Monday, February 21, 2011

Arpeggios

First off, an arpeggio is defined as playing chord one note at a time. This is true, but you when you're done here, you wont think of them a chords, but as tools to use to spice up your solos and such.
Chord Construction.
This is a must when learning arpeggios. Chord construction refers to intervals used to make chords. Example: When you see (1 3 5) that means you use the root, the third and fifth of the major scale. If you see (1 b3 5) it is still the major scale. That being said, know your major scales! Even if its numbers that are above 7 (major scale is 1 2 3 4 5 7 1), it is infered that:

9  = 2
11 = 4
13 = 6

Just subtract 7. The Chords.
Notes in brackets are optional, but make the arpeggio sound better.

Major: 1  3 (5)
Minor: 1 b3 (5)
Aug:   1  3 #5
Dim:   1 b3 b5
dom7:  1  3 (5) b7
Maj7:  1  3 (5)  7
m7:    1 b3 (5) b7
Aug7:  1  3 #5  b7
Dim7:  1 b3 b3  bb7
m/maj7:1 b3 (5)  7
m7b5:  1 b3 b5  b7
m7#5:  1 b3 #5  b7
m7b9:  1 b3 (5) b7 b9

With those arpeggios, you should have a great start. Applying These To Make Arpeggios.
By now, you're probably itching to play. So, I'll start with C for simplicity.

Intervals... 1 2 3 4 5 6 7 1
Cmaj Scale:  C D E F G A B C
Cmaj Arpeggio: C E (G)

Cmin:   C Eb (G)
Aug:    C E   G#
Dim:    C Eb  Gb
dom7:   C E  (G) Bb
Maj7:   C E  (G) B
m7:     C Eb (G) Bb
Aug7:   C E   G# Bb
Dim7:   C Eb  Gb Bbb/A
m/maj7: C Eb (G) B
m7b5:   C Eb  Gb Bb
m7#5:   C Eb  G# Bb
m7b9:   C Eb (G) Bb Db

Playing Those Arpeggios.

C                   Cm                  Caug 
|-------------------|-------------------|---------------|
|---------------(8)-|---------------(8)-|-------------9-|
|-----(0)-----9-----|-----(0)-----8-----|-----1-----9---|
|---2------10-------|---1------10-------|---2----10-----|
|-3-----------------|-3-----------------|-3-------------|
|-------------------|-------------------|---------------|

  Cdim            C7                      Cmaj7
|---------------|---------------------6-|---------------------7-|
|-------------7-|-----------------(8)---|---------0-------(8)---|
|-----------8---|-----(0)-3-----9-------|-----(0)-------9-------|
|---1-4--10-----|---2--------10---------|---2--------10---------|
|-3-------------|-3---------------------|-3---------------------|
|---------------|-----------------------|-----------------------|


  Cm7                     Caug7
|---------------------6-|-----------------6-|
|-----------------(8)---|---------------9---|
|-----(0)-3-----8-------|-----1-3-----9-----|
|---1--------10---------|---2------10-------|
|-3---------------------|-3-----------------|
|-----------------------|-------------------|


  Cdim7                Cm/maj7
|--------------------|-------------------7-|
|---------------7-10-|---------0-------8---|
|-------2-----8------|-----(0)-------8-----|
|---1-4----10--------|---1--------10-------|
|-3------------------|-3-------------------|
|--------------------|---------------------|


  Cm7b5                Cm7+5
|--------------------|--------------------|
|---------------7-11-|---------------9-11-|
|-------3-----8------|-----1-3-----8------|
|---1-4----10--------|---1------10--------|
|-3------------------|-3------------------|
|--------------------|--------------------|


  Cm7b9
|--------------------------9-|
|-----------2-------(8)-11---|
|-----(0)-3-------8----------|
|---1----------10------------|
|-3--------------------------|
|----------------------------|
Inversions.
An inversion is when the root note is not the lowest note of the arpeggio. A 1st inversion is when the third note is the first note, a 2nd inversion is when the fifth is played first, and when dealing with arpeggios with a seventh, playing the seventh first is the 3rd inversion.

Em7

 Root note     1st Inv        2nd Inv      3rd   Inv
|-------7--10-|----7--10--12-|------------|---------------|
|----8--------|-8------------|----------8-|---------------|
|-9-----------|--------------|----7--9----|---------------|
|-------------|--------------|-9----------|-------5--9----|
|-------------|--------------|------------|-5--7----------|
|-------------|--------------|------------|---------------|

written by slash_pwns
http://www.ultimate-guitar.com/lessons/the_basics/arpeggios_guide_part_1_-_learn_your_arpeggios.html


Soloing and the Pentatonic Scale

If you have gotten the basics of guitar playing down, then I'm sure you'd like to learn something about leadwork. Now, before you go off and try to learn all those fancy harmonics and modes, try to start with the simplest scale; the Pentatonic. PENTAtonic, because it is actually only made of five different notes. Easy, huh? It's very prominent in classic hard rock, bluesy rock (although the Pentatonic Blues Scale is better for that), and is great for creating simple riffs and solos.

Let's start with an easy one: the E Minor Pentatonic (E G A B D). Here is the simple box form for it:

e|O|-|-|X|
B|X|-|X|-|
G|X|-|X|-|
D|X|-|O|-|
A|X|-|X|-|
E|O|-|-|X|

From left to right, that would be Open, 1st, 2nd, and 3rd frets. The circles are the root note (E). The X's are the other notes in the scale. Now, you may be thinking "Five notes? No, that's twelve!". In a way, you're right. But no; it is five notes. When you

written by msu_man04
http://www.ultimate-guitar.com/lessons/for_beginners/easy_guide_to_the_minor_pentatonic_scale.html


Everything You Need to Know About Chords

1. Intro

Basically all a chord is is 3 or more notes played at the same time through strumming (as I’m sure you know, strumming is just when you brush your pick over the strings of a stringed instrument to make a sound). Dictionary.com calls a chord “a combination of three or more pitches sounded simultaneously.” Now that you know what chords are, it’s time to learn the chords, but first, you must learn how to read chord charts.

2. How to read chord charts

In this lesson, I’m gonna make my own chord charts so I can tell you exactly how you should play them (at least how I feel you should play them). The chord charts will look like this:

0  1   2   3   4   5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

In case your not aware, the letters to the left of the chart are the note names of the strings. The little e is the highest string (skinniest) and the big E is the lowest string (the thickest). And then all the letters in between are the strings in between. Just think of it as reading tabs just slightly altered. Here is what everything symbolizes:

0  1   2   3   4   5 <-fret #’s (the 0 is an open string)

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
   ^---^-frets   ^---^-space in between frets
^ strings

Here’s an example of a chord:

C7

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|---|-4-|---|---|
D|-|---|-2-|---|---|---|
A|-|---|---|-3-|---|---|
E|x|---|---|---|---|---|

The C7 above the chart is the name of the chord. The 1, 2, 3, and 4 on the chord chart tells you what finger to put on the certain string. The number 1 is your index finger, 2 is your middle finger, 3 is your ring finger, and 4 is your pinky. The “o” in the 0 fret column means the string is played open, or you don’t put a finger on the string but you play it anyway. The “x” in the 0 fret column means you don’t put a finger down on that string but you don’t play that string either. You can either just not pick it or mute it by partially laying a finger down on the string. You can either lightly place a finger on the muted string with a finger that is already pushing down another string (in this case it would be the 3rd finger on the A string) or place your thumb barely on the muted string by bringing it over the neck and lightly touching the string.

3. Basic open chords

There are 8 “basic” open chords. I’m sure you know, but there are more than 8, but 8 of them are the major and minor chords, and we’ll call the major and minor chords the “basic” ones. Alrighty then, it’s time to learn the basic open chords (note: not all of these chords are how I play them, but it’s how you should play them in the most economical way). We’ll start with the major ones:

A

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|-|---|-4-|---|---|---|
G|-|---|-3-|---|---|---|
D|-|---|-2-|---|---|---|
A|o|---|---|---|---|---|
E|x|---|---|---|---|---|

           C    

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|o|---|---|---|---|---|
D|-|---|-2-|---|---|---|
A|-|---|---|-3-|---|---|
E|x|---|---|---|---|---|

           D

  0  1   2   3   4   5

e|-|---|-2-|---|---|---|
B|-|---|---|-3-|---|---|
G|-|---|-1-|---|---|---|
D|o|---|---|---|---|---|
A|x|---|---|---|---|---|
E|x|---|---|---|---|---|

  E

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|o|---|---|---|---|---|
G|-|-2-|---|---|---|---|
D|-|---|-4-|---|---|---|
A|-|---|-3-|---|---|---|
E|o|---|---|---|---|---|

           G

  0  1   2   3   4   5

e|-|---|---|-4-|---|---|
B|-|---|---|-3-|---|---|
G|o|---|---|---|---|---|
D|o|---|---|---|---|---|
A|-|---|-1-|---|---|---|
E|-|---|---|-2-|---|---|

Ok, these are the major open chords. If a chord doesn’t have anything after it’s main letter (like in the C chord, it is just C, not Cm or Cm7 or Cadd9 or something like that) then it’s a major chord. Ok, time to learn the minor open chords. They are:

Am

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|-|-2-|---|---|---|---|
G|-|---|-4-|---|---|---|
D|-|---|-3-|---|---|---|
A|o|---|---|---|---|---|
E|x|---|---|---|---|---|

          Dm

  0  1   2   3   4   5

e|-|-1-|---|---|---|---|
B|-|---|---|-3-|---|---|
G|-|---|-2-|---|---|---|
D|o|---|---|---|---|---|
A|x|---|---|---|---|---|
E|x|---|---|---|---|---|

          Em

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|o|---|---|---|---|---|
G|o|---|---|---|---|---|
D|-|---|-2-|---|---|---|
A|-|---|-3-|---|---|---|
E|o|---|---|---|---|---|

Hey! Why is there an “m” after every chord name? Well, that signifies that the chord is a minor chord. So if you see a chord that is an A but has an m after it, making it “Am”, then, you know that the chord is an Am chord. Got it?

4. Basic barre chords

Well, this segment is probably going to be a challenge to write so you can understand it. A barre chord (pronounced “bar”) is just a chord that uses your whole index finger to press down, or “barre” down, 5 or 6 strings so that your other 3 fingers can play other notes (told you this was hard to explain!) The beauty of barre chords is that they have a few basic shapes, and you can move those shapes up and down the fretboard to get different chords and different sounds, opposed to open chords which can only can played in one position. Just a note, but try using the bony inside part of your index finger to barre the chord down and give you a better sound. Ok, first, you’re going to learn your 5 string barre chords.
There are 4 main shapes to 5 string barre chords: the major, minor, seventh, and minor seventh positions. You’re only going to learn the major and minor positions in this lesson though, seeing to which the 7 and m7 (seventh and minor seventh) positions aren’t used very often, and especially aren’t used very often in the type of music we might play together. Here are the 2 shapes:

5 string major barre chord shape

  0  1   2   3   4   5

e|-|---|-1-|---|---|---|
B|-|---|---|---|-4-|---|
G|-|---|---|---|-3-|---|
D|-|---|---|---|-2-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

5 string minor barre chord shape

  0  1   2   3   4   5

e|-|---|-1-|---|---|---|
B|-|---|---|-2-|---|---|
G|-|---|---|---|-4-|---|
D|-|---|---|---|-3-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

Wait a second, darn it! That looks just like the A and Am chords, just moved down the fretboard! What the poo is happening here? Yes, you are right. The 5 string major and minor barre chord positions are just the A and Am chords moved down the fretboard. In this case, they are just moved down 2 positions to make a B and Bm chord. But, how did I figure that out? Look closely at the fretboard:

0  1   2   3   4   5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

It has 6 strings, all which have their own note names and sound different from other strings. So, that must mean that each fret has its own note name, too. If you take a string (in this case, let’s take the A string since it is the beginning of the music alphabet, A-G#) and move 1 fret down the fretboard, then you have another note. So, from the open A string to the first fret, you have a difference of one note, from A to A#. Then, from the 1st fret to the 2nd fret, you have from A# to B. Then from B to C (in the musical alphabet, there is no B#/Cb or E#/Fb. Don’t know why, don’t ask why). Anywho, borrowing that knowledge, here’s is what the fretboard looks like through 5 frets:

0  1    2    3    4    5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

Now, as I’m pretty sure you haven’t noticed, every chords root note (like in G the root note would be G, and in Am the root note name would be A) is also the lowest note in the chord. Like in the G chord:

0  1   2   3   4   5

 |-|---|---|-G-|---|---|
 |-|---|---|-D-|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
 |-|---|-B-|---|---|---|
 |-|---|---|-G-|---|---|

Or in the Am chord:

  0  1   2   3   4   5

e|o|---|---|---|---|---|
 |-|-C-|---|---|---|---|
 |-|---|-A-|---|---|---|
 |-|---|-E-|---|---|---|
A|-|---|---|---|---|---|
E|x|---|---|---|---|---|

The bolded notes are the root notes of the chords. Almost every chord’s root note is also the same as it’s name (except in slash chords, and we’ll get to those later). The same goes for barre chords. Let’s look at the 5 string barre chord examples I used earlier:

0  1   2   3   4   5

e|-|---|-1-|---|---|---|
B|-|---|---|---|-4-|---|
G|-|---|---|---|-3-|---|
D|-|---|---|---|-2-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

  0  1   2   3   4   5

e|-|---|-1-|---|---|---|
B|-|---|---|-2-|---|---|
G|-|---|---|---|-4-|---|
D|-|---|---|---|-3-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

Now, let’s also look at their notes:

0  1   2   3   4   5

 |-|---|-F#|---|---|---|
 |-|---|---|---|-D#|---|
 |-|---|---|---|-B-|---|
 |-|---|---|---|-F#|---|
 |-|---|-B-|---|---|---|
 |x|---|---|---|---|---|

  0  1   2   3   4   5

 |-|---|-F#|---|---|---|
 |-|---|---|-D-|---|---|
 |-|---|---|---|-B-|---|
 |-|---|---|---|-F#|---|
 |-|---|-B-|---|---|---|
 |x|---|---|---|---|---|

The first chord (due to its root being a B and it being in a major barre chord shape) is a B chord. And the second chord (due to its root being a B and it being in a minor barre chord shape) is a Bm chord. You can also make these chords into C and Cm chords (although you should play the C in the open chord way) by simply moving the chords down the fretboard. Here is what they would look like:

C (barre chord style)

  0  1   2   3   4   5

e|-|---|---|-1-|---|---|
B|-|---|---|---|---|-4-|
G|-|---|---|---|---|-3-|
D|-|---|---|---|---|-2-|
A|-|---|---|-1-|---|---|
E|x|---|---|---|---|---|

          Cm

  0  1   2   3   4   5

e|-|---|---|-1-|---|---|
B|-|---|---|---|-2-|---|
G|-|---|---|---|---|-4-|
D|-|---|---|---|---|-3-|
A|-|---|---|-1-|---|---|
E|x|---|---|---|---|---|

And, these are C and Cm chords for 2 reasons:1. They are in either a major barre chord shape or a minor barre chord shape
2. They have a C root note
Ok, now on to 6 string barre chords! Here are the 2 basic 6 string barre chord shapes, major and minor. Like 5 string barre chords, 6 string ones also use a certain open chord shape but just move it down the fretboard. In this case, it is the E and Em chords. Here’s what they look like:

6 string major barre chords

  0  1   2   3   4   5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|-2-|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

6 string minor barre chords

  0  1   2   3   4   5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|-1-|---|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

If you look at the notes again, you will see that the root notes of both of those chords is F. So, that means that the chords are F and Fm. Here’s another example:

G

  0  1   2   3   4   5

e|-|---|---|-1-|---|---|
B|-|---|---|-1-|---|---|
G|-|---|---|---|-2-|---|
D|-|---|---|---|---|-4-|
A|-|---|---|---|---|-3-|
E|-|---|---|-1-|---|---|

          Gm

  0  1   2   3   4   5

e|-|---|---|-1-|---|---|
B|-|---|---|-1-|---|---|
G|-|---|---|-1-|---|---|
D|-|---|---|---|---|-4-|
A|-|---|---|---|---|-3-|
E|-|---|---|-1-|---|---|

The root notes of these chords is a G. So, these are G and Gm chords. Once again, play the G like I said above, not like it is in this barre chord example. Here are all of the basic major and minor barre chords:

B        

  0  1   2   3   4   5

e|-|---|-1-|---|---|---|
B|-|---|---|---|-4-|---|
G|-|---|---|---|-3-|---|
D|-|---|---|---|-2-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

           F

  0  1   2   3   4   5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|-2-|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

          Bm

  0  1   2   3   4   5

e|-|---|-1-|---|---|---|
B|-|---|---|-2-|---|---|
G|-|---|---|---|-4-|---|
D|-|---|---|---|-3-|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

          Cm

  0  1   2   3   4   5

e|-|---|---|-1-|---|---|
B|-|---|---|---|-2-|---|
G|-|---|---|---|---|-4-|
D|-|---|---|---|---|-3-|
A|-|---|---|-1-|---|---|
E|-|---|---|---|---|---|

          Fm

  0  1   2   3   4   5

e|-|-1-|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|-1-|---|---|---|---|
D|-|---|---|-4-|---|---|
A|-|---|---|-3-|---|---|
E|-|-1-|---|---|---|---|

          Gm

  0  1   2   3   4   5

e|-|---|---|-1-|---|---|
B|-|---|---|-1-|---|---|
G|-|---|---|-1-|---|---|
D|-|---|---|---|-4-|---|
A|-|---|---|---|-3-|---|
E|-|---|---|-1-|---|---|

Remember! Try to barre these chords with the bony inside of your left hand index finger. It will be very hard at first, but you get used to clamping it down after a while and it will become easier, just keep practicing. Also remember that you can make any chord by simply taking one chord shape and moving the chord farther down the next. You can make a Gm by just taking the Em shape and moving it 3 positions down the fretboard and making the Gm.





5. Other ways to view chords

If you know all the ways to view chords then just skip to section 6. Now, these chord charts are not the only way to view chords. There are a few other ways. You can read them through what I call the “straight line” chord chart which looks like this:

0
1
0
2
3
x

This chord would be a C chord. Look closer. The numbers represent which fret to press down. Here’s a guide to realizing what they mean:

e 0 <- play this string open (highest sounding string)
B 1 <- put your finger on the 1st fret
G 0
D 2 <- put your finger on the 2nd fret
A 3 <- put your finger on the 3rd fret
E x <- mute or don’t play this strong (lowest sounding)

This guide will not tell you which finger to press down each fret with, but it really doesn’t matter which finger you put on each fret as long as you have the chord sounding right. Ok, another way is just through tabs. It will look basically the same as the way represented above but with all the lines that tab has:

|-0-|
|-1-|
|-0-|
|-2-|
|-3-|
|---|

The only difference between this way to view chords and the way shown above is that tab normally doesn’t show an x if your not supposed to play something.

6. Power chords

Power chords are the basis of rock music. It’s hard to find a rock song that doesn’t have at least one power chord in it. Power chords are made to sound big with little or no distortion. Power chords have 1 basic shape. The shape looks like this:

|---------------|
|---------------|
|---------------|
|-2--3--4--5--6-| and so on down the fretboard
|-2--3--4--5--6-|
|-0--1--2--3--4-|

There are also power chords that use the ADG strings. They look like this:

|---------------|
|---------------|
|-2--3--4--5--6-|
|-2--3--4--5--6-| and so on down the fretboard
|-0--1--2--3--4-|
|---------------|

To play power chords (the Kurt Cobain way), you put your 1st finger (index) by the fret that is the lowest sounding and your 3rd finger (ring) on the two frets that are the same. Like this:

I = Index
M = Middle
R = Ring
P = Pinky

  0  1   2   3   4   5 
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|-R-|---|---|
A|-|---|---|-R-|---|---|
E|-|-I-|---|---|---|---|

Another very common (probably the most common) way to play power chords is with your 1st (index), 3rd (ring), and 4th (pinky) fingers like this:

0  1   2   3   4   5
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|-P-|---|---|
A|-|---|---|-R-|---|---|
E|-|-I-|---|---|---|---|

Pretty simple, huh?

7. Octaves

Octaves are a lot like power chords, but you just mute the string between the top and bottom strings your playing. Octaves are just two of the same notes, only one note is higher than the other. Octaves look like this. Played on the EAD strings (rarely played on these strings):

|---------------|
|---------------|
|---------------|
|-2--3--4--5--6-|
|-x--x--x--x--x-|
|-0--1--2--3--4-|

They also are played on the ADG strings like this (mostly played on these strings):

|---------------|
|---------------|
|-2--3--4--5--6-|
|-x--x--x--x--x-|
|-0--1--2--3--4-|
|---------------|

The "x" you see means that you mute that string so you can barely hear it. You mute this string with your 1st finger by laying it over the string that needs to be muted. You then play the highest string with your 3 finger. If you look at what the notes on the frets your playing are, then you'll find that they are the same notes, only one note is higher than the other. This example should show you:

|---|      |---|              |---|      |---|
|---|      |---|              |---|      |---|
|-2-|  or  |-A-|    also...   |-9-|  or  |-E-|
|-x-|      |-x-|              |-x-|      |-x-|
|-0-|      |-A-|              |-7-|      |-E-|
|---|      |---|              |---|      |---|

Here’s a better way to look at them. A C octave would use these chords then mute the string in between:

0  1    2    3    4    5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

And an F octave would look like this:

0  1    2    3    4    5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

8. Slash chords

The most common chords that don’t have a root note that is the same as the rest of the note. In fact, that’s what makes them slash chords. They are called slash chords because they have a “/” in them basically. Yeah, don’t really know why that happened, but oh well. Ok, now I will better explain them.
Slash chords are just normal chords that have a different bass note in them, or root note. The letter to the left of the slash is the chord shape your supposed to play and the letter to the right of the slash is the bass note of the chord. An example of a slash chord would be a D/F#, one of the most common slash chords. You would call this a D over F#. Let’s break it down, break it down now!
D/F#- The letter to the left of the slash is the name of the chord, so this is a D chord.
D/F#- Slash
D/F#- The letter you see to the right of the slash is the bass note, or lowest sounding note of the chord. Normally in a D chord the lowest sounding note is D. But in a D/F# chord, the lowest sounding note is an F#.
Allright, so how do you play this chord? Well, let’s look at the basic D chord shape:

D

  0  1   2   3   4   5

e|-|---|-2-|---|---|---|
B|-|---|---|-3-|---|---|
G|-|---|-1-|---|---|---|
D|o|---|---|---|---|---|
A|x|---|---|---|---|---|
E|x|---|---|---|---|---|

Now let’s look at the F# note (there are 2 of them low enough to work):

0  1    2    3    4    5

e|-|-F--|-F#-|-G--|-G#-|-A-|
B|-|-C--|-C#-|-D--|-D#-|-E-|
G|-|-G#-|-A--|-A#-|-B--|-C-|
D|-|-D#-|-E--|-F--|-F#-|-G-|
A|-|-A#-|-B--|-C--|-C#-|-D-|
E|-|-F--|-F#-|-G--|-G#-|-A-|

The way I feel you should play a D/F# is using the lower of the 2 F#’s. So, the new D/F# chord would look like this:

D/F#

  0  1   2   3   4   5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

Note: I put a T there because I just bring my thumb over the neck to play this chord. You could play it differently, but this way is easy and pretty cool too, so do it like this.Here are some of the basic slash chords, but there are many others too. But, now that you know your chords, you can easily play them anyway. Here they are:

A/C#

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|-|---|-3-|---|---|---|
G|-|---|-2-|---|---|---|
D|-|---|-1-|---|---|---|
A|-|---|---|---|-4-|---|
E|x|---|---|---|---|---|

          C/E

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|o|---|---|---|---|---|
D|-|---|-2-|---|---|---|
A|-|---|---|-3-|---|---|
E|o|---|---|---|---|---|

          C/G

  0  1   2   3   4   5

e|o|---|---|---|---|---|
B|-|-1-|---|---|---|---|
G|-|---|-2-|---|---|---|
D|o|---|---|---|---|---|
A|-|---|---|-4-|---|---|
E|-|---|---|-3-|---|---|

          D/F#

  0  1   2   3   4   5

e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|

          G/B

  0  1   2   3   4   5

e|-|---|---|-4-|---|---|
B|-|---|---|-3-|---|---|
G|o|---|---|---|---|---|
D|o|---|---|---|---|---|
A|-|---|-1-|---|---|---|
E|x|---|---|---|---|---|

written by fenderguy09
http://www.ultimate-guitar.com/lessons/chords/chords_everything_you_need_to_know.html


Finding your own musical voice

Introduction
At some stage of your development you might start to think about how you want to sound as a guitarist and what sounds and techniques you enjoy and want to focus on. Most players start off wanting to sound like somebody else (eg: want to sound like Steve Vai, or Jimi Hendrix or Slash, etc.). But eventually some players decide that they don’t want to sound like somebody else, instead they want to have their own unique sound that everybody can recognize is their own. In this lesson I will explain a way you can try to discover your own sound and how to develop it.

What Gives A Player Their Sound?
Have you ever noticed when a famous guitarist covers a song by somebody else that the guitar playing can sound completely different even know it’s the same part? When you hear a recording of Jimi Hendrix, you will probably straight away recognize it as Hendrix even if you don’t know the song. This isn’t just because of the guitar and amp he used, but also because of the chords and note choices, the way he played certain techniques and which techniques he didn’t use. This is the same when you hear Slash play a melody or solo or any other unique sounding guitarist. It isn’t just the Les Paul and the Marshall that gives the sound, but everything else combined.

Listen To Your Playing Now
Record yourself improvising and playing whatever you normally play. Listen to the recording and try to hear your own unique qualities. You may notice that you palm mute a lot of single notes when playing a run and like how it sounds or you may do a lot of soft legato. You may notice that you pick the notes really hard which gives a rapid fire sound. Just listen and write down everything you like and don’t like about how you sound now. You may like the way you play legato runs but notice that you don’t like the sound of the pinch harmonics you play. Record yourself improvising as much as you can and come up with a list of things you do you want to develop and things you do that you don’t like and want to stop. Just take a piece of paper with two columns – likes and dislikes. The more you can fill this list the better.
Many people don’t like to criticize their own playing this way but if you want to improve as a player it’s better to criticize your own playing then listen to somebody else criticize it for you!

What Do You Want To Sound Like?
After you listen to your playing and discover what you like about it and more importantly – what you don’t like about it, you can think about what you want to sound like. What type of guitarist do you want to become and what would you want to be known for if you were to become famous? Some people may say they want to be a super fast – sweep picking demon or they want to be known for ultra-heavy riffs and accurate picking. Whatever you come up with write it down. Now think of what you need to do to get there and where you’re at now.
Let’s say you ambition is to be known as a really fast sweep picker, but when you listen to your playing you realize that although you’re already really fast and accurate, it sounds like every other sweep picker you hear. This is when you need to look at how you can develop your playing to sound different to the thousands of other sweep picker experts out there. There are plenty of ways you can do this. You can try finding arpeggio shapes that you’ve never seen anybody else use or use an exotic scale that makes it hard to find decent shapes to sweep across. The idea is to try something you haven’t been doing. For example Yngwie Malmsteen is well known to love using the Harmonic Minor scale. It gives his playing a certain sound. Maybe you love the sound of the Spanish scale or the Oriental scale and that can be your specialty. Try as many different ideas as you can and again record them. Listen to the ideas and find the ideas you like and want to include in your sound.
The basic idea is to listen to how you sound now and figure out what ingredients (scales, chords, techniques, equipment) you need to get the sound you want. This may sound obvious but not many people actually do it. Try to come up with a list of ideas you can include in your playing that will improve your sound.

The End Result?
After all this you should have a very detailed list of things you want to include or keep in your playing as well as things you don’t want in your playing. From here the task is simple: work to develop your list of ‘wants’ and eliminate your list of ‘don’t wants’ from your playing. This may sound tedious, but if you are working towards a sound you like better than you have now, you will definitely enjoy it. You will develop into a unique sounding guitarist regardless if you follow this advice or not, but following these tips will speed up the process and will hopefully help you become the player you want to be sooner. If you work at all these suggestions above, I guarantee you will develop a unique sound and people will start to recognize when you are playing rather than ‘just another guitarist’.

aaron@tmc
http://www.ultimate-guitar.com/lessons/guitar_techniques/finding_your_unique_voice_on_guitar_i.html


Reading Guitar Tabs


Reading Guitar Tab

Guitar tablature (tab for short) is a system of notation that graphically represents strings and frets of the guitar fretboard. Each note is indicated by placing a number which indicates the fret to play, on the appropriate string. With these easy instructions you will be able to understand how to read and write guitar tab in 5 minutes.

The Basics Of Reading Guitar Tab

To start out, tabs are written in lines, each line representing a string on the guitar. The thickest string being the bottom most line and the thinnest string being the topmost.

e--------------------------------
B--------------------------------
G--------------------------------
D--------------------------------
A--------------------------------
E--------------------------------

Numbers are then placed on these lines to represent finger positions on the guitar fret board. If you read the diagram below you would play this on a guitar by putting your finger just behind the 2nd fret on the 5th string (or the second thickest string). As musical notes this would read as follows B B B C# B A. The ‘zero’ represents playing an open string. So in this case you would play the A open with no finger position on the fretboard.

e-------------------------------
B-------------------------------
G-------------------------------
D-------------------------------
A--2--2--2--4--2--0------------
E-------------------------------

How To Read Guitar Tab Chords

To tab a chord the notes would be placed in a vertical line upon the horizontal ones. This diagram represents a C Chord. You would strum the bottom 5 strings of the guitar in one motion if you were to read this tab properly.

e--0----------------------------
B--1----------------------------
G--0----------------------------
D--2----------------------------
A--3----------------------------
E-------------------------------
And this one you would strum the ‘C Chord’ three times.

e--0--0--0---------------------
B--1--1--1---------------------
G--0--0--0---------------------
D--2--2--2---------------------
A--3--3--3---------------------
E------------------------------

The one shortcoming of guitar tab is it doesn’t usually represent how long to hold a note for, or rhythm very well. Although some good tab writers will represent it by how much space is between each note. Tab works best if you listen to the song for guidance on timing then read the notes and practice it. Here for example is the timing of ‘Day Tripper’ by the Beatles, note the distances between the numbers, the first ‘0′ would ring slightly longer then the next 4 notes and the distance between D2 and D0 would also indicate a break in timing:

e-----------------------------
B-----------------------------
G-----------------------------
D-----------2---0---4---0-2--
A---------2-------2---2-------
E-0---3-4---------------------

Tablature Symbols

The numbers don’t really describe the subtle techniques that a guitarist can execute, these are the tablature symbols that represent various techniques.
  • h – hammer on
  • p – pull off
  • b – bend string up
  • r – release bend
  • / – slide up
  • \ – slide down
  • v – vibrato (sometimes written as ~)
  • t – right hand tap
  • s – legato slide
  • S – shift slide
  • – natural harmonic
  • [n] – artificial harmonic
  • n(n) – tapped harmonic
  • tr – trill
  • T – tap
  • TP – trem. picking
  • PM – palm muting
  • \n/ – tremolo bar dip; n = amount to dip
  • \n – tremolo bar down
  • n/ – tremolo bar up
  • /n\ – tremolo bar inverted dip
  • = – hold bend; also acts as connecting device for hammers/pulls
  • <> – volume swell (louder/softer)
  • x – on rhythm slash represents muted slash
  • o – on rhythm slash represents single note slash

A Hammer On

A hammer on is executed by picking a note and then hammering done with the fretting hand on the second note. The second note isn’t actually picked but kind of echos the first one. Here is an example of how hammer ons are written in tab:

e----------------------5h7----
B------------------5h7--------
G--------------5h7------------
D----------5h7----------------
A------5h7--------------------
E--5h7------------------------

A Pull Off

A pull off is the opposite of a hammer on, so the first note is played again then the fretting hand pulls the finger off and lets the one fretted behind it play.

e----------------------7p5----
B------------------7p5--------
G--------------7p5------------
D----------7p5----------------
A------7p5--------------------
E--7p5------------------------

A Bend

A bend is represented by the symbol ‘b’, this is where the fretting hand actually bends the string to give a wobbly effect.

e-----------------------------
B-----------------------------
G--7b----7b-------------------
D--------------7b----7b-------
A-----------------------------
E-----------------------------

A Release Bend

A release bend is represented by the symbol ‘r’, this is just like a bend, but it tells you when to release the bend and go to the next note.

e-----------------------------
B-----------------------------
G--7r5---7r5------------------
D--------------7r5---7r5------
A-----------------------------
E-----------------------------

A Slide-Up

A slide up is represented by the symbol ‘/’. You would play the first note on 7 then slide the finger that is holding that note up to 9.

e-----------------------------
B-----------------------------
G--7/9---7/9------------------
D--------------7/9---7/9------
A-----------------------------
E-----------------------------

A Slide-Down

Opposite of a Slide Up, slide down is represented by the symbol ‘\’. You would play the first note on 7 then slide the finger that is holding that note down to 5.

e-----------------------------
B-----------------------------
G--7/5---7/5------------------
D--------------7/5---7/5------
A-----------------------------
E-----------------------------

Vibrato

Vibrato is like a constant rhythmic bending of the string. You do a bend up and bend down quickly to create a moving sound. It is usually represented by ‘v’ or ‘~’.

e-----------------------------
B-----------------------------
G--7v-------------------------
D--------------------7~~~-----
A-----------------------------
E-----------------------------

Tapping

Tapping is much like a hammer-on but you don’t strum any notes. Just tap the notes on the fret board with your fretting hand.

e-----------------------------
B-----------------------------
G--7t---7t---7t---------------
D-----------------------------
A-----------------------------
E-----------------------------

http://www.howtotuneaguitar.org/lessons/the-basics/how-to-read-guitar-tab/