Hey everyone...

My official blog is http://blog.littlerockjams.com.

If you like music, play guitar, bass, drums and want to become a better player, check my blog out for cool tips on practicing, music theory, chords, scales, backing tracks, cool videos and a few jokes.

Have fun!

Thanks to all that came out. For those of you that were here, and for those that were not , here are some notes from the workshop. Let me know if you have any questions. Good luck!
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Begin by spelling out your major scale using the pattern below

Root - Whole Step - Whole Step - Half Step - Whole Step - Whole Step - Whole Step - Half Step

whole step = 2 frets
half step = 1 fret

Example - Key of C major

C - D - E - F - G - A - B - C

Count the notes as follows:
C = 1
D = 2 (major second)
E = 3 (major third)
F = 4 (perfect forth)
G = 5 (perfect fifth)
A = 6 (major sixth)
B = 7 (major seventh)
C = 8 (octave of root)

There are 4 types of triads: Major, Minor, Diminished, Augmented. Intervals are shown below.
Major - 1, 3, 5 (C E G)
Minor - 1, b3, 5 (C Eb G)
Diminished - 1, b3, b5 (C Eb Gb)
Augmented - 1, 3, 5 (C E G)

b = flat
= sharp

Adding the seventh chord tone to the triad creates five primary seventh chord types: Major Seventh, Dominant Seventh, Minor Seventh, Half Diminished (minor 7 flat 5) and Diminished Seventh. Intervals are shown below.
Major Seventh - 1, 3, 5, 7 (C E G B )
Dominant Seventh - 1, 3, 5, b7 (C E G Bb)
Minor Seventh - 1, b3, 5, b7 (C Eb G Bb)
Half Diminished - 1, b3, b5, b7 (C Eb Gb Bb)
Diminished - 1, b3, b5, bb7 (C Eb GB A)

*other types not discussed include Major Seventh Augmented, Dominant Seventh Augmented and Minor/Major Seventh*

Suspended chords, indicated by SUS, are those chords that have replaced the third interval (major or minor third) with the second or more commonly the forth interval.
C Sus2 - R 2 5 (C D G)
C Sus4 - R 4 5 (C F G)

Extended chords are those that add chord tones past the octave. Extended tones include D (ninth), F (eleventh) and A (thirteenth). Additional notes past the thirteenth are octaves of chord tones.
C9 - R, 3, 5, b7, 9 (C E G Bb D)
C major 13 - R, 3, 5, 7, 13 (C E G B A)*
A minor 9 - R, b3, 5, b7, 9 (A, C, E, G, B )

*Chord tones may be implied on extended chords. This is due to the limited number of notes that a guitarist can play at one time. For example, a full C major 13 chord would include C E G B D F A (seven notes) or one more than we can play at one time (unless you're Tal Farlow). In this case, the guitarist would include key notes such as the 3rd, 7th, 13th, and then add additional tones based on preference (i.e. root, fifth, ninth, etc).

Inversions are chords with a note other than the root as the bass, or lowest note. They are also called "slash" chords and are noted with the chord quality on top and the bass note on bottom. Examples below.
C/G - C chord with a G as the lowest note - 5, R, 3 (one possible fingering - G, C, E)
Am/C - Aminor with an C as the lowest note - 3, 5, R (one possible fingering - C, E, A)

Add chords are triads that add add an interval, usually the ninth or sixth, to the triad.
Cadd9 - R, 3, 5, 9 (C E G D)
C6 - R, 3, 5, 6 (C E G A)

Practice Tips:
1 - This is just the starting point. Do not try to rush through the early stages of learning about chords. Set some mid term goals anywhere from 2-6 months to digest this material. With regular study and observation, basic chord theory will become second nature.
2 - learn the notes on the neck. Start now, it is a task that is not nearly as hard as people make it out to be. Knowing the location of the notes on the neck will make chord theory and playing much more enjoyable.
3 - Work out your major, minor, augmented and diminished triads on the following string sets: Strings 6-5-4, 5-4-3, 4-3-2, 3-2-1.
4 - Once these triads shapes are familiar to your fingers, work out the inversions of the triads on the same string sets. You will learn root position (root third fifth), first inversion (third fifth root) and second inversion (fifth root third).
5 - as soon as possible, take a chord progression you are familiar with and play the progression using the triads. Learning triads as an exercise alone will serve no purpose other than taking up your practice time. Be able to use the new shapes to make music.

*** Disclaimer - Myspace blogs will not let me use the pound sign to indicate C "sharp". All references to C below are actually C sharp - i'm just too lazy to type sharp a million times. My blog at blog.littlerockjams.com has the correct version ***

Spent some time yesterday working with a progression in C Phrygian and came up with a very moody two chord progression going from C minor to Amaj11 (see tab below). This is played finger style using even 16th notes. To solo over this, try C Phrygian. If you do not know that scale, think A major - but starting on the C or third note of the A major scale. Be sure to emphasize the C, D, E and B to get the Phrygian flavor.

C minor pentatonic will also work over this progression.

Have fun with it. I am!

    Cm                                                  Amaj11

E------------------------------------------   -----------------------------------

B-7-------7-----7----5------5-----5----   -5-----5----5---5-----5-----5----

G---6-------6-----6----6------6-----6--   ---6-----6----6---6-----6------6-    

D-----0-------0-----------0------0------   -----0-----0---------0-----0-----     

A-4-------------------4------------------   ------------------------------------

E------------------------------------------   -4---------------5---------------

So, there I was at the gym, getting ready to head to the studio.

For those of you that work out or have worked out in the past, you know that you stay hot for a while after working out. But I digress....

As I finish drying my hair, standing in front of the huge fan in a desperate attempt to not start sweating again, I realize that my hair was flying back much like Steve Vai's hair does when he plays.

Now, if you don't know who Steve Vai is, he is a sucker for a taking his solos in front of a big fan. I think I've read somewhere that his flowing locks help him play behind the back two-handed tapped arpeggios at 218 bpm using 32nd notes (yeah, that's the ticket).

Anyway, it took that split second realization for me to lapse into what I call the "Guitar Hero Daydream". You know the one, complete with 50,000 screaming fans, an awesome band backing you up and righteous tones flowing from your finger tips. Oh, was it sweet

That was until a guy I like to call "Gravy Train" came through - (i'll save the details on Gravy Train, or GT as I like to call him. If you want to know more, ask me). GT started talking to me and snapped me out of my oh-so-wonderful daydream.

Afterwords, I had to laugh at myself and thought you could get a laugh out of it as well. Guitar daydreams are nice, but just think how much better it would be if all the hard work you put in made your daydream a reality.

Now, time for practice!!!

::: RANT ON :::

Why is it that everytime I pick up my mp3 player, i have to spend 40 freakin' minutes untangling my ear buds. I swear, if I simply put it down and then pick it back up, it's tangled beyond belief!!!

This morning, I wrapped them up ever so neatly only to find them this afternoon, tandgled, again. AAARRRGHHH!!!!

::: RANT OFF :::

*** THE STRETCHER ***

WARNING – Small Children and people with nervous disorders should not attempt this exercise! See your physician before starting this or any guitar / bass regimen! LOL

Seriously, take this one slow as it is intended to develop a larger stretch between all four finders on the left hand (or right hand for you lefties).

Start high on the neck and as the exercise becomes easier, move down the neck to increase the stretch. Also, pay attention to the finger indications below the tab. Try to feel the stretch from the index to ring to middle finger as you play the notes.

As always, use strict alternate picking and I'll see you next time.

E—15-9-13-11-----------------------------------------------------------------------

B------------------15-9-13-11--------------------------------------------------------

G------------------------------- 15-9-13-11------------------------------------------

D----------------------------------------------15-9-13-11----------------------------

A------------------------------------------------------------15-9-13-11--------------
E---------------------------------------------------------------------------15-9-13-11

        P I  M  A    P  I   M  A   etc

 

P – Pinky

I – Index

M – Middle

R – Ring

As promised, here is exercise number 3. This one places more emphasis on your right hand this time, as we will be double picking every note of the previous exercise.

Start slowly and count this exercise the first several times as "1 and 2 and 3 and 4 and" etc.  Use alternate picking, downstroke for "1" and upstroke for "and". Once you have the picking down, begin to ramp up speed by ~3-5 bpm until you hit your maximum speed.

Once you hit your max, congratulations are in order. You now have your new ceiling to break through. To do this, back the metronome down 10 beats and run the pattern a few times a day, each day going up 1-2 beats.  Focus on clean tone and accuracy ... sloppiness will do you no good. Once you hit your previous maximum, push the metronome up 5 beats over that and see what you can do. I'll bet you can play that new tempo with breaking only a small sweat!

Be sure to keep strict alternate picking as the exercise next week will demand it!!!

Also, you should feel this one in your picking forearm after a few minutes. Don't practice until it hurts! With any practice, if you feel pain, something is wrong (unless you're trying to play Dave Matthews chords, but that's another lesson)

..> ..>

E --------------------------------88-55-----------99-66----- B ------------------88-55------77---66--------88----77---- G ----88-55------77---66----66-----77-----77-------88--- D ---77---66----66-----77--55-------88-s-66----------99- etc A --66-----77--55-------88---------------------------------- E -55-------88------------------------------------------------

Picking exercise #2 – (bass players, adust for the number of strings on your bass)

Building off last week, repeat the pattern on the inside string set (A-D-G-B) and the bottom string set (D-G-B-E). At this point, slide the pattern up one fret and work it back to the original patter (your index finger will play Bb on the 6^th fret E string if you played correctly). Repeat until you hit the 15^th fret and work it back down to the original 5^th fret starting position.

Remember, one finger per fret. Your index finger will always play the first note of each sequence, your pinky will play the last note of each sequence.

As always, once you have the exercise under your fingers starting with a downstroke, practice it again starting with an upstroke.

For extra credit, try reversing the pattern.

Good luck!

E --------------------------8-5-----------9-6-----------------------------------

B ---------------8-5------7---6--------8----7-------9-6-----------------------

G ----8-5------7---6----6-----7-----7-------8-----8---7--------9-6----------

D ---7---6----6-----7--5-------8-s-6----------9--7-----8-----8----7---------

A --6-----7--5-------8----------------------------6--------9--7-------8-------

E -5-------8---------------------------------------------------6----------9-----

Here is the first of several alternate picking exercises that I'll post to the blog over the next few weeks.  Start on the low E string and follow strict alternate picking as you work through the other notes. Once you have the exercise under your fingers starting with a downstroke, practice it again starting with an upstroke.

Get this under your fingers as each exercise will become progressively harder. Good luck!

E -----------------------------------------

B -----------------------------------------

G ---------8--5---------------------------

D ------7-------6-------------------------

A ---6------------7-----------------------

E -5-----------------8--------------------

     D U D U D U D U

     U D U D U D U D

D – Downstroke

U – Upstroke