If you want to learn your neck better (and faster), plus quickly learn how to memorize any new or any unique scales that you come across ...and how scales will sit along the fingerboard, then this lesson post is for you...
In this post we'll study how to plot a scale note for note /step by step along one guitar string, (YES, just one string). Doing this is easy if you simply follow a straight-forward 'fret by fret' approach. Obviously, this is exactly what happens when you’re studying a scale’s layout along one string. In this lesson post I’m going to use a rather unique scale called the, “Enigmatic.”Once we run through the process, you'll be able to apply this principle to any scale. WATCH THE VIDEO:
Music Theory study: The "Enigmatic" scale - note-layout:
Example #1). Single-String Scale Layout
Once you understand ANY scales note layout on the neck across one guitar string, (and you can retain it in your memory exactly where the notes fall on the fret-board), the next step is to understand how the scale can operate on two guitar strings within two of the guitar fingerboards’ neck regions. This will be a big break-through moment for you because it will involve taking a portion of the neck layout that you’ve become familiar with (from a single guitar string), and splice a section of the layout up to an adjacent guitar string. Here’s what that ends up looking like…
Example #2). Two-String Scale Layout
After you move a section of the scale you’re working on over to an adjacent guitar string, you can carry on doing this very same process with three strings and have the scale exist within a single fret-board region.
Example #3). Three-String Scale Layout
CONCLUSION: The bottom line is once you fully comprehend how a scale can operate along one guitar string, all you need to do is relocate a section of the scale over to another string and piece together how that scale segment will operate in another region of the neck. And, doing this is not only great for understanding the notes of a scale you’re studying, but it helps you improvise and helps you start to use the scale much faster.
VISIT THE WEB-SITE: I'd like to end the discussion by saying, thanks for joining me... If you want to learn more about what I do as an online guitar teacher, then head over to my website at creativeguitarstudio.com and sign up your FREE lifetime membership. Later on you can always upgrade to either a Basic, or the all access Premium lesson package and start studying all of the professionally organized guitar courses that I've created for the members of my website, (these courses include; hundreds of hours of video, detailed PDF hand-outs, and MP3 Jam-Tracks).
Also, I'd be interested to hear your thoughts on all of this in the comment section... if you enjoyed this video, please give it a thumbs up and subscribe for more on YouTube, (remember to hit the Bell icon, so you’re always notified of my latest up-loads). Thanks again and we'll catch up next week, for another episode of the, "Guitar Blog Insider."
Iron out your neck problems by studying how to re-locate melody patterns, lick and solos to other areas of the guitar fretboard. Seriously guys - Nobody does this enough on guitar ...
A lot of times in our guitar playing life people (usually teachers) will tell us to do certain things, yet we sadly for some reason, just don’t do them. Instead we ignore what our mentors suggest to us. Even when we know for a fact that what they suggested might be super valuable. Well, in this video I’m going to suggest a guitar practice idea, and I’m really hoping that you’ll actually do this - because it’s amazing for learning your guitar fingerboard and its equally amazing for learning how to iron-out melodic ideas and specifically how they can sit on the neck. WATCH THE VIDEO:
The practice suggestion that I have for you involves taking a melodic idea and then relocating that idea across the neck played as different fingerings. One fingering layout will relocate the part as a unison statement on the fingerboard. The other way is to relocate the part up or down an octave performing all the notes of the part into either a higher or a lower register.
We’re going to take the famous melody of the "String Quintet in E Major 3rd Movement" by Luigi Boccherini and using this famous piece, we're going to do this process. My suggestion to you is to start getting into a habit of doing this with a bunch of melodies that you already know. And then, do it with new melodies that you learn.
Do it for a while, (quite a while), at least until you start feeling comfortable with the whole process, (and until you can do it quite easily with any melody that you come across).
MIDDLE OF THE NECK:So, let’s start by learning this famous melody in the middle area of the guitar fingerboard… Exercise #1). Mid-Neck Placement
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LOWER NECK: Next, let’s take this melody into the lower fret-board region. This fingerboard area will not only change the frets where the melody is played, but it will also change the fingering patterns and the strings that are involved.
Doing this shift of the melody part will make it an excellent work-out for helping you better comprehend how a melody line can operate elsewhere on the guitars fingerboard. Exercise #2). Lower-Neck Placement
UP AN OCTAVE: The final idea that we’re going to study is how to take the melody up an octave.
One of the easiest things to do with a melody line when you want it up an octave higher is after you learn it near the head-stock area (on those lower fret-board region’s frets), you can play the exact same orientation of notes up past the 12th fret. The guitar repeats up an octave after the 12th-fret, so once you know how to play something between the open strings and the 5th fret region, you can quite easily move it up an octave without much issue at all.
Exercise #3). Upper-Neck Placement (up an octave)
CONCLUSION: As I stated at the very beginning of the video, it is all too common that we get told of something really valuable, (something that we should do that will help us), but we fail to act on the idea. In respect to an idea like this one, I can absolutely confirm that most players are not doing this enough on the guitar. There’s a ton of value in plotting melodic ideas across to other neck areas. It helps you better understand everything to do with; note location, with fret-board layout, and with how scales and intervals can move from one area to another. Once you can get really good at doing this work, it is absolutely incredible for your ability at playing melodies and guitar solos anywhere on the guitar fingerboard.
VISIT THE WEBSITE: If you'd like to Find Out What You Should Learn Next on Guitar - take a look at the courses over on my website at CreativeGuitarStudio.com My step-by-step; Beginner, Intermediate and Advanced courses will cover what you need to know, along with how to be able to move forward and become the best player that you can be. I've worked on these courses since 1992 and I feel that all together they're the best guitar program you'll ever find. The courses will help you learn to identify what's required to get you up to the next level of guitar playing, in a very organized way, that makes sense. I look forward to helping you further at CreativeGuitarStudio.com And, as always, if you enjoyed this lesson, please give it a thumbs up and subscribe for more on YouTube. Until next time, take care and we'll catch up again on the next video. Bye for now!
This lesson post covers some of the unique playing ideas that legendary L.A. session guitarist “Larry Carlton,” has applied to create both his incredible playing style and his unique sound and tone...
If you’re not too familiar with Larry Carlton, he’s one of the most recorded guitarists in history, with more than 3000 studio dates under his belt.
He has performed with everyone from “Steely Dan,” to “Michael Jackson,” to “Joni Mitchell,” and even music legend, “Quincy Jones.”
In the course of his career Carlton became recognized world-wide as one of the top studio musicians working in Los Angeles, California (the heart of the entertainment industry).
Larry Carlton has written music for both TV shows and for countless major Hollywood Movies. His credits are so abundant that his participation in so many big name studio sessions has resulted in more than 100 gold albums. WATCH THE VIDEO LESSON:
MELODIC CONCEPTS: Larry Carlton uses a number of interesting melodic and harmonic ideas to produce the chord progressions and melody lines used in his playing and composing style.
In this session, we’re going to start with one of his trademark scale ideas that involves playing matched tonality pentatonic scales off of the fifth degree of the chord in use. For example, if there was an “A Major7” chord in a song (that Carlton was soloing over), he’d more than likely grab for the, “E Major Pentatonic” scale to cover that chord.
Most of us would just play the sounds of, "A Major" style scales, (such as the, "A Major IONIAN" or the "A Major Pentatonic"), if we needed to cover the sound of an "A maj7" chord... But, not Carlton.
Rather than just use the obvious choice, “A Major” scale (like many other guitarists would use), the Carlton approach offers a number of new melodic directions due to a new alignment of intervals. Let’s test this principle out using an example of this concept being applied upon a static chord vamp on, "A Major 7th." Example #1). “E” Maj. Pent. over “Amaj7”
CHORD HARMONY: Next, let’s check out a chord harmony idea that Carlton will often use when he’s writing his own material for one of his solo albums. He really enjoys using a blended key center concept that’s referred to as, “Modal Interchange.” If you're not too familiar with Modal Interchange, watch my free, "Modal Interchange" video lesson that's available on YouTube.
In this style of harmony we find that the chords used will actually exist in both the major and the minor key through the sharing of the same tonic note. For example, we could have a progression that begins on an “A Maj7” chord, but then the next chord in the progression could show up as an “Em7.” If you know and understand key signature theory, you’ll realize right away that “Em7” doesn’t exist in the key of “A Major.” It’s found from within the key of “A Minor.” However, even though this chord doesn't "fit," when it is used within the same chord progression, things end up sounding pretty cool. Let me play you an example of how something like this sounds… Example #2). Modal Interchange Progression
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CONCLUSION: Larry Carlton is without a doubt a highly prominent figure to guitar players of the 70’s and 80’s. And, his solos on Steely Dan songs like, “Kid Charlemagne,” were still considered some of the standard must-learn pieces we were learning when I was studying guitar at GIT back in 1991. What is so interesting about Larry Carlton is that, it wasn’t just his style, it was also his sound. It was silky smooth when it needed to be and it had just the right amount of crunch when he wanted some over-drive included. His guitar tone is really something to be reckoned with. So, when it comes to his gear it’s actually quite surprising how basic he’s kept things over the years… In respect to his guitars, Carlton is best known for his 1969 Gibson ES-335.
Other guitars that he owns and plays include a; 1954 Fender Telecaster along with a 1962 Fender Stratocaster...
He also owns a 1955 Gibson Les Paul Special...
When it comes to amps, he’s kept things pretty basic over the years in that department as well, with him either playing through a Fender Vibrolux...
or his standard setup which includes a custom Dumble amplifier.
VISIT THE C.G.S. WEB-SITE: Well, I'd like to end the discussion by saying, thanks for joining me... If you want to learn more about what I do as an online guitar teacher, then head over to my website at creativeguitarstudio.com and sign up your FREE lifetime membership... Later on you can always upgrade to either a Basic, or a Premium lesson package and start studying all of the professionally organized guitar courses that I've organized for the members of my website... Also, I'd be interested to hear your thoughts on all of this in the comment section... if you enjoyed this video, please give it a thumbs up and subscribe for more on YouTube, (remember to hit the bell). Thanks again and we'll catch up next week, for another episode of the, "Guitar Blog Insider."
NEW The twelfth lesson of "Rhythm Guitar" covers Country Strum Patterns. Examples of the most common country guitar strums are introduced. Alternate bass notes and accent lines are the focus. The lesson twelve material is organized around 3/4 and 4/4 time with examples of ballad strumming, alternate bass, back beat accenting and faster strumming with 16th-notes. There's also a section dedicated to the application of moving bass lines.
A bonus for BASIC and PREMIUM web-site members are the (9) MP3 play-along tracks that will help with learning each rhythm example.
Paid Web-site members (BASIC and PREMIUM), can watch the associated video lessons and download the detailed PDF handout, along with the MP3 clap /strum play-along tracks...
Join the member's areato download the PDF handout and MP3's. Study all of the examples with full access to both video lessons. Be sure to spend some additional time on learning the "Rhythm Jam Challenge" piece that I performed at the start of the lesson in the "Part One" video...
PART ONE (free on YouTube):Example one explores ballad strumming in the country feel. This "waltz style" application focuses on the most common chord harmony used in the country style, (the "I-IV-V").
This time signature of example one is 3/4 waltz time. It also applies the popular country music, "alternate bass-note" process of playing the chords "root" into the chords third or fifth degree. PART TWO:In example two, the rhythmic feel changes from 3/4 to common time (4/4) with a back-beat accent applied through an emphasis of the up-beat of two.
PART THREE:
In example three, a steady sixteenth-note groove is applied with traditional country music style alternate bass.
The feel is steady and consistent with down - up alternate strumming leading the way across a consistent beat that incorporates root and fifth bass tones in the key of "C Major."
PART FOUR:In example four, an eighth-note country strum pattern also adds a moving bass line that incorporates both alternate bass as well as, a melodic scale runs that connect one measure to the next.
The example four strum pattern applies chord shot emphasis upon the up-beat of both "1" and "2." However, around these chord shots are also follow-up melodic phrases that connect each measure.
Learn how to create your own "personal rating system" for acoustic guitars - so that what you end up playing /buying is right for you...
Acoustics come in (2) two main types, the classical, and the steel-string acoustic. But, choosing a guitar will depend upon a number of factors. This post is designed to both help you rate the type of instrument for the type of playing you enjoy, as well as, address the level of guitarist that you are right now. Armed with that information, you can go forward and match the "correct" acoustic guitar for your personal playing style and the specific playing level your at along with the right price point. WATCH THE VIDEO:
First, let’s break down guitar types:
Classical (Acoustic) Guitars: The classical guitar is built to use plastic guitar strings only, (stringing one with steel would damage these guitars). The classical is generally constructed with a smaller body size, using a deep sound chamber. They also will tend to not come with any built-in electronics (for plugging them into an amp, or into a PA).
What Classical Guitars do offer, is easy playing action, and a wider neck for an easier time playing the basic chords, (making classical an excellent guitar for beginners). Plus, the Classical Guitars wider neck also makes these instruments fantastic for doing finger-plucking (as would be the case if you were studying a more classical guitar finger-picking repertoire).
NYLON STRING GUITARS: Another name for 'classical guitars' is that of also calling them “nylon string” guitars. Although these two names are often used inter-changeably, the classical is generally thought of as the standard regular body without any electronics, and the nylon is the guitar type that often (but not always) has a cut-away body, and includes electronics for amplification.
The classical /nylon design of guitars range in price from as low as, $120 to well over $9000. And, their price point depends largely upon the guitars; build quality, the types of woods used in the construction, as well as the quality of the; tuners, the nut, and the design and build of the bridge and saddle. When playing these types of acoustic guitars, (for the most part), we do not use a guitar pick. Instead, we play them with our fingers. The structural design of these guitars tends to promote players sitting down when playing them, (rather than standing).
The classical /nylon string's wider neck and lower tension creates an easier time for making chords. Since these guitars are not restricted to just playing classical music, if you string them with normal tension nylon strings, they make an excellent guitar that’s perfect for beginners.
Next, let’s jump into the world of “Steel-String” guitars. Steel-String Acoustic Guitars: This category of guitar is also part of the acoustic family. And, just like the classical, the body of an acoustic steel-string uses an open / hollow acoustical chamber for naturally amplifying the sound you create from the instrument.
These guitars can cost between $130 up to way over $10,000. Yes, you heard that right! The new Martin “OM-Arts and Crafts,” has a price tag of over $11,000 dollars! Rating the differences between a guitar that costs $130 to a guitar that costs 100x that amount is like trying to compare the build of a $12,000 Nissan Versa sedan, to a $13 Million dollar Rolls Royce Sweptail. The fit and finish, the amount of time that goes into the assembly and the quality of every piece involved in the construction all plays a big factor in where the costs come from. But, guaranteed, the $11,000 guitar has an incredible dedication to detail that the $130 guitar simply won’t have.
Your Guitar Rating System: We need to constantly evolve our own personalized guitar rating system, because not all of us will be walking into a music store ready to buy a guitar that costs over $11,000. You’ll need to determine your price point, and what you’re willing to spend to get the guitar that will be best for you at your stage of playing. Are you a beginner, or are you an intermediate player? Or, perhaps you've played awhile now and you’re more advanced. In that case, (more advanced) you’ll be looking for different quality and builds of guitars. These points are a particularly serious factor in your rating system. Plus, you’ll need to spend time playing a lot of different types of guitars before you buy. You might think that a $300 guitar is maybe too low priced for you, until you so happen to pick-up that one $300 acoustic and fall in love with the action and the tone. You’re going to have to play a lot of guitars before you actually zone into what is going to offer you’re your highest rating for what you like the feel and the sound of.
CONCLUSION: Armed with all this information, you should now be fully capable of going shopping for a classical or nylon string guitar and be able to rate it from a scale of 1 to 10 with respect to how it fits your individual playing needs.
In developing your personal rating system for acoustic guitars, I want to leave you with one last group of ideas to consider. The first being wood used in the construction. TONE WOODS: The most common are; Spruce, Cedar, Mahogany, Maple and Rosewood. As you’re developing your rating system, be sure to try out these different woods and determine which ones appeal to you the most.
click the above image to enlarge full-screen
BASIC OR ELECTRIC /ACOUSTIC: Next, is deciding whether or not to go with a plain acoustic guitar, or an acoustic-electric guitar. The electronics will certainly add more cost, but if you won’t use the electronics on a regular basis, it might be best to skip that set-up. GUITAR BRANDS: The next area for your rating system would fall under brands. You might determine that a Martin, or a Yamaha is the right make for you. Or, maybe not... Maybe Taylor’s or Gibsons are the right maker and those are going to be the brands for you. Perhaps, you play an Ovation and determine that make and that style is the best for you. Regardless, you’ll need to try out a number of guitars before you settle on the brand that you decide you like the best.
SHAPE and HARDWARE: The final area of establishing your rating system is going to be learning to zero in on your personal favorites when it comes to everything relating to the shape and the guitar’s build hardware. This includes; the feel and shape of the neck, the tuning machines, the fingerboard design, and the woods and electronics from the guitars nut all the way down to the bridge. You’ll want to become familiar with what sound you personally enjoy the most. Whether that’s a playing comfort thing, or a resonance thing, where you decide you like mahogany better than spruce. Or, you like a rosewood bridge over an ebony bridge. After some time, you’ll make a lot of detailed distinctions about the build and the hardware. These personal distinctions will play a huge factor in your rating system for the guitars that you’ll consider purchasing over the years ahead.
VISIT THE WEB-SITE: Thanks for joining me, If you'd like to Find Out What You Should Learn Next on Guitar - take a look at the courses over on my website at CreativeGuitarStudio.com. My step-by-step; Beginner, Intermediate and Advanced courses will cover what you need to know, along with how to be able to move forward and become the best player that you can be. I've worked on these courses since 1992 and I feel that all together they're the best guitar program you'll ever find. The courses will help you learn to identify what's required to get you up to the next level of guitar playing, in a very organized way, that makes sense. I look forward to helping you further at CreativeGuitarStudio.com As always, if you enjoyed this video, please give it a thumbs up and subscribe for more, until next time, take care and we'll catch up again on the next video. Bye for now!
