Chords that Fill Life with Inspiration...

Certain guitar players seem to be able to fit together chord progressions that offer a lot of inspiration. The sound of specific note combinations on the neck can resonate with a collection of intervals that while sounding simple enough, at the same time, these chord tone arrangements are very unique and in turn inspire us...

Whether it's; Tommy Emmanual, David Crosby, James Taylor, or Lindsay Buckingham, many guitar songwriters have found a way of blending note combinations that can instantly inspire us by changing our state of mind and our mood within seconds of us hearing these types of chords.

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THE 2nd INTERVAL:
One of the top abstract sounds that guitar players can rely on to produce that inspirational dreamy "cloud-9" sound-effect are chords that add on 2nd or 9th intervals.

C add2: One of the most common of these is the "Cadd2." In this chord, the "C Major" chord tones of (Root, 3rd and 5th) are all present, with the addition of the "C Major" scales 2nd note of "D." Here's popular chord pattern shape for it...


G add2: Another dreamy chord effect from the world of the add two color is the sound of using the "Gadd2" chord. This chord (when played in the open position), once again includes all of the, "G Major" chord tones and it adds the second scale degree of the "G Major" scale, which is an "A" tone. Here's a popular open position chord voicing for this inspiring chord sound...


E add2: The effects of including the added second interval can also exist off of placing the second degree into a lower register location of a chord. A great example of this sound is the open position,"E add2" performed with the overall shape of a typical, "E Major" chord voicing from open position.





COMPOUND INTERVALS:
Extensions can be taken up an octave and included within seventh quality chords creating a compound interval of a "9th, 11th or 13th." And, they can be combined to produce calming and abstract extended chord sounds.

Bm9/add11, (Bm11): One of the most popular chord voicings for this sound is the "Bm9/add11." Often called the "James Taylor" chord. Here's the voicing that James Taylor will often use in his music...


SUSPENDED:
Another chord idea that can be included in this group of inspiring, relaxing chord effects, is the sound of the suspended 2nd. And, one of the most popular of these is the "Dsus2."


Dsus2: Suspended chords, have no quality, since their 3rd chord tone, (the defining note), is missing. Here's an easy to play dreamy sounding, "Dsus2"



ADD CHORDS:
Along with those dreamy suspended sounds, there's also the abstract effects of one of my personal favorites the "add4" chord.

The "add4" chord in our example takes a common "C Major" open position chord voicing that includes all of the chord tones, and slides it up to 3rd position.

Once in this 3rd position, the shape adds in the scales 4th degree. The end result (when its played), is a very captivating sound that certainly doesn't come off sounding like very many of our typical open position chords.





EXTENDED INVERSIONS:
I have one more "INSPIRING chord" that you'll really enjoy using. This one (in particular) is an inversion of "D Major" that also inverts the chords third chord tone (F#), into the bass, (which is referred to as a first inversion voicing).

To further enhance the effect of this chords' color even more, the open "B" string can be included for an extension of a "6th." Practice playing the voicing I've provided below...


VISIT THE WEBSITE:
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...

When you want more, you can always upgrade to either a Basic, or a Premium lesson package and start studying the guitar courses I've organized for the members of my website.

I'd be interested to hear your thoughts on all of this in the comment section below... if you enjoyed this video (on YouTube), give it a thumbs up and subscribe for more. Thanks again and we'll catch up next week , for another episode of the, "Guitar Blog Insider."


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GUITAR SOLOING 019: Copying Guitar Solos

February 16, 2018:
Lesson 019 - Copying Guitar Solos
 

This guitar soloing lesson stresses the value that comes from learning licks and lines performed by other guitarists across different styles of music. The number of solos that practicing guitar players should learn has no end. With every new solo comes fresh new ideas for how to use scales and how to apply rhythms, as well as, ways of applying new guitar techniques. 

By the end of this lesson, you'll have a collection of new playing skills for better solo lines that can be applied to any style of music. 

Join the member's area to download the PDF handout and study all of the examples. Be sure to spend time on learning the guitar solo I performed at the start of the lesson in the "Part One" video...

Watch the Part One Video FREE on YouTube:



PART ONE:  In example one, two licks from the "Blues-Rock" style are demonstrated. The focus is on, "Hendrix" and "Stevie Ray" phrasing concepts. Each lick employs open strings with an emphasis on how open strings relate to the key of "E Minor" across two different areas of the neck.

Example two targets different tonal resolutions within a hard rock format. The application of each tonality is formatted by way of the final resolution tone. This "tonal center modulation" effect can be found in many hard rock songs by groups like; Van Halen and Aerosmith.
 




PART TWO:
In example three, sounds of the Southern Rock style shine through with reference to classic elements of Lynyrd Skynyrd's "Sweet Home Alabama." The lead performed in this iconic Southern Rock guitar standard demonstrates unique effects upon both melody and rhythm.

Example four, shifts into the style of jazz with a melodic line that covers a traditional II-V-I progression in the key of, "Eb Major." 


Jazz offers us greater soloing insight that delves into the use of unique scale coverage, along with a lot of arpeggios, combined with diminished concepts. Jazz will also apply the "swing" rhythmic feel.

Daily Deal: Washburn Jazz Series J3TSK


 


Paid members can download the handout along with the MP3 jamtrack in the members area at: CreativeGuitarStudio.com

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A Theory Lesson That Changes Everything

In this weeks YouTube posting I'll be covering some of the work of bass player, musician and teacher extraordinaire Anthony Wellington... We will focus on his thoughts regarding music theory and in particular his concepts regarding the simplification of keys and practice through the the study of the key signatures.


With all the work that you'll tend to do in your life as a musician (in training) with scales and arpeggios and chord harmony, this is going to be a very interesting lesson. Especially for those of you who've never been exposed to these theoretical principles.



After this discussion, I think that you'll walk away with some interesting new directions of thought regarding how you perceive your own personal musical development, and how you currently apply a few of the corner-stone principles of music theory.

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Musical Awareness:
In many of Anthony Wellington's lectures he likes to discuss levels of awareness when studying an instrument, like the first ever stage of being blissful, happy and excited about your instrument, as in when you first held your first guitar.

Think back to when you'd first held your first guitar, how did you feel the first time you ever held your first guitar. You didn't know back then what you needed to learn, you were just excited to have that instrument in your hands. It was pure bliss!

The next level is moving to being more aware and getting to know what things are going to be important to learn on your instrument. Things like learning to make a clear sound and developing an ability to feel rhythm.

Learning notes and keys and scales. Sadly, some players never make it past this stage of development, (the hobbyist) because it involves so much effort and time, patience and dedication, to go further beyond this point.



If a musician can make it past that second stage, then they come to a new level where they reach an understanding with information. At this stage they are thinking about a lot of information while they perform. It's a stage that Anthony says "good" musicians reach.

However, there are limitations at this stage because within it, there's a whole lot of thinking going on to achieve the playing. Now, if musicians can push past this one, they reach the ultimate stage which is what Anthony calls, "Unconscious Knowing."

In this state of mind, the musician is blissful and is no longer thinking, the music just naturally pours out of them, without effort. They simply know what they're doing so well, so perfectly that the music becomes a spiritual experience that takes no real conscious thought or effort to produce.



The 30 Musical Keys Principle:
Now that you know a little bit on how Anthony Wellington thinks about a musicians stages and levels of awareness, let's dig into his foundational music theory concepts on musical keys. His views are different, because they reach further than the common 12 keys concept.

Music keys are the cornerstone, the building blocks for everything we do, so they need to be well understood. Most musicians think in terms of there being 12 keys. But, not Anthony, he takes the perspective of this a little bit differently with instead of 12, he thinks in terms of there being 30 different keys.

And, if you met him, he'd probably ask you, "Do You Practice in Every Key?"

Now, you're probably wondering what this means. To begin with, Anthony believes in treating Minor and Major keys separately. So, instead of thinking in terms of 12 keys, now there's 24 keys. But, that still leaves 6 keys unaccounted for.

Let's clear all of this up by breaking this down step-by-step...

There's one Major key with no sharps and no flats. That's the key of, "C Major." Then, there's seven Major keys with sharps. Starting from "G Major" (which has one sharp), all the way up to "C# Major," (which has all seven tones as sharps).

This means that so far we have 8 keys up to this point. But, then there's the Major flat keys, from "F Major" (with one flat), up to "Cb Major" (with all seven notes flat). Now we've got seven sharp keys, seven flat keys and one natural key, giving us a grand total of 15 Major keys. Double that to include the Minor keys and you've got 30 different keys.

So, once more, back to that initial question, "Do You Practice in All Keys?"




Know Your Accidentals:
Before we wrap up, here's another great Anthony Wellington theory idea of knowing the accidentals in keys, I call it the, Theory of Seven.

How many sharps are in "E Major?" That would of course be four. Now, how many flats are there in "Eb Major?" There's three right. What does that total? Right, SEVEN.

The total between sharp and flat keys always equals seven. Let's test it again, how many sharps are there in "A Major?" There's three, so how many flats have to be in "Ab Major?" There has to be four because they always total seven!

Same thing works for minor. How many sharps are in "D# Minor? There's six, so that means, "D Minor" has to have one flat to add up to our theory of seven.

And, the one note in "D# Minor" that isn't sharp, (which is the note of "B"), is the one flat tone found in "D Minor." "D Minor" has ONE flat, "Bb."

It's all a numbers and letters game that's easy to make sense of when you start thinking about it in simple ways.

Some of these principles on musicianship and music theory that we've discussed here can be found easy enough online through different lectures that have been posted by Anthony Wellington, and also by bassist, "Victor Wooton."

A few other musicians are also quite dedicated to posting concepts about music theory in a way to keep things simplified and straight-forward. The bottom line is, that Music Theory and learning music in general and becoming a musician, doesn't need to be difficult or complex.

Most important, everyone needs to realize that sometimes it doesn't take a lot of information to make a big difference, all it takes is an idea that's explained in just the right way, so that it can be taken in and used.



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 ...Until next time - take care and we'll catch up again on the next video. Bye for now!

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ACOUSTIC GUITAR 018: Folk Fingerpicking Patterns - Vol. 2


Acoustic Guitar 018: 

Folk Fingerpicking Patterns - Vol. 2...

The second volume of this two-volume lesson plan on folk fingerpicking will focus on more detailed picking patterns that are generally used by folk instrumentalist guitar players.

Vol. 2 contains a collection of; alternating bass patterns (that incorporate two-note chords), bass-line melodies set into a compound meter, and single-note lines mixed against arpeggios. Plus, there's a bonus "Travis-picking" riff in the style of "Chet Atkins."


Daily Deal:


Study more advanced folk pattern playing...

Watch the Video:



PART ONE:
Example one, sets a pattern in motion that operates between the 6th to 2nd guitar strings. The pattern applies a uniform string layout in the key of "F# Minor." A small layer of 2-note harmony (dyads) is applied on the 2nd and 3rd guitar strings.

Example two, focuses on the application of bass-line melodic ideas matched with upper-register phrases in the key of "G Major." The added compound meter feel produces a beautiful sounding folk pattern that locks down the key center
.

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PART TWOThe exercise in example three matches and tracks bass lines across arpeggios. The phrase takes chords from the key of "D Major" (A Mixolydian) and includes two fingerpicking patterns that are applied across two measures.

Example four, introduces a "Chet Atkins" style Travis-picking pattern. This example operates in the key of "E Major." It  applies the picking pattern to the first three measures, across three chords of the key, ("E," "C#m," and "A"). Measure four is rather unique in how it arpeggiates the keys "V-chord" (B Major).




Related Videos:

RELATED VIDEOS for:
 Folk Fingerpicking Patterns - Vol. 2... 

ACOUSTIC GUITAR 017: Folk Fingerpicking Patterns - Vol 1

ACOUSTIC GUITAR 016: Acoustic Fingerstyle Jazz

ACOUSTIC GUITAR 015: Percussive Guitar Technique


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The Four Phases of Guitar Technique

In this lesson, we're going to break down the "4 Phases" that guitar students move through when developing their technique... 

We'll discuss how guitarists can move through each stage to become the most effective at developing their technique. Plus, we'll discuss how to increase the speed and success of any technique routine by adding the use of a metronome into the practice session...




WHY DO THIS?
Guitar Technique studies are one of the best ways to establish a much higher degree of skill for left and right hand coordination on the guitar. Ask any professional player, they will confirm that guitar technique is without question a serious area of study for them.

Professional players realize that having excellent control over what occurs when they're playing rhythm or lead guitar makes them more relaxed. And, when they're more relaxed, they play music with less stress, leading to far less mistakes.




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(PHASE 1).
SINGLE-STRING COORDINATION:
Setting up a solid study approach to practice how to most effectively coordinate the use of the picking hand, and how it specifically "tracks" the fretting hand is the first critical step when developing guitar technique.

In fact, many new guitar students learn simple melodies such as "Happy Birthday to You," as a way to track what the picking hand does in relation to the fretting hand.

This is why one of the most popular coordination exercises (initially used by guitar students) is the chromatic study. Here's how this study operates...

 click the above image to enlarge full-screen


(PHASE 2).
MULTIPLE-STRING DRILLS:
After spending time working on coordination (on a single guitar string), the next phase of study will most commonly involve working on two, three or four string patterns.

Multiple-string ideas will help with a lot of playing areas, but most importantly, they'll give the guitarist an opportunity to drill on alternate picking technique between two adjacent strings.

Let's move through this next drill, and get a better idea of some of the benefits that it can offer us...

 click the above image to enlarge full-screen




(PHASE 3).
THREE-NOTE CHORD TECHNIQUE:
Once the string coordination begins to develop, another critical technique area is the ability to switch through 3-note chord patterns. These patterns are often referred to as "Triads."

The triad shapes are not only a fantastic exercise drill, but they're also an excellent way to become familiar with the fingering patterns for one of the most popular chord types used on guitar.

There are many different ways to study triads, but to help get you familiar with the basics of how this type of exercise operates, I've created a study that takes the triads found in the key of "A Major" along the guitar's 4th through 2nd strings.

By making a study of this exercise, you'll get a good idea for how to start incorporating triads into a regular exercise routine.

click the above image to enlarge full-screen


(PHASE 4).
ADVANCED CHORD TECHNIQUE:
The work done on triads (and on single string technique), combined with our next topic will allow guitar players to begin developing two critical areas.

1). Single-tone ideas for playing lead.
2). Chord fingering skill for playing rhythm guitar.

The fourth phase of technique that I wanted to cover is based upon advanced chord studies. This involves taking chord patterns that are unknown, and then moving those patterns along the string sets laterally.

This helps players gain a higher level of skill for not only the advanced chords being practiced, but also for gaining more dexterity. This means that every chord pattern introduced in the future slowly becomes easier and easier to learn.

This occurs because the dexterity of the fretting hand has been introduced to so many new and unique chord shapes.

Run through an exercise I've put together. It uses some unique 9th, and add2, chord voicings. After learning the shapes shown below, take the patterns even further down the neck. Then, expand on the idea of the exercise by introducing other unique and challenging chord patterns.


 click the above image to enlarge full-screen




CONCLUSION:
Before we wrap up, I still want to cover two final ideas that you should keep in mind as you develop all of your guitar technique studies.

The first is based upon memorizing the general layout and feel of whatever it is that you're studying prior to turning on a metronome. Once you have that general awareness for the exercise, then turn on the metronome.

Point number two is, make sure that you keep the metronome on, and whatever tempo that you do select, be sure to continuously change the type of note duration that you perform under that tempo.

What I mean specifically is, if you select 82 b.p.m., then be sure to play, 8th-notes, 16th-notes and triplets at 82, before moving up to higher tempos.

_________________________________ _________________________________

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.

When you want more, you can always upgrade to either a Basic, or a Premium lesson package and start studying the 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 sections... if you enjoyed this lesson and video, please give it a thumbs up and subscribe for more on YouTube.

Thanks again and we'll catch up next week for another episode of the, "Guitar Blog Insider."

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QwikRiffs #019: Jazz-Funk Single String Riffs in "D Mixolydian"


NEW: QwikRiffs Series - Video (019)

The latest QwikRiffs video, Jazz-Funk Single String Riffs in "D Mixolydian" is available in the members area. Includes PDF handout!

QwikRiffs are available to members at Creative Guitar Studio.com. Lessons in the QwikRiffs Series run through collections of rhythm guitar riffs covering all types of playing styles. I cover different 'famous artist' playing approaches and I will demonstrate ideas based on rhythm guitar techniques... 

Daily Deal:



Episode #019 covers three "Jazz-Funk Single String" Riffs.

Riff one uses a funky syncopated 16th-note feel to generate a unique groove over a "D7" chord harmony. The mix of 16th-notes and 16th-note rests establishes a steady feel. Take note that each measure looses the down-beat of three.

Riff two emphasizes recurring scale lines with select scale tones focused on for matched harmony. This is vital for the bass player, in how the interaction can function very similar between the parts, or leave room for lines that become altered between the players. 

NOTE: Use your DAW or looper pedal to study the idea shown in riff two.

Riff three operates within the framework of applying the "slap bass" effect on our guitar line. The slap bass concept is made popular by bassists like "Bootsy Collins." His approach involves grabbing at the string and ripping at it, so that it "slaps" back onto the guitar's fret wire. In riff three I've applied the same concept to a guitar line.

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Sign into the website (or create your free members account) to join the members site. Sign up for the Basic Monthly or Premium (annual) membership to download the PDF handout for this lesson and study all of the other classes available on the website. 

Become a FREE member of the website, sign up today!

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Blues Guitar Turnarounds (like the Masters of Blues)

In this video I'll be covering some of the smoothest turnaround ideas used by the "Masters of the Blues." We'll learn phrases that apply elements used by players like; "Freddie King, T-Bone Walker, Eric Clapton, Ronnie Earl, and BB King." 



Turnaround Phrases:
The lesson will focus on three turnaround phrases that share a number of similar ideas. A lot of the ways that these guitar greats applied their various ideas for turnaround lines is by using unique note combinations of the Major and the Minor Pentatonic scales.

We'll be focusing on that principle, (Blues turnaround phrases), within this lesson.

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BB King Style Lick:
BB King is the master of slow smooth Blues. His ability to bend and hold notes with vibrato and sustain is legendary. In this first turnaround example, we're in the key of "A Blues" with a phrase that focuses on some really great sounding sustained bends and a very cool sequenced line in the third measure into our fourth measure turnaround resolution.

Here's what this "BB Style" phrase sounds like.





Freddie-King /Eric Clapton Style Lick:
Freddie King was a huge influence on Eric Clapton and that's why our next lick blends sounds that form a combination of lines found used from the music of both of these Blues Masters.

Freddie King and Eric Clapton were excellent at taking the scale tones (found between both the Major and Minor Pentatonic) and using them to create Blues phrases that crossed the boundary of both of those Pentatonic sounds.

Let's run through this Freddie King /Eric Clapton style turnaround lick that I've organized from within the key of, "C Blues."





T-Bone Walker Lick:
Alright, our last turnaround uses one of the more traditional sounding chromatic phrases that are heard in literally hundreds of Blues songs. This style of turnaround idea drops a descending chromatic line that was made popular by "Jazzy-Blues" guitar players like Ronnie Earl and then re-designed yet again by Blues Masters like "T-Bone Walker."

This lick is in the key of "Bb Blues" and targets small three note chords as we drop through the "V and IV" chords of "F7 and Eb7." But, the really cool sound of things here lies in the final measures with the chromatic descending statement.

Here's this "T-Bone" style turnaround example.





CONCLUSION:
Learning to both understand the Blues and learning to phrase Blues lines is critical for every guitarist regardless of the styles you enjoy. Whether you prefer jamming on; Rock, Metal, Soul Music, Funk or Rhythm and Blues, or Country music the turnaround licks I've outlined here (in this lesson) should offer you something interesting that you can add into your next guitar solo - no matter what style it is played in.

And, remember that the study of learning how to play Blues phrases can do even more than that. Blues phrasing helps you combine the use of Major and Minor Pentatonic scales, and they also help guitar players zero in on specific chord tones.

Be sure to study these kinds of Blues lines, they'll go a long way to helping you understand chord tones used across a ton of different kinds of music styles. Along with that, these licks are a fantastic addition for your next weekend Blues jam. 




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 posted 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 guitar player that you can possibly 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.

So, I look forward to helping you further at CreativeGuitarStudio.com ...Until next time - take care and we'll catch up again on the next video. Bye for now!

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