When learning to play the guitar, especially in the beginning, it is important to develop and practice the right habits and techniques. When you are trying to develop finger dexterity, it is absolutely critical to be able to use your finger tips when playing, especially when attempting to play scales.
There are several cool exercises to help you develop your finger dexterity and allow you the finger strength that you need to be able to become accomplished. Typically the best of these exercises involve playing patterns that require you to play each and every fret on the keyboard accross all strings, not focusing too much on the scale you are playing or the key. You want to be sure to use your finger tips and not the flat part of your finger to properly complete.
To explain the exercise, I found a video on youtube that does a good job in demonstrating the technique, which you can watch. To put it in to words for you to follow, hold your guitar as you normally would with your fret hand on the neck. Start at the 5th fret of the 6th string (A) and play each note in sequence through each of your 4 fingers. 1st finger on 5th fret, 2nd on the 6th fret, 3rd on the 7th fret, and 4th on the 8th fret. Continue this pattern down each string and return back to the sixth in reverse order. Practice getting faster and faster and fluent at the pattern and reverse and then shift up one fret and repeat.
This exercise is great for beginning guitar players, but also as a warm up for guitar players of any skill level. You can also use variations of this exercise as you learn new techniques like hammerons, etc. Focus on playing it as quickly as you can, but no faster. This will force you to play cleanly to keep your guitar playing from sounding sloppy.
I hope you find this exercise helpful.
Happy Playing!
www.trurewindmusic.com
Sunday, July 26, 2009
Sunday, July 19, 2009
The Minor Scale
There are three different minor scales - the natural or relative minor scale. the harmonic minor scale, and the melodic minor scale.
Each of these has an individual step pattern, but they all share one element that differentiates them from the major scale. The first and third notes in the scale is always a tone and a half (one whole tone plus a semi-tone). This is called a minor third , and it is a contrast to the major third interval characteristic of the major scale. The minor scales differ from each other in terms of whether the 6th and 7th steps of the scale are raised (made sharp) or not.
The foundation of minor scales is easier to understand if we start by looking at how the natural minor scale is related to the major scale, and then go on to see how it is altered to produce the harmonic and melodic minor scales.
The Natural Minor Scale
As the "Ionian Mode" is the predecessor of the major scale, the natural minor scale is derived from what was called the "Aeolian Mode" Both of these modes were diatonic scales - played on the white notes of a keyboard. But, the difference is the Aeolian starts on the A, versus the Ionian starting on the C.
What this means is that the notes of the two scales are the same. But, because the natural minor scale has a different starting position, it has it's own step-pattern: tone (1st note to 2nd), semi-tone (2nd to 3rd), tone (3rd to 4th), tone (4th to 5th), semi-tone (5th to 6th), tone (6th to 7th), tone (7th to 8th). The 8th, of course being the octave.
When you compare the C major and the A minor scales, you will see that the 3rd note of the minor scale is the 1st note of the major scale (C), and the 6th note of the major scale is the 1st of the minor scale (A). This relationship is the key in understanding the connection between major and minor scales. Every major scale has a relative natural minor scale, and each minor scale a relative major scale.
Finding the relative scales is pretty easy. It is 3 semi-tones down from the major to the minor, and three semi-tones up from the minor to the major.
The major scale and it's relative natural minor scale share the same "key signature," therefore, they share the same notes. But, because the start at a different place, they have different step patterns and a different sound.
The Harmonic Minor Scale
The harmonic minor scale was developed as a result of the principles of harmony applied to the construction of chords.
A chord can be built on each note of the scale and the most important are those built on the 1st note (the "tonic" or I chord) and on the 5th note (the "dominant" or V chord). One of the three notes that goes to make up the dominant chord is the 7th note of the scale. In the major scale, the 7th note is one semi-tone below the tonic. But, in the minor scale, the 7th note is a whole-tone below the tonic. This translates to mean the dominant chords built on the 5th notes of major and natural minor scales do not have the same effect. In order to overcome this problem the 7th note of the natural minor scale is raised (made sharp) by a semi-tone. The new scale is called the "harmonic minor" scale.
The Melodic Minor Scale
The problem with the harmonic minor scale is that when you reduce the interval between the 7th and 8th notes to a semi-tone, the interval between the 6th and 7th is increased to three-semi tones (a minor third). If this were a melody line, it would be an unacceptably big jump. The solution is to raise the 6th note of the scale by a semi-tone. In A minor, it would be an F to an F#, and it would reduce the interval between the 6th and 7th notes to a tone. The result is a smoother melodic "flow." This method is effective when going up in pitch (ascending) and the scale that is produced is called the melodic minor for it's improved melodic potential. When playing a descending melody, it is not so important to have the semi-tone interval between the 7th and 8th notes, because the melodic flow is naturally smooth. Because of this, the ordinary minor scale is used.
I found a cool video by Justin Sandercoe that explains the difference between the minor scales and talks a bit about cadence, which we will cover later.
I hope this helps!
Happy playing!
www.trurewindmusic.com
Each of these has an individual step pattern, but they all share one element that differentiates them from the major scale. The first and third notes in the scale is always a tone and a half (one whole tone plus a semi-tone). This is called a minor third , and it is a contrast to the major third interval characteristic of the major scale. The minor scales differ from each other in terms of whether the 6th and 7th steps of the scale are raised (made sharp) or not.
The foundation of minor scales is easier to understand if we start by looking at how the natural minor scale is related to the major scale, and then go on to see how it is altered to produce the harmonic and melodic minor scales.
The Natural Minor Scale
As the "Ionian Mode" is the predecessor of the major scale, the natural minor scale is derived from what was called the "Aeolian Mode" Both of these modes were diatonic scales - played on the white notes of a keyboard. But, the difference is the Aeolian starts on the A, versus the Ionian starting on the C.
What this means is that the notes of the two scales are the same. But, because the natural minor scale has a different starting position, it has it's own step-pattern: tone (1st note to 2nd), semi-tone (2nd to 3rd), tone (3rd to 4th), tone (4th to 5th), semi-tone (5th to 6th), tone (6th to 7th), tone (7th to 8th). The 8th, of course being the octave.
When you compare the C major and the A minor scales, you will see that the 3rd note of the minor scale is the 1st note of the major scale (C), and the 6th note of the major scale is the 1st of the minor scale (A). This relationship is the key in understanding the connection between major and minor scales. Every major scale has a relative natural minor scale, and each minor scale a relative major scale.
Finding the relative scales is pretty easy. It is 3 semi-tones down from the major to the minor, and three semi-tones up from the minor to the major.
The major scale and it's relative natural minor scale share the same "key signature," therefore, they share the same notes. But, because the start at a different place, they have different step patterns and a different sound.
The Harmonic Minor Scale
The harmonic minor scale was developed as a result of the principles of harmony applied to the construction of chords.
A chord can be built on each note of the scale and the most important are those built on the 1st note (the "tonic" or I chord) and on the 5th note (the "dominant" or V chord). One of the three notes that goes to make up the dominant chord is the 7th note of the scale. In the major scale, the 7th note is one semi-tone below the tonic. But, in the minor scale, the 7th note is a whole-tone below the tonic. This translates to mean the dominant chords built on the 5th notes of major and natural minor scales do not have the same effect. In order to overcome this problem the 7th note of the natural minor scale is raised (made sharp) by a semi-tone. The new scale is called the "harmonic minor" scale.
The Melodic Minor Scale
The problem with the harmonic minor scale is that when you reduce the interval between the 7th and 8th notes to a semi-tone, the interval between the 6th and 7th is increased to three-semi tones (a minor third). If this were a melody line, it would be an unacceptably big jump. The solution is to raise the 6th note of the scale by a semi-tone. In A minor, it would be an F to an F#, and it would reduce the interval between the 6th and 7th notes to a tone. The result is a smoother melodic "flow." This method is effective when going up in pitch (ascending) and the scale that is produced is called the melodic minor for it's improved melodic potential. When playing a descending melody, it is not so important to have the semi-tone interval between the 7th and 8th notes, because the melodic flow is naturally smooth. Because of this, the ordinary minor scale is used.
I found a cool video by Justin Sandercoe that explains the difference between the minor scales and talks a bit about cadence, which we will cover later.
I hope this helps!
Happy playing!
www.trurewindmusic.com
Monday, July 13, 2009
Developing a Sense of Timing
Without question the easiest way to improve your timing is to play with good musicians. It is the most effective way of learning to keep up with the tempo of the song, and it teaches you about rhythm and how rhythm is established.
The drummer, bass player and rhythm guitar player create rhythms by playing different parts, not by playing on the same beat. This creates a complex and interesting "composite" rhythm and it is critical that each player have a good sense of timing and a feel for what other members of the band are playing. Any band that have put in a lot of practice and have gotten their timing right will sound "tight" and effective.
However, it is not always possible to play with other players either by choice or by circumstance. This is when developing a sense of timing becomes more difficult. Varied tempo is sometimes done on purpose for effect in songs, however, as a beginner, you should focus on learning regular and steady tempos. There can be a very real danger in losing your timing when it comes to a tough chord change or a difficult run.
To remedy this, it is recommended to employ a metronome or drum machine. These are a must have for the practice tool box, because it reminds you when you go out of time and keeps a steady beat to keep you in line.
The simplest and cheapest of these "time-keepers", the metronomes are, in my opinion the best solution because they are simple to use and travel well, in case your practice space varies. Most metronomes operate on a battery and plug directly in to your amplifier to produce "standard" rock rhythms.
The more expensive drum machines can provide programmable, complex beats, and usually require hours of study to get to understand them, although the end result is often worth it.
The other alternative is to just use the old fashioned "play along with the cd or mp3." Which was called a cassette tape in my day.
Like anything else when it comes to your guitar playing, it takes time and practice to master having great timing. Stick at it and practice good habits!
I hope this helps.
Happy playing!
www.trurewindmusic.com
The drummer, bass player and rhythm guitar player create rhythms by playing different parts, not by playing on the same beat. This creates a complex and interesting "composite" rhythm and it is critical that each player have a good sense of timing and a feel for what other members of the band are playing. Any band that have put in a lot of practice and have gotten their timing right will sound "tight" and effective.
However, it is not always possible to play with other players either by choice or by circumstance. This is when developing a sense of timing becomes more difficult. Varied tempo is sometimes done on purpose for effect in songs, however, as a beginner, you should focus on learning regular and steady tempos. There can be a very real danger in losing your timing when it comes to a tough chord change or a difficult run.
To remedy this, it is recommended to employ a metronome or drum machine. These are a must have for the practice tool box, because it reminds you when you go out of time and keeps a steady beat to keep you in line.
The simplest and cheapest of these "time-keepers", the metronomes are, in my opinion the best solution because they are simple to use and travel well, in case your practice space varies. Most metronomes operate on a battery and plug directly in to your amplifier to produce "standard" rock rhythms.
The more expensive drum machines can provide programmable, complex beats, and usually require hours of study to get to understand them, although the end result is often worth it.
The other alternative is to just use the old fashioned "play along with the cd or mp3." Which was called a cassette tape in my day.
Like anything else when it comes to your guitar playing, it takes time and practice to master having great timing. Stick at it and practice good habits!
I hope this helps.
Happy playing!
www.trurewindmusic.com
Tuesday, July 7, 2009
Using a capo
A capo is a cool little device that allows you to play a chord progression in different keys while retaining the same chord shape. It acts like a sort of artificial barre on the guitar strings, much like your finger does when playing a barre chord.
The capo fits around the guitar's neck and raises the pitch of all six guitar strings. The fret that it's placed in determines the amount by which it raises them. If you place the capo on the first fret, you will raise the open string by one semi-tone; put it on the 2nd and it will be raised by two semi-tones; and so on. What this translates to is that an open chord of C major played with a capo on the first fret becomes C# major, and the same shape with the capo on the 2nd becomes D major. Basically, the fingering remains the same, but the notes are different.
Let's say you wanted to sing a melody to go with a fingerpicking using the chord progression of Am-G-F-E but the key in which it is written is too low for your voice. You would feel more comfortable if it were raised a semi-tone to the key of Bb minor. A capo allows you to change the key and continue to be able to play pretty easy chords without having to re-tune your guitar. If you placed the capo on the first fret of the neck of your guitar, the same sequence would now be Bb-Ab-Gb-F. Since these four chords can only be played as barre forms, which (without a capo) would become much more difficult - especially during finger picking, the capo provides an easy solution. But, the finger positioning wouldn't change from the original key as it was in the key of A minor. This makes the fingering much easier.
How to fit a capo
The capo is clamped over the fingerboard of the guitar just behind the chosen fret so that it raises the pitch of any chord you play.
I found a cool video on You Tube by ivideosongs that demonstrates a little more about the use of a capo.
www.trurewindmusic.com
The capo fits around the guitar's neck and raises the pitch of all six guitar strings. The fret that it's placed in determines the amount by which it raises them. If you place the capo on the first fret, you will raise the open string by one semi-tone; put it on the 2nd and it will be raised by two semi-tones; and so on. What this translates to is that an open chord of C major played with a capo on the first fret becomes C# major, and the same shape with the capo on the 2nd becomes D major. Basically, the fingering remains the same, but the notes are different.
Let's say you wanted to sing a melody to go with a fingerpicking using the chord progression of Am-G-F-E but the key in which it is written is too low for your voice. You would feel more comfortable if it were raised a semi-tone to the key of Bb minor. A capo allows you to change the key and continue to be able to play pretty easy chords without having to re-tune your guitar. If you placed the capo on the first fret of the neck of your guitar, the same sequence would now be Bb-Ab-Gb-F. Since these four chords can only be played as barre forms, which (without a capo) would become much more difficult - especially during finger picking, the capo provides an easy solution. But, the finger positioning wouldn't change from the original key as it was in the key of A minor. This makes the fingering much easier.
How to fit a capo
The capo is clamped over the fingerboard of the guitar just behind the chosen fret so that it raises the pitch of any chord you play.
I found a cool video on You Tube by ivideosongs that demonstrates a little more about the use of a capo.
www.trurewindmusic.com
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