The Unique Groove of 7/8 Time...



Learning how to play in an odd-time signature can be a bit challenging at first. This is especially true if you’re only used to playing in 4/4.

In this post we'll try a clapping exercise that will help you develop the feel for playing in 7/8 time signature, plus we'll run down how to play your first 7/8 guitar part...




WHAT IS 7/8 TIME SIGNATURE:
As you can imagine, the time signature and feel of 7/8 involves performing 7 eighth-notes per measure. If you already have some experience with time signatures involving an "8" on the bottom of the signature, you already know that this is a "Compound Meter."

This type of feel will generally have a number divisible by three on the top of the signature. The most popular of these time signatures include; "3/8, 6/8 and 9/8."

The flow of common time signatures using this meter are all triplet based, so the appearance of a "7" above the signature is a little bit like throwing a wrench into the machinery.

To understand this will mean that you'll need to know how the numbers of a time signature relate to the way you count it out, and to what you'll find in a measure of your music.


CLAPPING 7/8: Most guitarists who use odd-time tend to split the odd-time signatures into groups of two and three counts. Counting to seven is a little too out of balance, therefore, we end up splitting this odd meter into smaller groupings of 8th notes like 2-2-3.

This way, you can count patterns in 7/8 like so:

1,    2   -    1,    2    -    1,    2,    3


Try clapping the beats shown above. You can then use any melodic idea or rhythm guitar technique featured on any of my websites for coming up with some fresh ideas in 7/8 odd-time signature. How do you achieve that? Keep reading...




PERFORMING IN 7/8 TIME:
The top number of 4/4 means that there are four counts in a measure. The bottom number of 4/4 means that the quarter note takes those counts. In a measure of 4/4 time you have eight 8th notes. So you can actually think of 4/4 as being 8/8.

If you remove one of the 8th notes from 8/8 you get 7/8. By removing a single 8th note from any pattern in 4/4 time you get a new one in 7/8 time. If you’d like to explore this concept right away, just tap a pencil on a desk and count; 1, 2 - 1, 2 - 1, 2, 3

Now that you understand the general application of 7/8, let's jump into performing a cool guitar riff that applies this time signature.

Example:

click on the image above to enlarge full-screen




CONCLUSION:
This is a very basic 7/8 groove that should be mastered by every guitar player. When you start playing around with odd time signatures you will be surprised at the improvements you will see in every other aspect of your guitar feel and rhythm.

Your sense of time will be boosted due to the gaining of experience with another type of rhythmic feel. Practice this groove until you can play it no problem without even counting out loud. After awhile, the feel of 7/8 time signature will not be very odd to you anymore.


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Lesson 002 - GUITAR SOLOING: Composing Your Way to Great Guitar Solos



June 23, 2017:
Lesson 002 - Composing Your Way to Great Guitar Solos

PART ONE:  In example one, we are making a study of how a melodic line can cover a common group of chord changes in the key of "C Minor." The progression is a harmony of "Im, VII, VI," using the chords of "Cm, Bb and Ab." Learn the melodic phrase and then record the chords and try composing a new phrase for the harmony. Then, try improvising over the changes.

Example two focuses more on rhythm and how a groove based phrase can change as it evolves across a series of chords. By introducing a lot of contrast to the rhythm we create an interesting feel change across the harmony. Missed downbeats and plenty of 16th-note rests end up creating a very cool sounding effect across the harmony of this "A Minor" progression.



PART TWO: Having statements that operate around chords can produce great sounding guitar solos. Just listen to any number of Jimi Hendrix guitar leads, and you'll notice it right away. In example three, follow up statements occur around a series of chord changes in the key of "C Major." Learning to manipulate cool sounding follow-up phrases after each chords appearance adds an interesting effect to the chord progression.

In example four, the composing concept becomes one of worked out lines based on a recurring theme. This is evident in the song "Bad Moon Rising" by CCR. That songs guitar solo is a play on the primary licks and the theme of the guitar statements used in both the verse and the lead. The part shown in example four demonstrates how tones from a, "C Natural Minor" scale can be used to form statements around the harmony. Record the chords and try composing your own variations on the theme.


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


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How to Think Like a Guitar Virtuoso...



How does a guitarist go from strumming "G, D and A" chords to becoming a guitar wizard? What has to happen for a guitar player to make that leap from being an average beginner player to being a simply outstanding player?

These are questions that every pre-teen discovering music and the guitar will ask, either out loud or more often than not - inside their head. There's just something about being the best that invokes curiosity. Knowing who the best guitarist is and admiring those who are the best is just human nature.

It's a question and a search that people just do, and it involves the discovery of the skills that can be practiced and duplicated to re-create what "the best" in any field both have with respect to skills and how they do those skills. It's important to people because we can learn those same skills - and then - those skills can become a part of us.



WHAT DRIVES US TO GET BETTER?
Once the guitar-bug bites us, we start craving more and more guitar skills under our fingers. Those skills allow us to be able to play all of the songs we enjoy. No matter what level we're at, we intuitively understand that having more skills will equal greater ease.

As practicing guitar players we understand that the skills we build for playing the guitar allow songs to come out easier. That "musical flow" is the juice that keeps us hungry for learning more songs. And, the desire for skill drives us to study more guitar techniques.

But, what is it that propels some guitar players to blow past the norms? What happens to some players that allows them to become virtuoso players?



DEVELOPING SUPER SKILLS:
Developing past the normal levels of ability will obviously involve more work, more practice, more dedication and a lot more time practicing guitar. But, there are a few other factors involved as well. These include three main principles. They are; knowledge building, exposure and having the right psyche.

- Knowledge Building -
Understanding terms, musical concepts (like key signatures and harmony), and knowing how musical topics relate to the fingerboard, (i.e., scales, chords and arpeggios). These are at the very core of, "knowledge building."

This category of musical information is at the very heart of knowing how music operates, but it even goes deeper than that. It allows great musicians to be able to communicate with others, and it allows the musician to be able to communicate better with themselves. Skills like; ear training will really improve when players understand how music operates, and the ability to communicate what a player hears in their head with terms is vital to higher development.

The study of music theory and how it relates to the neck is a key factor in every serious guitar players knowledge building. Knowing your musical keys, your scales, intervals and how all of the chords relate to them is critical. Once you have these principles organized on your neck, you'll be able to understand what your learning, what you are listening to and how all of those sounds relate back to both music theory and to the guitar.

Get started by learning the notes on the neck, the key signatures, and the basic concept of harmony on the fingerboard, (harmony = how chords exist in key centers). Use a good music theory course to carry on from there. The Creative Guitar Studio Harmony Theory course will really help you learn this information if you put the time in.



- Exposure -
This area is one of the most vital areas to becoming a really great guitar player. It all begins with learning about one playing style and developing yourself to be able to gain confidence over an initial group of general playing skills. Then, a guitarist can start to expand from those skills into more techniques and eventually more styles, which leads them to gaining even more skills.

This means that styles and playing techniques are essential to gaining better skill and advancing onward toward more refined playing techniques. Exposure does this faster than any other method.

For example, let's say there's a guitar player named "Max" and he only takes guitar lessons from a blues guitarist, (who really isn't big on music theory). Max does a lesson once every week and he's done that for two years. Max feels that in general he's getting quite good at rock /blues playing. But, Max never plays with others, he's never been on stage, and he has next to no exposure to any other styles of music.

However, let's say another guitarist named "Phil," started at around the same level as Max, but Phil was taught by his uncle who is a very versatile professional player and has a top-40 band. And, Phil's uncle gets Phil to join his top 40 band, and so Phil learns 60 or 70 songs across a whole range of styles. And, Phil plays in that top-40 band for two years. He's on stage once or twice a week. Phil learns about all kinds of different chords, scales, music styles, theory, rhythms, how to interact with the bassist, vocalist and the drummer. In other words Phil's exposure level is really expansive.

Who do you think would be the more versatile level of guitar player? Max or Phil... I'd definitely go with Phil. The exposure Phil would have to songs, styles and technique, combined with all of his stage experience would build a level of confidence that Max just wouldn't have. So, keep in mind that you've got to stretch yourself to gain exposure. Once you have that, your guitar playing will expand very rapidly.



- The Right Psyche -
The biggest factor for virtuoso level guitar playing is by far a persons own psyche. The mind, soul, or spirit, of a musician makes all the difference to how a guitarist will develop their playing skills.

I recently had a new student come into the studio who told me an interesting story about why he quit taking lessons (years ago when he was a teenager). What happened was he had been taking guitar lessons for almost three years and he felt that he was doing pretty good. That was until he saw a class-mate of his at school grab a guitar and rip out the main riff from Led Zeppelin's, "Black Dog."

Well, my student - back then - wasn't working on any songs with his teacher (he was just studying the easy-play songs out of one of those "Alfred Guitar Method Books"). And, knowing that his class-mate had only been playing for about a year, he felt devastated when "Black Dog" comes ripping out like nobody's business. And, that one experience caused him to give up on guitar. He quit for years because of that one experience.

So, instead of his psyche making him go back to his teacher at the time and saying, look I'm done with this easy-play guitar book, I want to learn songs. And, I want to start with learning how to play "Black Dog." Instead of doing that, (and discovering that "Black Dog" wasn't even a very complex riff), he instead decided, "I'm not doing very well, I'm just going to quit."

In psychology, the psyche is the center of thought, feeling, and motivation. And so, it both consciously and unconsciously drives the body's reactions. So, when my student saw that his class-mate was ripping out "Black Dog," he was floored, it just devastated him.

And then, his psyche took over and told him, "You stink at guitar, look at this guy, he's only been playing for a year - you've been playing for nearly three. Look what he can do, and you can't."

His psyche told him that he sucks and he should just quit, and unfortunately that's exactly what he did. Now, I'm willing to bet that this same type of scenario has occurred (maybe in different ways), but it has occurred millions of times all over the world. But, nothing like this has to happen to you. Because now you know, that how you're thinking makes a huge difference to how your progress happens on the instrument.



CONCLUSION:
Thinking like a virtuoso guitar player doesn't require anything more than constant never ending knowledge building, combined with broad exposure to all kinds of playing styles, and maintaining a healthy balance regarding how you relate to your own psyche. If you keep on track within these areas you'll constantly improve. But, if you neglect one of these areas, you'll stagnate. And, it'll be really tough to grow as a guitar player.

So, study hard, learn everything you can, keep an open mind and always go easy on yourself. Remember the reasons you started learning guitar in the first place. Because it was fun and it made you feel good when you could play a part at a decent level of skill.

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9 Steps to Guitar Success | The Wheel of Guitar Fortune



You can try to learn guitar using any number of random internet methods, or you could go through a local instructor. But, there is another approach...

The truth is that music instruction can be a gamble. Especially if the teacher of method you choose either has no plan, or even worse - an unproven plan...

If you’re unsure of what to look for in a guitar program, and then how to organize your practice approach - you're in luck!

My "9 Steps to Guitar Success - The Wheel of Guitar Fortune," is a proven way to help any musician break through to the next levels of playing. This system is a positive step-by-step cycle that works in a very logical way to maintain your focus and your organization across the weeks and months of practice ahead.

Below are the nine steps to follow that will build long term guitar success. However, keep in mind that you'll still require a good study routine.


Step 1). MAP OUT YOUR GUITAR REPERTOIRE
It can be difficult to make rapid progress studying guitar if you have no plan. Once you've selected your study material, (of course, I highly recommend the Creative Guitar Studio Program), organize the material into a map of what the most important elements are that you want to study. Separate what you know from what you don't and focus laser energy on what you do not have skills for.

Step 2). DESIGN A STUDY ROUTINE
Set up a log of what you will do on a daily basis. Organize it all in a planner or in a log book. And, keep a Practice Schedule. If you do not understand how to properly practice, spend some time learning this with my "How to Practice Guitar Guide." Once you implement my systems, you'll begin to notice rapid progress.

Step 3). PRACTICE (PHASE ONE)
Practice begins from this point of the Guitar Wheel of Fortune, and for it to work properly, it needs to follow some type of a structured time frame system. So, be sure to follow my "Time Frames" practice concept. Using this approach will yield the very best results for you in the shortest time possible.




Step 4). ASSESS PROGRESS (PHASE ONE)
As your practice begins and you start work through your routine, you'll need to be on watch for possible corrections to your plan. assess where you are by asking a lot of questions... Are you feeling like progress is taking hold? Are you noticing good results? Are there problems? Do you experience any hand-pain or discomfort? How is your mental perspective, are you having fun - are you learning? Assessment is critical to your success. If something isn't working - try something else.

Step 5). CHANGE REPERTOIRE
Once you've determined what works for you and what doesn't, begin examining what you can do to alter the order and sequence of your material so that you can find new practice approaches that will work better.

Having great material is one thing, but you could still go about practicing the material in a way that is simply not good for the place you are at - within a specific point in time. How you approach your repertoires study material is just as important as what you're studying. And, in order for rapid progress to occur, you'll need to continuously alter your repertoire's order and sequence. Doing so will yield incredibly fast results for you.

Step 6). MODIFY YOUR PRACTICE SYSTEM
Are you practicing warm-ups for too long? Are you not putting enough time into your rhythm guitar? How much skill are you feeling from your scale layout on the neck? Is what you're doing in need of time frame modifications? These are vital questions that need to happen along the way for rapid progress to occur. And, any change to your repertoire will play a role on how you're using your personal practice system. These areas need to maintain constant balance. When they do you'll start to notice changes for the better, start happening much faster.




Step 7). PRACTICE (PHASE TWO)
Practice began (back in step 3) from a point at which you were still learning "where" you needed to address your guitar study focus. Now, that you are much further along in the "Wheel of Guitar Fortune" you've likley begun to notice what has worked for you, and what hasn't worked. And, (I hope) that you've started to make modifications.That is the key to this entire "Wheel of Guitar Fortune" process. In this step, "Practice - Phase Two," work out the new time frames that you want to apply to each subject area. Once you've created an updated practice schedule, start applying it and notice what benefits occur.

Step 8). ASSESS PROGRESS (PHASE TWO)
Just as we did back in step four, assess progress once again and notice where you're at. Ask yourself a series of questions regarding how you feel about the work you're doing, where you're skills are going, and how the level of ability is developing on the whole. If progress is occurring, then take stock of where it is developing with the most success. And, if certain areas are not developing, ask yourself what you could be doing differently to change that. Think of this step as another layer of refinement. Polishing things at this stage will really perfect how you're time is being maximized during practice.



Step 9). INCREASE REPERTOIRE
The trick to getting really good - really fast is, has and will always be, exposure to new material that you have never tried playing before. Anything new will always push you higher in your overall skill set. So, in step nine you'll want to add more items on you practice list.

If you're studying a progressive course, (like the material found in the Creative Guitar Studio Program), you'll be flowing along in a very step-by-step manner. Adding new ideas will continue to help expand your guitar playing and it will build your footing as a musician rather than just being a "Guitar Player." Musicians know and understand music, even when the guitar is locked in the case at the back of the room.

Adding more techniques, more scales, chords, arpeggios and music theory will continue to help you grow as a player. And, as you get better, you'll be able to play more styles and you'll be able to function within any type of musical setting. Over time, nothing will feel foreign to you. The skill for playing in all types of styles and situations will become easier and easier. And, the key to expanding your horizons like this is exposure. This only occurs through an increase in your repertoire.

NOTE: If you need help setting up your own personal practice routine, book a Skype session with me and I'll help you get started!


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EAR TRAINING: From the Ear to the Fingerboard



Watching a musician who is able to improvise on the fly is quite incredible. 

Obviously, this skill comes from being able to play the lines that they are hearing in their head. The ability to play what we hear is one of every musicians ultimate goals. But, HOW does one get started on this path to natural musical expression?

For a guitarist, or any other instrumentalist, one of the biggest obstacles is translating the sounds that we hear in our head onto our instrument – in our case, onto the fingerboard.

When you hear a sound in your head, most musical people can quite readily open their  mouth and create that sound. The translation from the mind to the voice is quite effortless and is being done unconsciously.

Guitarists don’t have it that easy. Between our mind and our expression of a musical idea  lies the fingers, a multitude of neck patterns and technique to pull it all together. So, it may not exactly be easy to bridge the gap between our mind and the fingerboard, but we can get there. If an accomplished jazz player can do it, there must be a way, and there is... it is called, "Ear Training."




EAR TRAINING:
There are a variety of ear training categories – intervals, chords, scales, etc. When first getting started, one of the most important areas to focus on is intervals, since they are the fundamental building block for both scales and chords, (arpeggios).

When just starting out, it is best to keep the root of each interval you study, “fixed.” This means that the intervals you hear will always start from off of the same note. By working this way, you will get a better feel for the differences among the various intervals.

Begin with the following intervals in your training routine...

1. Prime a Single Tone: When doing this, sing the tone you've selected as your "Prime." This process is focuses on a single tone and the mastery of hearing it. Be sure to sing it. And, make sure that you sing it in tune. Once you have this tone down 100% move it to various unison locations along and around the neck. Even though it is the same note played consecutively, your ear must get used to its sound in different places on the fingerboard.

2. Major 3rd and Minor 3rd: These intervals contains 2 notes spaced either 2 whole steps apart to create a Major 3rd, (such as C to E, G to B, etc), producing a familiar uplifting, happy quality. Or, to produce the Minor 3rd, we have 2 notes spaced a tone plus a semi-tone apart. This could be related as 1 and a 1/2 steps, (such as C to Eb, F# to A, etc), producing a sad, negative or dark color of sound.

3. Perfect 5th: This interval spacing is 3 1/2 steps (C to G, G to D, etc). The so called 5th-chords (C5, D5, etc) used extensively in rock and roll are based on this interval. Sing this interval and notice the sound quality.

4. Octave – this interval consists of the same two notes played an octave (8 tones higher) apart.Sing these tones and notice the feel.




The key to developing a good ear is to come up with your own meaningful associations. You need to make it real. One of the best approaches is to associate each interval with a familiar tune. For instance, when I hear a major 3rd, I think of the song, "Oh When the Saints Go Marching In." At the beginning, the words, “Oh - When” is the Major 3rd.

I have a unique association for the perfect 5th. Those first two notes of the theme from the movie "Star Wars," are a perfect 5th apart.

When it comes down to hearing an octave, "Perfect 8," the theme from the song, "Somewhere Over the Rainbow," can be used. The first two notes of that famous theme, (Some - Where) are a "Perfect 8" apart.

So you get the point. Each interval needs to be personal for you. They need to evoke a response in the form of a memory.  Then, you'll associate it and be able to recall it.


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Trick Yourself into Better Guitar Playing (Time Frames)...



Stop Wasting Away Your Valuable Guitar Practice Time! After all, there are only so many hours in each day. Make the most of them..!

We've all sat down to practice the guitar and then this happens...

We start out highly focused, but the next thing you know 20 minutes have gone by and we’re just mindlessly noodling away our time. Our focus is gone and we're not doing anything that we either hoped to do, or that we'd expected we would be doing.

How did this happen to us? We had our best ideas ready to go. Is it attention deficit?

Is is a matter of scattered focus..? Or maybe, it is simply today's modern world of endless distractions?

For what ever reason, the bottom line is we lost our train of thought. And, after that goes away, it can be very difficult for any of us to both keep "on task" or even get it back without using some type of a study system.

The application of a training system not only keeps us on track with our practice, but it can also help us with the building of our long term goals and our best musical development direction.




GUITAR STUDY SYSTEMS:
Okay, we probably already realize that we need a practice system if we want to get good as quickly as possible. But, if there was a "study system" what would it be like? How would it work? What would it do?

The human mind is a tricky thing. It likes to move away from pain and move toward fun and good times. And, lets face it, working on scales and arpeggios, (while incredibly beneficial), can feel a lot more like "pain" compared to playing through a fun Hendrix lick that we have mastered (because we learned it seven years ago, so it's easy).

TRICK YOUR MIND:
You can change your state of mind, (and also what you focus on when it comes to guitar practice), by “tricking” your brain to do practicing in a different way. From my experience, through all of my years of teaching, I know that a lot of guitarists have the same practice time problems when it comes to the study of material - you probably wouldn’t be reading this if you didn't want to improve on yours.

Practice time is extremely valuable, so you don't want to waste any of it by jumping into your practice periods without a study plan.




GET A TIMER:
To really get your practicing up to a whole new level, get yourself a timer. This can be any type of timer, but I'd probably recommend it be a separate device away from your phone. I personally prefer "egg timers." I personally use the "Lux CU100 Digital Count Up/Down Timer." The LUX is really loud and it has easy to program buttons.

Keep in mind you're going to use this timer a lot, so you don't want to cheap out on a budget model, or kill the battery on your phone or tablet, (timer apps tend to really draw on phone and tablet battery power for some odd reason).


THE SYSTEM:
Start by designating a period of time that you are going to focus upon a topic. For guitar  practice you'll want to think in respect of two time frames.

OVERALL TOPIC TIME FRAME:
The first is the "Overall" Time of how long you'll be sitting stationary. This should never exceed 15 minutes. It is not a good thing for the body to sit stationary for long periods. You'll want to be getting up and walking around at least every 15 min. This not only keeps your mind fresh and alert, but it also gets the blood flowing through your body better.

SUBJECT TIME FRAME:
This is the length of time that you will assign to work on one given subject within your 15 min. topic time frame. I suggest no more than 3 minutes per subject. There have been many studies showing that the human mind gets easily distracted, (wanders) after 3 min. By staying within this time frame you'll maximize your ability to remain alert.

Now, start to work on a section of a song, a scale or an arpeggio for a set time frame of 3 minutes. Then when the timer goes off, stop working on that idea, reset the timer for another 3 minutes and move on to begin working  on something else.

It could be a new key of the same scale or arpeggio. It could be a new song section. Just change your focus once the timer goes off.




LOOPING PRACTICE IDEAS:
It is perfectly fine to come back to the song, or scale that you were first working on earlier in the same practice session. But, the idea with this time frame approach is all about getting away from one topic and moving through other material. By moving away, and coming back the material in another frame of mind, you will train yourself to keep much better focus.

The timer device has an incredible ability to keep you on task, and help you remain far more focused. As long as you just set it and forget it, you'll build off of your time limit.Your focus will be higher and your ability to plow through more material will help you with your accomplishments.

Even if you think this sounds rather odd…you have to try it. The benefits you'll discover are absolutely incredible.


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Acoustic Guitar: Tracking Simple Melodies


Acoustic Guitar:
Tracking Simple Melodies...

The first lesson plan of this acoustic series is focused on taking simple melody lines and enhancing them with associated bass tones in the low register. This approach is one of the most basic acoustic guitar techniques used by guitar soloists, especially when performing instrumental music...

The acoustic guitar is well known as an instrument that can function perfectly for supporting vocalists or for instrumental application of melody. Throughout these acoustic classes our goal will be to introduce several different techniques to help with improving acoustic playing skills.

PART ONE: In example one, I've taken a simple melody line from the key of "F Major" and associated a lower register complimentary bass tone part. The simple interval ideas (used to create this examples bass tone line) operate around a principle that is found in countless classical guitar pieces. The upper register melody is supported by the lowest tones of each underlying chord. The result is a strong complimentary bass part.

Example two focuses on the downbeat rhythm (beats 1 and 3) of a two-bar phrase in the key of "G Major." The simple melody line, (shown in example 2a), uses lower register bass tones built upon the 1st and 3rd beats of each measure by way of the underlying chord's lowest bass tone. This technique is very easy to apply and adds the most appropriate sounding bass tones that create a flowing acoustic feel to any melody.


PART TWO: The second half of the lesson begins with a popular study of how combining sustained bass tones from the downbeats along with sustained arpeggios can help in the creation of rich acoustic parts. In example 3a, an arpeggio based melody in the key of "A Minor" is used as a foundation against sustained bass tones introduced in example 3b. 

In example four, one of the most overlooked ideas for supporting melodic lines in acoustic guitar is demonstrated. The principle involves layering a lower register octave directly related to the melody note from the simple line. 

In example 4a, an "A Minor" melody is introduced. And then, in example 4b, the lower octave is sustained in measure one, but then traced across the remainder of the melody in measure two. This is an excellent example of how to create a strong bass-tone connection to the melody while also having it support a principle we applied earlier, "Stressing the Downbeats."



Acoustic Guitar: Tracking Simple Melodies


Related Videos:

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Guitar Chords | F Chord | Guitar Notes | G Chord | C Chord | D Chord | Guitar String Notes

Man seeks to break world record by playing guitar nonstop for 114 hours...



Man seeks to break world record by playing guitar nonstop for 114 hours. He’s trying to play until 12:07 a.m. Saturday...



RIRIE, Idaho —

A man is trying to play guitar for more than 114 hours straight to beat a world record and help military families.


He’s performing the feat to raise money for the Intrepid Fallen Heroes Fund; according to the organization, the fund has given nearly $200 million in support of families of military personnel lost in service.

The current marathon guitar session record was set in June 2011 in Ireland, according to Guinness World Records. 




2 Guitar Soloing Tips that Change EVERYTHING (Lead Guitars Secret Sauce)



Are you one of those guitar players who has worked hard at trying to play an original guitar solo only to end up feeling like you've failed at making your lead ideas sound good? Do you often have a gut reaction when you play solos that your notes are a little off-kilter and your sense of time for resolving licks could be better?

Well, I'm here to tell you that you're not alone. This topic is one of the most popular topics that I am asked about and it's also one of the most popular areas that guitar players will tend get frustrated with when they're trying to develop their lead guitar playing to higher levels.



LEARNING A SCALE IS NOT THE SECRET SAUCE:
If you've ever purchased a book or video method on "How to Play a Guitar Solo," or perhaps taken a course on how to play lead guitar, what is it that almost always starts those courses...? Generally the first thing those courses will introduce, are... you guessed it, the Minor Pentatonic Scale.

Almost every course, eBook, video and Guitar blog covering how to play a guitar solo, (that I've ever seen), begins with the standard, "Okay, folks let's get started with a great scale to learn for playing a solo, the Minor Pentatonic." 

At that point the lesson almost always continues with demonstrating that Minor Pentatonic scale pattern off of the 6th string, 5th fret "A."

While there is nothing "bad" about doing this, the problem is that most guitar players already know that scale shape and they've very likely tried using it for weeks, months or possibly even years - often with minimal success. 

So, the scale pattern alone is not the answer. Learning a scale is not going to provide the "Secret Sauce" to playing great guitar solos.



JAM-TRACKS ARE NOT THE SECRET SAUCE - BUT THEY'RE CLOSE:
Another area guitar players practice to be able to learn to play better guitar solos is the area of working with "Jam Tracks." And, if you know a few scale patterns on the neck, JamTracks can be helpful for starting to get your sense of phrasing together. There's no questioning that Jam-Tracks will help a guitar player start to phrase better.

Jam-Tracks will also help players balance their sense of the scale tones against the flow of underlying chords in a Jam-Track progression. So, there are great benefits that can come from practicing alongside of Jam-Tracks. Especially when Jam-Track practice is combined with greater fingerboard knowledge of learning both scales and arpeggios across the fingerboard.

However, I've listened to hundreds of backing track jams sent to me over the last 10 years from guitar players all over the world who still can't nail down their phrasing. They've worked with Jam-Tracks for long periods, but still cannot make the scales connect very well. It's frustrating because after all of that time and effort, it will still feel like there's something missing. It's like they've done all kinds of work, but they still don't have the secret sauce to playing a great guitar solo.



THE SECRET SAUCE - INGREDIENT #1:
Okay, let's get into the secret sauce - what is it, how can you start adding it to your solos and how will it start making a big difference in the ways that you perform a solo.

Well, there are two ingredients to the secret sauce. The first ingredient is learning how to perform a guitar solo played by another guitar player that you admire. These should be solos, that excite you, that really grab you. Solos so cool, that when you hear them, you instantly fully respect the way they make you react.

Now, I know what's happening for some people listening to this. There's a group of guitar players out there saying, "No way, I'm not learning anyone else's solo, because I don't want to be influenced by them, I don't want to sound like anyone else - I want to have my own style."

Okay, fine... but before you shut this off and go away, listen to something that I have to tell you. In my over 25 years of teaching, and in all my years of dealing with hundreds of fellow students when I was attended the Guitar Institute of Technology (there were around 285 guitar students along with me attending that school when I was there), I learned something very valuable.



Every amazing guitar player I've ever met who could rip out fantastic guitar solo improvisations, had spent hours and hours learning other peoples guitar solos that they admired. Even if it was a solo that they only liked a small portion of, they learned it, and they could play it note-for-note. That is Secret Sauce Ingredient #1.

And, my homework for you with this first ingredient is to take a short phrase I've removed from a few bars of Led Zeppelins "Stairway to Heaven" solo and learn it. 

Get it down 100% perfectly and then work on integrating it into your own playing. Have it become your first step to a future of lifting off dozens and dozens of guitar solo ideas from all types of guitarists who inspire you.

Example). Excerpt of the solo from, "Stairway to Heaven"



THE SECRET SAUCE - INGREDIENT #2:
If you take stock of "Secret Sauce Ingredient #1," and put it into massive action and begin experiencing what learning other peoples solos will do for you. It will start to make a difference right away. I know it has for me and for hundreds of other players I've had the pleasure of working with over all the years.

I've taken lines and phrases from heavy metal solos and turned them into jazz licks. And, worked out passages from blues songs and made them into classic rock solos. This idea can be used to dissect and then re-construct any lead guitar part and have it become a fantastic new element within your guitar playing.

But, there's another layer to this. And, this brings us to, "Secret Sauce Ingredient #2." This is the ingredient of composing original solos of your own from scratch. 

Now, before we get into this, I need you to stop for a moment and think through what playing an improvised solo really is. Playing any "made up on the spot solo" is actually, composing. But, the composing is happening spontaneously - within the moment. Improvisation is actually, "Spontaneous Composition."

So, what better way to prepare for those periods of spontaneous composition than by spending a lot of time on composing. When you compose, you work every one of those muscles that allow you to improvise. Each playing idea, pattern, rhythmic element is stretched to the limit when you're trying to invent cool phrases and licks for a composed worked out solo.



So, spending time composing a totally worked out solo, where everything is completely planned (and even better,  recorded for reference at another day and time), will do phenomenal things for your ability to both stretch your thoughts musically and apply your musical ideas when it comes to completely off the cuff soloing. 

Remember Improvisation is simply Spontaneous Composition. So, the more time you spend working on your skills with respect to composing, the more skills for improvisation you'll acquire along the way.

CONCLUSION:
So, now what do you do? You have the "Secret Sauce" for soloing. And, in order for you to have success with the formula, you'll need to do some work. 

So, let's look at one final list. A list of seven things that you can start doing right away to really get the Secret Sauce flowing for you in your guitar soloing practice routine.

1). Start by organizing a daily review of scales and arpeggios
2). Find a short-list of solos that you want to study and learn
3). Develop a "note-for-note" playing ability with your chosen solos
4). Work out, or download Jam-Tracks to use for composing
5). Understand the chord changes (know the key and harmonic analysis)
6). Spend time composing "worked out" phrases over the Jam-Track
7). Either notate or record your composed solos for future follow-up

- Andrew Wasson

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