes work with chord progressions?

3). How can you mix modes with scales to create interesting improvisations over progressions?

- Christian

Music Reading: Reading a Notated Melody

2009-09-04T15:33:00.000-07:00

Andrew discusses the principles of reading a notated melody from off of the music staff. Included topics covered in the lesson are; Clef sign, Key Signature sign, Time Signature symbol, Note layout, pitch relationship to the guitar, and fingerboard concepts involved in learning to read music notation (no tab) on guitar.

Rhythm Guitar: 16th-Note Funk and Soca Grooves

2009-08-28T21:40:00.000-07:00

The response from Andrew Wasson of Creative Guitar Studio to;

"I have just started playing in my first band and I feel that my rhythm guitar skills are weak. Can you offer me any suggestions for what I can practice on to help my rhythm guitar get better. I have a pretty good idea of the general rhythms in music, like; eighths, sixteenths and triplets, but I find I have trouble maintaining the groove in a really smooth way through an entire song during a band rehearsal."

Thank you,
Anthony

Andrew discusses the way guitarists can quickly improve their rhythm guitar skills by applying sixteenth-note exercises, (such as those used in Funk & the Caribbean Soca music).

Music Reading: Understanding the Music Staff

2009-08-28T21:17:00.000-07:00

The response from Andrew Wasson of Creative Guitar Studio to;

Was hoping that you could help me with the topic of Music Reading.

I have absolutely no understanding of reading music. So, I will just go over what I have been researching so far...

- Ive learned that music is read off of the Music Staff.

- The staff is composed of 5 lines and 4 spaces.

- The lines are named from the bottom going upwards; E, G, B, D, F. (mnemonic = Every Good Boy Does Fine)

- The spaces are named again from bottom going up F, A, C, E (spelling the word FACE).

- There are 5 note durations:
Whole = 4 beats,
Half = 2 beats,
Quarter = 1 beat,
Eighth = 1/2 a beat
Sixteeth note... (but, I have no idea what it looks like or what it does).

This is all I know. Ive heard that the lines on the staff represent strings on the guitar. If so, how come there are six strings on a guitar and five lines on the staff.? And, if the lines are the guitar strings, what do the spaces on the staff represent?

I am having a very difficult time understanding this. I have been watching your videos and I am hoping that you could help me to understand all of this.

- Shane

Andrew discusses the principles of the music staff including; Clef sign, Key Signature sign, Time Signature symbol, Note layout, pitch relationship to the guitar, and fingerboard concepts involved in learning to read music notation on guitar.